We speak with Steve Shell and Cam Collins of “Old Gods of Appalachia” – a horror anthology podcast with Appalachian roots. We talk to them about the idea behind the show and a sneak preview of their upcoming new season!
Chuck Corra: I started listening to you all a couple of weeks ago about midway through season one. I got to say that I love your stuff and I’m just really excited to talk to you all about how you came up with the idea of Old Gods of Appalachia and your backgrounds in general.
Coming up with the idea for Old Gods of Appalachia
Steve Shell: I’ll start, cause this was my baby to start with. Cam and I have known each other for 25 years. Literally, it’s an exaggeration. We are very old. We grew up in Wise County, Virginia – right there on the Kentucky border in the heart of Appalachia.
Both went to JJ Kelley High School, which no longer exists, and the Clinch Valley College of the University of Virginia, which is now the University of Virginia’s College at Wise. It was all the things we once loved are gone or have changed. I had dabbled in podcasting off and on since iTunes made it a thing in like 2005. We were also both old punk rock, hardcore kids as well.
There was a hardcore message board where people were posting about this thing called podcasting. So I made a couple of episodes of a radio show themed around that board.
We figured out how RSS worked, but then it wasn’t a big thing. Then a bunch of years later, I do some medieval reenactment stuff. It’s not LARPing (wink wink).
Chuck Corra: Hey no hate if it is. I respect that.
Steve Shell: I do a podcast for them. That’s all based on the bardic and oral traditions of the society for creative anachronism.
So I was actively podcasting and I was listening to stuff like black tapes, which I have strong feelings about how bad that became. And I’ll say that out loud, I don’t care and great things like Life After and The Message and Steal the Stars, which Cam turned me on to, and Limetown. There were some horror podcasts that sounded great but then GE produced them – like GE podcast theater, like nuclear weapons, GE had money behind them.
So I thought “my stuff sounds pretty all right,” and so I started just brainstorming what kind of scary stuff I could write. And I worked for The Moth.
If you guys are familiar with the moth podcast. Asheville is the smallest satellite city that has a moth official moth event. And I’m one of two hosts. The other host is Betsy Puckett, who, if you listen to our Patrion storyline, bill mama coffin is the most terrifying woman on the planet.
If you listen to the commercial for the finale or the ad for the finale, that’s in the Patrion stream, she is the voice of granny white and she is terrifying. But anyway, so I was driving back and forth between Asheville, North Carolina, where I live, and Whitesburg, Kentucky where I have a long and storied history with punk rock and that hippie little hillbilly town.
We were doing a Moth Mainstage show there, and they were doing Appalachia voices, so they roped me in and I’m their token hillbilly. Yeah but it’s good. It’s fine. I tell a lot of stories about Appalachia and about growing up in the mountain of Appalachia, especially within the freewill Baptist church.
Exactly. But anyway, so I was driving and I was, and I hadn’t driven through coal country in a while. We have a complicated relationship with Appalachia, and going back home I live in a town of a hundred thousand people going back to a town of 2000 can lives in Bristol.
How many people were in Bristol?
Cam Collins: Probably got around 50,000.
Steve Shell: So I was driving through there, going up there and I just, and I was driving, was going to switch back roads, cutting back and forth.
I forgot how when you go to coal country, you can go around a curve and it’d be completely dead and sapped out and just like a wasteland and then two curves later, it’s lush and overgrown and you’re lucky there’s not kudzu on the interstate.
So I started brainstorming in my head like man, “what if there was some sort of old school, like mythology, like what if there were people, what if there were forces that were responsible for the desolation, the rampant over nature of Appalachia?”
I just started brainstorming and the line came to my head, “there are two queens.”
So we set up this idea of there being a force of light and dark life and death. Then I started brainstorming about what’s always kept Appalachia Appalachia. Why are there “major cities” in Appalachia, Like the heart of Appalachia, Southern Appalachia like what has kept us in and everything else out?
I just started brainstorming “what if there’s something under the mountains? What would that be?”
These mountains in Appalachia used to be bigger and they used to be taller and they’re all worn down – what would have worn them down? Appalachia is this way because thousands of years ago something dark and awful was buried underneath it, intending it to be its prison in Appalachia.
Tying in that old kind of fallacy mythology about Kentucky, that the bloody land, which is a great motif and also totally historically inaccurate in some ways or actually historically ambiguous or unclear. I was just like the idea that central Appalachia is made up of is bordered almost entirely of natural boundaries.
If you look at the shape of Kentucky in West Virginia and incorporate that back into Virginia and where that’s the straight-line boundaries, don’t start until you get down to the bureaucratically defined states and it’s almost this was supposed to be a prison in Appalachia.
No one was ever supposed to live. That’s why the cattywampus was here in Appalachia.
Everyone is supposed to be an outsider to Appalachia, but then as weather and winds and everything, war the mountains down, those that sleep beneath as we call them, started to dream and started to call to the souls of men saying come find you need land.
They don’t want you to come here. You want, oh, you want money? We’ll dig, and find. And then from there it just turned into. After that we just, our jumping-off point is we’ll of course Jack tales are messed up because the root of them is in this, of course, these stories about what horrible things white people did to indigenous folks because of everything.
You look at mining disasters, natural disasters, everything in Appalachia has such a shadowy bit to it in a lot of ways that you’re a half a step sideways from it being supernatural to start.
Chuck Corra: I definitely agree with that. And I think what’s been really interesting with listening to your show is just how much it reminds me of is probably gonna sounds weird, but reminds me of growing up because I was in boy Scouts a lot.
And so one thing they T oh, great. Great. Yeah, so I was doing scout actually. Yeah. We’ve
Steve Shell: closed it down. We blowed
Chuck Corra: out. Oh, gotcha. Gotcha. Yeah. One of the things that they teach you is to really respect nature. They teach you to respect the land around you because it’s a greater force than humans themselves. So I definitely get that undertone and just the campfire stories that we tell are reminiscent of the stories that you tell on your show, especially because they have this underlying historical and storytelling nature that is so emblematic of Appalachia.
And I was wondering how you come up with the ideas for your stories because obviously some of it’s rooted in Appalachian history, but I was just, I was really interested in your process with them.
Steve Shell: Sam jumps in here with me cause we worked together on a lot of things and yeah.
Cam Collins: Yeah. It’s and I’ve and until recently and bill mama coffin, I’ve written a lot of the man. It’s so
Steve Shell: bizarre. Yeah. And I’ve written most of the women.
But like for us, I mean how did it go here without being totally weird? I don’t all right, so I’m just gonna go weird. I don’t consider myself psychic or clairvoyant. I’m not a witch, Cam’s a witch.
But we have both been sensitive to things in Appalachia for a long time. And the old ghosts and the old things, there are not things where I’m afraid of or laughing at or whatever. So some of the ideas come from there. For me, I knew for a fact, when we started writing the narratives about the places that place in time would be important, the witch queen cycle takes place through the settling of Appalachia and moves throughout history.
Barlow starts in 1917 because that was the year of the worst coal mining disaster in the state of Kentucky. That was in clay, which weirdly was actually outside of Appalachia, but it still had repercussions throughout. All the things that happened in the Barlow cycle, from the hiring of the men of color as scabs and treating them like not training them or giving them really any real safety.
They showed up thinking they were guys who got jobs and they moved into a community that immediately wanted to kill them. And that was a plotline. I toyed with writing, but I really wanted to, I’ll be straight.
I really wanted to work with a writer of color who had Appalachian background. And that, that, that’s our other thing too, by the way, if you guys know that we try to work as exclusively with Appalachian artists or artists with blood ties to Appalachia as we can which can be limiting because Appalachian creatives are many Appalachian creatives who want to do what we’re doing no little less or less than many Appalachia creatives of color with who are really interested in writing about dark gods, living under mountains, fit on the ground.
Like it’s hard. It’s hard for everybody. Indigenous folks right now between food crisis and stuff is just, it’s really super real. . So we’re trying to bring in writers and contributing researchers to work with so that if we tell the story of a town, that’s an analog of Lynch, Kentucky, which is like a town, a mostly black town of folks descended from company coal miners just over the Kentucky Virginia border up around Kia.
I’ve done a little exploratory reaching into that area. There’s a big article on those folks. No one wants to write for a horror podcast. And we’re not whining about that. Don’t blame them, but it also means I’m not going to jump in and write a POV from a man of color coming to work in a Virginia, Kentucky mining town either.
We actually had talks with a production company about this becoming a TV show. They asked if we are open to expanding other storylines? I’m like, yes, I would love to have this.
I would love to tell, like when they bring the black man into work in Barlow, Kentucky, I would love to have a point-of-view family storyline written by a black writer about this experience. Because I can’t, I don’t feel like I can accurately write that story.
Cam Collins: Yeah. Just going back to what you were talking about the actual historical disaster that was actually originally our idea was to write a series of stories or just based on historic disasters in Appalachia.
And obviously, we ended up going in a very different direction with this. Once we got rolling, which I mean, it tends to happen. Process-wise that that’s how we were always, it’s very organic and we start working on something and, oh, what about this? And just have different ideas that she’d often, whatever direct build mama coffin was in no way intended to be 17 episodes.
It just worked out.
Steve Shell: And we hadn’t dually talked about mama directly for your listeners who don’t know if you want to join us on Patrion, patrion.com/old gods of Appalachia, if you pledge $10 or more a month and become a member of not blood kin, but almost, or blood kin or the covenant of the black breath, the three upper tiers, you get access to exclusive storylines and stuff.
And we just finished last night, we dropped the finale of build mama, a coffin which was meant to be a six or seven episode. Epistolary series of letters being written back and forth between this family members, trying to agree where to bury their, which have a mother not realizing that they were all being manipulated by forces beyond their means of what’s going to happen to her body.
Not also not realizing that she’s up and walking around, making sure nobody gets her bones and the story became enormously more complicated than that because in the interim of what was supposed to be February to March February or March and April before we, we were going to drop season two, we started talking with two different with a production studio and a production company.
And both of them were trying to court us to hold off on season two so they could drop it and get the benefit of the bump. And we, and one company wanted to rerelease season one on a bigger platform and remaster it and all this stuff. So we were holding our breath, waiting to see what would happen with these two production companies, but we couldn’t come out and then we’re not going to name them, but we couldn’t come out and talk about them and say Hey, we’re trying to be rockstars.
We kept saying, look, we’re working on partnerships. We’re trying to go with they can go next level. It would be great. And then in the end our Patrion ended up being so supportive during COVID and so support. And during this, that, as of right now, we’re not interested or we’re not working with either of those studios because we’ve landed on our own feet and we still own our stuff and we’re going to produce season two and whatever.
On our own terms because of the support we get from our family and by family capital F family, the creepy cult fandom that has grown up around this show. And yeah, so like our writing process starts from, we were, like I said, we were going to camp, said we were going to write, it was originally going to be the clay county, the clay, Kentucky disaster, then the hurricane the hurricane she was a hurricane valid in a hurricane valley.
The hurricane disaster we’ll call it that, which was which was a cave in that happened under 20 inches of snow at Christmas time. Which not to say we won’t revisit something like that at some point, but we will Were there elements of that, that ended up inside of Barlow, but when Barlow got split into two episodes and we’ve said this before I cam was finding her way through a difficult time.
And if she wants to talk about that, she can, I’m going to put it on the spot. She kinda liked left the process for a minute in the early stages. And I’d asked her if she wanted to write an episode, just jump in and do a guest episode. And I had all my framework in place and she came back and I was like, Hey, I don’t know what there is for you to work on because I’ve got this narrative laid out and she read the prologue and she read the description of the town and just says, give me the church.
I’m like what church are you talking about? There’s a church. You mentioned a chat. I’m like, yeah, it’s just set dressing. The town has made up a bank, a church of this, a dry goods store. And she’s yeah, but somebody had to bury those bodies and I’m like, oh shit. You’re right. And then I don’t know where you are in the season.
I won’t spoil anything for you. But pastor Cletus, Garvin was.
Chuck Corra: Yeah. That’s awesome. I love that story
Steve Shell: arc. Yeah. And what again, what’s crazy is cam was not raised in the Baptist church, so that you’re hearing me feeding her information about the church and was doing research on, we researched the crap out of that church name forever, but he thinks it’s just a cheesy Lovecraft reference, but like church name construction in the 18 hundreds and early 19 hundreds were very specific.
So the tabernacle of the elder covenant very easily could have been a sound. It sounds like Petula as hell, but like very easily could have been a little fire and brimstone brick and mortar in a tiny little mine in town. Yeah. And it, it opens the door for a lot of things, but that can crush. I love the church story so much.
And I felt really bad for her because I have all these characters I can put on t-shirts on our thread list stores, like the witch queen and the Walker girls, and some other folks who, if you’re not that far, you haven’t met them. But I’ve got all the good guys and Cam’s I got this pastor who sold his family and his soul to the devil, sorta
Cam Collins: like we’re sitting there and people start with people, start making fan art.
And really the first time, the first one we’re like, oh shit, somebody may we just completely
Steve Shell: freaked out. And we love, yeah. We love people draw on the stag and the witch queen, but there are other things you can draw on the series.
Cam Collins: Yeah. I like we can’t getting all this stuff and I’m like, nobody draws anything.
And then we got wine
Big John Isner: and it was so
Steve Shell: good. Are you the artist forgiving? The artists we put we’ve retweeted on Twitter did like this bronzy oil painting of a scene from the finale, which I’m not gonna talk about if you’re not there yet scene from the finale of Cletus’s. Which is homecoming. And it was this moment that like cam had really just painstakingly laid out and it’s so freaking creepy.
And when we saw that, as soon as I saw it before she was up that morning that we’re we’re two hours apart. I might mess with Sue and I know she, she gets up early to take her partner to work and then he goes back to sleep. So I’m like making sure she had, I have screenshots of this, like in her Facebook message look what you got, someone finally drew something.
No one’s ever drawn Cletus though. Cletus is not in that picture because it’s from his point of view.
Cam Collins: No, it’s very, I w it’s so great. And I was so happy. Just absolutely thrilled.
Big John Isner: That means that Chuck and I now have to challenge all of our listeners to draw fan art, which would be absolutely a terrible on our part only because of the way that we work individually.
So that that challenge is actually not real. Please don’t do that cause it’ll probably make me feel self-conscious. But so let’s talk, we’ve talked a little bit about season one. Now we’ve talked about your all’s background. We are always truthful where our listeners obviously you’re here to talk season two and why don’t you let us know a little bit about season two and when can people look for it?
Steve Shell: Okay, so we haven’t announced our drop date yet. So we’re going to talk around it. We have some things we can talk about. We haven’t announced the there’s a theme. Season one, of course, the theme was Barlow Kentucky, 1917, season two. We can talk about a little bit. Number one, there will be no interlude episodes in season two.
If you follow at season one, there are some shorter episodes that are labeled and interlude, which really weren’t that different from main, from whole episodes. The theme music was different. The soundscaping was different and they tended to be a little shorter and usually might’ve had poetry in them.
Originally we had planned to go long episodes every week, long episode of poetry or stream of consciousness stuff, a long episode interlude long, but this season two will be all fully
Cam Collins: that we intended to be interludes just kept turning into. Nope. That’s flip-side well,
Steve Shell: I’ve already done. I’ve already done the artwork.
I’m not sure. But yeah, the the w we won’t reveal the title of the theme, but this season two, we’ll focus on death. And I know what you’re thinking, Steve, you killed it. You guys killed a bunch of people in season one. But this is going to be a more intimate walk with death and what death means an Appalachia to a family and what death means what death means in terms of the supernatural elements of of our world, of our alternate Appalachia.
And it’s something we didn’t talk about real quick. If your listeners aren’t familiar if you expect to go into old gods and find story set in wise county or Letcher county or any of the places we grew up, you won’t find that our world has shifted and changed. You’ll find Esau county, Virginia and Jacob county, Kentucky Isaac county, West Virginia will make an appearance in season two.
Baker’s gap. Tennessee is not a place, but if you look real hard and listen real hard, you can see where the railroads go. That’s a setting for the Wolf sisters. The trilogy that came after season one and is a big, and is leading into season two, a big part of season two takes place in east Tennessee and the railroads play a big part in season two, where mining was the focus of season one, the railroads and the mines were ever present with us.
There’ll always be some influence of the mines, but you can look for I’ll say this, you guys can look for you’re not far out from the drop of season to pay attention to the signs in the month of August family pay attention to the signs, they will point you the way. And also there’ll be a live stream.
There’ll be a live stream event where we I’ll be all cryptic and Crow, Lord, and then I’ll be like, oh, and by the way, just watch our YouTube channel. Cause we’re going to do a. And when we would re I will say, we will drop a trailer for season two. We actually have several teaser things. If you’ve been watching our Facebook our official Facebook page the cover video has changed several times.
A couple of days ago. It was a walk through an eight through a 19th century graveyard in Kentucky, and now it’s something even creepier than I also tweeted out on Twitter today. And we’re going to be dropping these viral moments of going viral for what I’m looking for. These little moments to tease what’s coming.
And then we will do we’ll do a live stream event and drop the trailer. But it’s not far out it’s literally weeks away like single-digit week. So wait,
Chuck Corra: what y’all are masters of suspense over here with season two and the way that you tease it out was really interesting. And I’m wondering if there’s any details you could give us at least like what served as the inspiration for it, because a family’s walk with death sounds really interesting and really cryptic.
But it also does sound very Appalachian in a certain way. And I’m just kinda curious what served as the inspiration and how how did you come up with the concept for season two without giving too much away? Of course,
Steve Shell: we’ve gotta be careful. You’re okay. We get it’s a lot. The inspiration came from a song music. If you’ve been listening to music is a big part of our heritage and our share and a saw. Very much is sets the tone and the flavor. And it’s a song we heard not through Appalachia tradition. It didn’t get popular in our world through Appalachia tradition, though.
It is tied back to the south and back to the mountains through history, a big part of it came from the pro, not the prologue but the witch queen episode, which from the beginning I, I my initial line is, and in these woods there are two Queens and we have learned of the witch queen who whose powers are tied to the green and the green being our overall force of old bones and all the life force.
And from a D and D perspective drew had magic shamanistic, magic, granny magic granny medicine as Christian members of my family would like to say, because they didn’t want to say witchcraft. So the other queen is the heart of seasoning. And you will learn about her in the second episode of, and into season one.
Our episode one is a prologue. Every season we’ll have prologue, which is a ceremony, very poetically, my style of writing thing that touches on what’s going to happen that season. The second episode for these two seasons will be the introduction of the Queens and how, and what they are.
The witch queen, her arc will, will have its own arc that carries through season two. And it will also shape. Definitely shows up in other storylines. I won’t ask you too many more questions about season two. Cause I don’t want to have to force you into, to try to dance around some of the subject matter and don’t want to spoil anything, but I’m kinda curious what your all’s vision is, I think for the future of old gods of Appalachia, because as you mentioned, there’s a lot of Appalachian creatives maybe not a lot in your space, but it seems like you’re creating you’re carving out a niche for yourselves.
Chuck Corra: And so I’m just curious what you see the future as and what you hope to do with it.
Steve Shell: I think we have said that we would like to see five or six seasons of the show. And we’re going to jump one. I know we’ve been teasing this since season one, so I don’t mind saying it. We want to do a season set in the late seventies, early eighties at the height of the pan at the, of the satanic.
In rural Appalachia because we both lived through that and I’m 45 cam is 27 forever. She’s not, she’s very old too, but now yeah, so we, we both were I was, I graduated high school in 1993. So I was the devil worshiping D and D playing kid in our little town. So we know that part of Appalachia really well, but what happens when it’s connected to real monsters and not in your stereotypical, oh, we played a game and now it’s real, then we’re not doing that at all.
But that that may be seasoned. And we bounced back and forth with the titles of the secret graveyard, which is a place Cam’s high school principal accused her of knowing the way to we’re having rituals in secret graveyards. Yes, it was great.
And my job title is a second edition devil worshipers guide to Appalachia.
They won’t be that one. But yeah, so we would like to see go forward and deep nerd media, which is our production company that doesn’t have a website for some reason. We just never, we’ve always just been saying it’ll happen. We’re going to be an LLC here real soon. We need to be the we have the copyright now, but the the we, we have other shows we want to do.
I know they’re going to be yeah, there, we have some other stuff in development talking to some people that we would love to learn. And we would love to help other Appalachian creators, but gray. Now I do plan on operating in a genre space. Like poor fantasy that kind of stuff.
And please don’t start sending us demos because we are not anywhere ready to do anything, but our own shit right now. But yeah, so yeah I would like us to I would like to see us go at least seasons five seasons six and I would not be opposed when we’ve been approached about television and film rights.
We’ve had meetings and conversations and been flown to fancy places out west to talk about things. And I would love to see those things in their own time. And this is actually, this is something really cool. I can say when we ended up with an agent really early on, which is weird. A family friend of my family is married to a guy who wrote like legitimate movies.
Like he wrote may maybe he wrote the first draft to star wars. Maybe he wrote maybe he wrote the book of Eli go look up who that is. Great dude. His wife is my wife’s best friend, one of her best friends that she’s known online forever. So when people started sniffing around about RPG rights or TB rides, I’m like I don’t.
And I reached out to that guy and I’m like, Hey do you have a minute? Can we talk? He’s no, I’m actually very busy, but here I talk to my agent, I’m going to send him your podcast. They sent in his agent, our podcast, not knowing his agent’s favorite style of horror was exactly what we do that creepy Eldritch, whatever.
So this guy who represents some people who may be may or not be affiliated with Marvel movies likes our stuff. He was like, Hey let me be a friend of the show. Let me. Let me, if you get any deals running by me, if I have time, I’ll look at them. I’m like, oh, awesome. So we stayed in touch with that person and with our agent, Charlie Ferraro, who’s our agent.
I can say that. Then we got flown out to the west coast to talk to a couple of studios and met Charlie in person for the first time. He offered to officially represent us. Now we work with him in a United talent out of LA. So we’ve had this agent who was brokering helping broker some deals that we ended up walking away from.
We, people kept offering us like, Hey, you guys do a great podcast. Let’s do a movie. We’ll be on Hulu, but no, that’s not what we wrote. Can we republish? Can we publish your transcripts? We can do a coffee table book. That would be cool, but I don’t think we’re really big enough for people don’t want to, but we just want to make a podcast, and we kept saying,
Cam Collins: we’re making the podcast
Steve Shell: to do this. Full-time for our jobs. Find me somebody who will give me that money. Ha. And and so they went and talked to us, a production company who we were very close with, but ended up not head. We ended up not doing it because they were like, cool, we’ll do this.
And we’ll maybe we’ll do some TV or film up the road. But then what happened was our Patrion and our thread lists and all the things that our family supports buying Mertz from us, pledging money and subscribing, all of a sudden somebody was giving us the money to do this full time. And it was the fans.
It was the people. Yeah. It was the people we were making it for the wa the Volks. We did want talk to that. The discussion was not on the table unless I had 100% content, creative control, nobody wrote on the show unless I said so. And nobody took anything out of the show, unless I say it. So that was pending to like common sense decency.
Like I wasn’t going to do ill like necrophilia porn stories I wasn’t the only thing to do.
Big John Isner: You’re like, please
Cam Collins: don’t get us food or something.
Steve Shell: There you go. J Simpson comes up. Then those are going to happen. No, we’re not going to deal with living properties, like it’s just not, but yeah, so there’s common sense. So that was on the table. But it just came down to our fans. I guess I can say this. Our fans were, our fans made it more worth our while to stay Indy and and work with the money we’re making on Patrion and try and limit.
Let me anybody who’s listened to this and we’ll promote this too, but anybody who’s a thank you. Anybody who PayPal does money who bought t-shirts. Who pledge on Patrion, like cam lost her job in COVID. We refer to our beloved friend, Heather as sister Heather out in Virginia Beach. Who’s a dear friend of mine who who like one of the, probably one of the best people in my life who deal Hells mail at our Patrion packages manage their Patrion database and that kind of stuff.
She got fired for her work, from the home copywriting job that she had. And I put this out on the show and said Hey guys, Toms are hard. This is what’s going on. We expected the Patrion to wither and wilt during COVID because people, we understood it have tripled. I’m not like like we have we’re creeping up on 1600 patrons.
Cam Collins: We are set when you’re so
Steve Shell: grateful, I’ve stepped away from teaching for the first time in 16 years to budget out and make this my full-time gig.
And my goal is for cam not to have to do anything either Camso digital developer and does amazing web work. If you need any work, Amelia digital hook her up. But my goal was for her to be laughing on a giant treasure chest of Appalachian money. And I’m kidding. I, our goal is to be, is to basically be full-time creative.
Yeah. And I’m getting
Cam Collins: like to be
Big John Isner: full-time. Yeah that may be the first time somebody said Appalachian
Steve Shell: money. Yes, it’s true. I almost had a gut full of coal, but that will just kill you. We get into season two. I here’s a little season. Two did a bit for you. We talked about it a little bit here and there.
We, we started playing around with if we wanted to have Cole be something like some magical substance or have something to it. When we were from, we very first started brainstorming. We looked at. One of the things we looked at were maps of coal fields, where the coal falls in Appalachia. And I challenged, I pull up your Google right now and Google map of the Cote map of Appalachian coal fields.
And tell me that doesn’t look like the shadow of something. If you were to ultrasound the earth and you saw this hulking form tapering down across we started talking about what coal is, the fact that it’s compressed carbon, that it’s basically, it’s literally life that has been compressed and squeezed under the earth until it is flammable.
And it is something that can be burned for the light and heat. It is also dead organic material. So it is life. Death. Light. It is heat, but it produces a, and you use it to burn for light to push the darkness away, but it generates smoke and pollution that draws the darkness ever closer.
That’s what coal is. It’s like time compressed into a physical thing. You can tell. And it will kill you because that’s what time does. So that’s going to be a meditation and some stuff that comes out in season two and throughout the course of this of the series. So that it always joke about my dad was a diesel mechanic.
He didn’t work in the mines who worked on top of them and on the
Big John Isner: strip jobs, I want to thank you guys for coming on. It’s it’s been a huge pleasure and a really big honor to have you guys on where can cause some of our listeners may not have heard your stuff before. Maybe you’ve dabbled in it.
Where can people find more information about you? Where can they look.
Steve Shell: Www.oldgodsofappalachia.com. Just spelled, just like it sounds, you can find the show on every podcast platform, Spotify, Google Stitcher, apple podcasts, SoundCloud. Yeah. If it’s a place that has podcasts, we’re not on Pandora.
Someone asked us we were on Pandora and I thought that I don’t know why it felt like a thing to do. I felt it felt insulting but now Spotify is where a lot of people find this is super easy there. The website if you want to back us on Patrion, if you want if you love it and you find it, patrion.com/old gods of Appalachia, if you want to see our dope merchandise.
A lot of which is fan art. I’m a graphic designer, so is cam, but our best shirts are designed by people who drew them for the community. And we paid them good, hard Appalachian money for them. We all, we believe in paying fan artists. People got really squeaked out when they saw our Threadless. There, it looks like there’s a lot of art theft because everything’s in different styles.
I’m like, Nope, look at the description. There’s a tag to the author and you can ask them, they have been paid real money for their artwork. And that’s at old gods of appalachia.threadless.com. But that, yeah, you can find us anywhere and everywhere. And yeah, but thank you all for having us. Oh yeah. Oh, sorry.
Yeah. Okay. So yeah, we do this thing on the show, complete your social media ritual facebook.com. We have a group called the fellowship hall and that’s a fan group where people post music and are, and talk about the show. There’s a discord server. That’s linked off of the website.
We’re on Twitter at old gods, Paul. Instagram at old dogs of Appalachia. Yeah, we’re out there. You can find us. We’re we’re incessant and we are inevitable
Cam Collins: linked on our website too. So we’re easy.
Chuck Corra: Awesome. Thank you all so much for coming on the show and sharing your stories with us.