Collinsville's Bud Oliver, Reed Cousins and Vanderbilt Magazine

That's Cousin Bud Oliver, though he don't claim me, Cousin S. T. Reed at the top of the Mtn and twice annual Fa So La Singing at Pine Grove Baptist Church.
They Say my Grandfather's Brother Uncle Rock "Roscoe" was a regular back in the 30's and 40's. Bud said they called him "Cake"; cause he was more of a dinner on the ground fellow than a singer.
I took to it here last several years, and my Cousin Jill and her son Marc Vidito were present last August, the 4th Sunday.
Bevvy of pictures in this article, the Collinsville group about picture 17-21

http://www.vanderbilt.edu/magazines/vanderbilt-magazine/2009/03/sweet-affliction/

Also see Kiri Miller whose acquaintance I made in 2006

http://findarticles.com/p/articles/mi_m1058/is_1_126/ai_n31325293

And last summer met a fellow who was staying with Henagar Ivey's for the summer from Bard College on the Hudson where Luc Sante, the consultant for Gangs of New York Teaches.
Sante understands the world of Billy Sunday and water Baptism as you'll see googling his Museum of God and Crime.

From toleration to deep respect and affection; a rich portion of the Century Review of Miller's work below.
What I was working toward when they kicked me out of the local Baptist Church. Maybe some of them will worship with Bud Oliver this August and figure it out.

From the Century review:

Traveling Home, part of University of Illinois Press's Music in American Life series, examines Sacred Harp singing in cultural context. Author Kiri Miller teaches music at Brown University. Her perceptive analysis is informed by her training as an ethnomusicologist, more than a decade of singing with groups all over the country and a half dozen years of monitoring the lively conversation on the Sacred Harp Musical Heritage Association discussion lists at fasola.org. A keen observer and gifted writer, Miller marshals vivid stories from Sacred Harp devotees to illuminate various facets of the history and practice of Sacred Harp singing, including the one that so moved Ben.
Miller suggests that "rural Southern culture is often as inaccessible and unintelligible to new Sacred Harp singers as shape-note notation, partly because of entrenched stereotypes." She describes learning to sing the notes as "a process of acculturation, and often one of growing mutual tolerance"--even (I would say) deep respect and affection. Sacred Harp conventions draw together urban and rural people, conservative Christians and people of no religious affiliation, young and old people, people with advanced degrees and people with little formal education. In a reversal that makes those who are often stereotyped and stigmatized the authoritative bearers of the tradition, northerners from diaspora Sacred Harp groups travel to the source to learn the conventions of this music and to soak up the old sound from those who are its custodians.