Whitey and Hogan

Whitey and Hogan (Roy "Whitey" Grant born April 7, 1916 in Shelby, North Carolina - died September 17, 2010 in Charlotte, North Carolina and Arval Hogan born July 24, 1911 in Robbinsville, North Carolina - died September 12, 2003 in Charlotte) were an American country music duo active for sixty-six years.[1]

Whitey and Hogan
OriginNorth Carolina, United States
GenresOld time, Country
Years active1935–2001
LabelsDecca
Associated actsWBT Briarhoppers
Past membersWhitey Grant
Arval Hogan

Biography

Whitey and Hogan grew up in Rutherfordton and in Andrews, North Carolina respectively.[2] They met for the first time in 1935 when they were both employed at the Firestone Cotton Mill in Gastonia, North Carolina.[3] They began performing together as a duo,[4] Whitey played the guitar and Hogan played the mandolin.[2] Soon they were touring all over North and South Carolina and Georgia. Their debut on the radio took place at WSPA in Spartanburg, South Carolina. They called themselves the Spindle City Boys.[5] Sponsored by the Efird's Department Store, Whitey and Hogan received a radio spot at WGNC radio in Gastonia in 1939.[6] They also appeared on the Rustin Radio Show in Gastonia, the show was sponsored by Rustin Furniture.[7] In 1939, they recorded sixteen sides at their first session for Decca Records,[8] before moving to the Sonora and Deluxe labels.[7]

They joined the WBT Briarhoppers in 1941 performing at radio station WBT in Charlotte.[9] When Whitey and Hogan was asked to join the Grand Ole Opry they declined since the Opry required them to work on Saturdays and they didn't want to stay away from their families.[10] Whitey and Hogan existed as a duo between 1935 and 2001.[11] In 2003, Whitey and Hogan, along with Don White, as the only surviving former members of the Briarhoppers received the North Carolina Arts Council Folk Heritage Award.[12]

Discography

With The WBT Briarhoppers

  • Early Radio - Old Homestead Records
  • The Legendary WBT Briarhoppers

Footnotes
  1. "Whitey Grant Country Music Pioneer". That Nashville Sound.
  2. Huber 2008, pp. 289.
  3. Warlick, Warlick, Inman 2007, p. 55.
  4. Wolfe, Akenson 2005, p. 114.
  5. Warlick, Warlick, Inman 2007, p. 56.
  6. Warlick, Warlick, Inman 2007, p. 57.
  7. Warlick, Warlick, Inman 2007, p. 58.
  8. Huber 2008, p. 290.
  9. Warlick, Warlick, Inman 2007, p. 54.
  10. Roscigno, Danaher 2004, p. 53.
  11. Roscigno, Danaher 2004, p. 49.
  12. Jones 2008, p. 97.
gollark: I mean, the MiniLM thing Minoteaur prototypes use for semantic search is only 80MB on disk so probably about the same in RAM.
gollark: ddg! Bitter lesson (AI)
gollark: Most modern ones are because that's better though.
gollark: I wouldn't, they don't have to be vast behemoths requiring fancy GPUs.
gollark: I bet you could run very small neural networks of some sort.

References
  • Huber, Patrick (2008) Linthead Stomp: The Creation of Country Music In the Piedmont South, University of North Carolina Press
  • Jones, Loyal (2008) Country Music Humorists and Comedians, University of Illinois Press
  • Roscigno, Vincent J. - Danaher, William F. (2004) The Voice of Southern Labor: Radio, Music, and Textile Strikes, U of Minnesota Press
  • Warlick, Tom - Warlick, Lucy - Inman, Robert (2007) The WBT Briarhoppers: Eight Decades of A Bluegrass Band Made For Radio, McFarland
  • Wolfe, Charles K. (2005) James Edward Akenson, Country Music Goes To War, University Press of Kentucky
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