Appalachian Figures Series – The Story of Hugh X. Lewis of Leslie, Kentucky
In September 1964, Billboard printed a photograph from Nashville that captured a turning point in the life of a Kentucky coal miner turned songwriter. Veteran record executive Paul Cohen sat beside Hugh Lewis, going over the details of a new contract with Kapp Records. The caption already described Lewis as one of Cedarwood Publishing Company’s important songwriters, a man whose songs had been recorded by Stonewall Jackson and Carl Smith.
Only a few years earlier, Lewis had still been connected closely to the coalfields of southeastern Kentucky, working in the mines around Lynch while chasing radio appearances and talent contests whenever he could get away. Before Kapp Records, syndicated television, Printer’s Alley, and Nashville honors, there had even been a small Kentucky record called “Bloody Harlan.”
That journey from Yeaddiss in Leslie County through the mines of Harlan County and into the center of the Nashville music business makes Hugh X. Lewis more than another name in a country music discography. His career followed one of the great Appalachian migrations of the twentieth century, but Lewis never entirely left the mountains behind. Kentucky kept appearing in his music, in his charitable work, and eventually in the radio program that carried his voice back into the same eastern Kentucky counties where his story had begun.
From Yeaddiss to the Lynch Mines
Hubert Bradley Lewis was born on Christmas Day, December 25, 1930, at Yeaddiss in Leslie County, Kentucky. The strongest surviving biographical sources agree on that date and place, including his family obituary and the Nashville Musicians Association, where Lewis was a life member. Some older reference works and discographies give 1932 instead, but until an original Kentucky birth record establishes otherwise, the evidence is considerably stronger for 1930.
Lewis grew up farther south in the Cumberland area of Harlan County, where the coal industry shaped nearly every part of community life. The Nashville Musicians Association later recorded that he learned guitar while young, began writing songs as a teenager, and spent about ten years working in the U.S. Steel coal mines at Lynch.
Lynch was no ordinary mining town. Built by the U.S. Coal and Coke Company, a subsidiary of U.S. Steel, it had once been one of the largest company-owned coal towns in the country. By the time Lewis was working underground, generations of eastern Kentuckians had learned the dangerous rhythm of mine shifts, company life, and the uncertainty that followed every downturn in coal.
Music provided Lewis with another possibility.
According to later accounts from the musicians union and Nashville historian Robert K. Oermann, Lewis spent weekends traveling to performances while still making his living in the mines. He appeared on regional radio and television, entered talent competitions, and gradually made his name beyond Harlan County. A win connected with WLW in Cincinnati helped lead to appearances at the Renfro Valley Barn Dance. He also found opportunities in Knoxville, Johnson City, and Huntington, West Virginia, including the Saturday Night Jamboree associated with WSAZ.
Those appearances belonged to an older Appalachian entertainment network that existed before Nashville television and national country tours became dominant. A singer from southeastern Kentucky could travel from a coal camp to a radio station, appear at a barn dance, win a talent contest, and slowly build a reputation town by town.
Lewis did exactly that.
“Bloody Harlan” and the Records Before Nashville
The surviving record evidence pushes Hugh Lewis’s recording career back to 1960, several years before his better-known work for Kapp Records.
Fern Records, an independent Kentucky label based in Ashland, issued Hugh Lewis on Fern 802 with “Bloody Harlan” backed by “Two of a Kind.” RITE custom pressing records identify the disc with matrix numbers 3909 and 3910, while surviving label and discographical evidence places it firmly in Kentucky’s small independent recording scene of 1960.
The title alone makes the record important to Lewis’s Appalachian story. “Bloody Harlan” was already a loaded phrase in eastern Kentucky, associated with Harlan County’s long history of coal conflict and labor violence. Without a full contemporary account explaining Lewis’s intention, it would be unwise to assume exactly what story he meant to tell. What can be said is that one of the earliest surviving records of the future Nashville songwriter carried the name of the coal county where he had lived and worked.
Fern released more Hugh Lewis material. Fern 803 paired “Rockin Moon Men” with “Daddy Frog,” and Fern 805 paired “Bingo” with “Nothing But Time.” The records are easy to overlook because they came from a small regional label and appeared before he began consistently using “Hugh X. Lewis” professionally.
Taken together, however, they change the beginning of his story. Lewis did not simply arrive in Nashville and become a country singer. He had already been making records in Kentucky while his life was still tied to the Appalachian coalfields.
The Song That Opened Nashville
The song that transformed Lewis’s career was not one he first made famous himself.
Jim Denny, the influential Nashville executive associated with Cedarwood Publishing and the Grand Ole Opry, heard Lewis’s material and signed him as a songwriter. One song in particular found its way to Grand Ole Opry star Stonewall Jackson.
“B.J. the D.J.” was released by Jackson late in 1963. In early 1964 it climbed to No. 1 on Billboard’s country chart.
For Lewis, that hit changed what was possible.
The song’s success gave him standing in a Nashville business that could be difficult for an unknown writer to enter. Stonewall Jackson would return repeatedly to Lewis’s catalog, eventually recording a substantial number of his compositions. Lewis also supplied songs to Carl Smith, and other performers soon followed.
One surviving Billboard item captures how quickly things were moving. In its September 19, 1964 issue, the magazine showed Kapp executive Paul Cohen reviewing Lewis’s new recording contract and identified Lewis as a Cedarwood tunesmith responsible for “B.J. the D.J.” and Carl Smith’s “Take My Ring Off Your Finger.” The caption added that Lewis had just completed his first Kapp recording session.
There is a slight disagreement in later sources about exactly when Lewis permanently relocated to Nashville. MusicRow and the Nashville Musicians Association place his transition in 1963, while his family obituary gives 1964. The union provides one firm date: Lewis formally joined Nashville’s American Federation of Musicians Local 257 on September 24, 1964.
The safest way to understand the move is therefore as a transition during 1963 and 1964. Lewis first established himself professionally through songwriting, then brought his family into a life increasingly centered on Nashville.
Hugh X. Lewis Becomes a Recording Artist
Kapp Records gave Lewis the chance to stand in front of the microphone with his own name on the label.
His first Kapp single paired “What I Need Most” with “Too Late.” More records followed through the middle and late 1960s, among them “I’d Better Call the Law on Me,” “I’m Losing You,” “Wish Me a Rainbow,” “You’re So Cold,” “Wrong Side of the World,” “Evolution and the Bible,” “Country Music Fever,” and “All Heaven Broke Loose.”
Contemporary charts allow parts of that career to be followed week by week. On July 1, 1967, Billboard listed “You’re So Cold,” Kapp 830, entering its country survey at No. 72. A week later it had advanced to No. 70. Cash Box later documented “Wrong Side of the World,” while “Evolution and the Bible” received country chart attention in 1968 and also appeared on Canada’s RPM survey.
By May 1969, Billboard was reporting that Kapp’s country business was increasing and specifically named Lewis’s “All Heaven Broke Loose” among the records helping the label. The song became one of his more successful Canadian releases.
Lewis also built a substantial album catalog. Kapp issued The Hugh X. Lewis Album, Just Before Dawn, My Kind of Country, the gospel-oriented Just a Prayer Away, and Country Fever. His records moved between drinking songs, heartbreak, humor, religion, and the plainspoken narratives that had long defined commercial country music.
The paper trail extends beyond record labels. The federal Catalog of Copyright Entries for 1968, for example, includes a registration for “Bed of Roses,” with words and music credited to Hugh X. Lewis. Such copyright records are valuable because they document Lewis not merely as a performer but as a working professional writer whose compositions were being formally registered.
By the end of the decade, he had also appeared in country music films including Forty Acre Feud, Gold Guitar, and Cotton Pickin’ Chicken Pickers. Yet the next stage of his career would put him before a much larger audience than a record shop or theater could provide.
The Hugh X. Lewis Country Club Goes on Television
By 1970, country music television was becoming increasingly important, particularly through syndicated programs that could be sold to local stations far beyond Nashville.
Lewis entered that world with The Hugh X. Lewis Country Club.
Contemporary trade reports provide a clearer picture of the program than some later recollections. In November 1970, Cash Box reported that Lewis’s first GRT release, “Blues Sells a Lot of Booze,” was arriving as plans were being made to place his new syndicated television show in more than one hundred markets.
On January 23, 1971, Billboard supplied more detail. The thirty-minute program was being produced in Nashville with the Heil-Quaker Corporation and had already been placed in thirty-one television markets since mid-December. The goal was approximately one hundred markets as additional stations cleared time for it.
Lewis served as both host and performer. Guests included Peggy Little, Dave Dudley, Tom T. Hall, Carl Smith, Wilma Burgess, Webb Pierce, and other familiar country performers. The show was filmed at WSIX-TV in Nashville and built around the atmosphere of an informal nightclub, allowing visiting artists to perform and talk with Lewis rather than simply move through a conventional stage show.
The syndication was not merely a Nashville publicity announcement. Local television schedules show that the program really did travel. In June 1971, The Daily Sun in Texas City, Texas, listed The Hugh X. Lewis Country Club in the Saturday television schedule on Channel 39. For a singer whose career had been built through regional barn dances and radio stations, reaching living rooms hundreds of miles from Nashville marked a remarkable change in scale.
The show also crossed over into Lewis’s recording career. GRT released an album titled The Hugh X. Lewis Country Club, while the title of the program increasingly became associated with Lewis himself.
Before long, the imaginary television nightclub became a real one.
Printer’s Alley Gets a Hugh X. Lewis Country Club
In February 1972, Billboard reported that a Hugh X. Lewis Country Club had opened in Nashville’s Printer’s Alley.
The one-hundred-seat room had previously been known as the Western Room of the Embers. The television program had helped inspire the idea. Lewis planned to perform nightly during the club’s opening month and afterward spend at least two weeks of each month there when he was not touring.
The arrangement blurred the boundaries between television, live entertainment, and Nashville tourism. On television, viewers had watched famous country singers drop into Lewis’s fictionalized Country Club. Now visitors to Printer’s Alley could walk into a real Hugh X. Lewis Country Club and find its namesake onstage.
For a former miner from southeastern Kentucky, it represented a considerable distance traveled, at least geographically. Yet one of the most revealing episodes from this period shows that Lewis’s connection to Leslie County had not disappeared.
When Nashville Turned Toward Hyden
On December 30, 1970, disaster struck close to Lewis’s birthplace.
An explosion at the Hurricane Creek mine near Hyden killed thirty-eight miners. Contemporary Cash Box reporting described thirty-four widows and 104 children left behind by what became one of the worst mining disasters in Kentucky history.
Country music responded quickly. Loretta Lynn, herself a coal miner’s daughter from eastern Kentucky, helped organize a massive benefit in Louisville. The March 1, 1971 program brought together an extraordinary collection of Nashville performers to raise money for the miners’ families and their children.
The Congressional Record preserves the result.
On March 24, 1971, Kentucky Congressman Tim Lee Carter placed an account of the benefit into the official record. He reported that gifts had exceeded $270,000, with additional assistance pledged, while Kentucky colleges offered educational help to the miners’ children.
The Congressional Record also preserved the names of the entertainers who participated.
Among Roy Acuff, Loretta Lynn, Conway Twitty, Bill Monroe, the Osborne Brothers, Tom T. Hall, Webb Pierce, Del Reeves, Jim Ed Brown, Connie Smith, and many others appears the name Hugh X. Lewis.
For Lewis, this was not an abstract Kentucky charity. The disaster had happened at Hyden in Leslie County, close to the mountain country where he had been born. He had spent years working underground himself in neighboring Harlan County. A decade after recording “Bloody Harlan,” and only weeks after his television career began spreading across the country, Lewis joined other performers in raising money for the families of dead Kentucky miners.
It is one of the strongest reminders that Nashville success never completely severed his Appalachian ties.
Music City’s International Ambassador of Goodwill
Only weeks after the Hyden benefit, Lewis received another unusual distinction.
The April 17, 1971 issue of Cash Box reported that Nashville Mayor Beverly Briley had made a surprise appearance during the taping of The Hugh X. Lewis Country Club. On camera, Briley proclaimed Lewis “Music City U.S.A.’s International Ambassador of Goodwill” and presented him with an official ambassador medallion.
The trade magazine reported that only eleven other people had received the distinction since Nashville’s metropolitan government was created in 1963.
Later accounts sometimes shorten or alter the wording of the honor, but the contemporary Cash Box report is particularly valuable because it records the presentation almost as it happened. Decades later, when Tennessee legislators summarized Lewis’s career, they also looked back to the 1971 appointment as one of his major achievements.
It fit the public role Lewis was developing. He was no longer simply writing songs for other singers or putting out records of his own. Television had made him a host and personality whose job depended as much on conversation and storytelling as singing.
Those skills would become even more important in the second half of his life.
From Country Songs to Christian Country Poetry
Lewis remained involved with music for years, recording for labels beyond Kapp and continuing to write, perform, and travel. By the 1980s, however, he began stepping away from the pace of his earlier career.
He eventually returned with a stronger emphasis on gospel music, Christian country, humor, storytelling, and poetry. Under the persona “Country Ham, Colonel Hugh X. Lewis,” he recorded new material, established the Kingdom Come label, and became known for reciting inspirational poems on Christian radio.
The evolution was not as great a departure as it might first appear. Religious material had been part of his recording career decades earlier. His 1968 Kapp album Just a Prayer Away included familiar sacred music alongside his own material, including “Evolution and the Bible.”
By the 2000s, however, poetry had become central to his public identity.
In 2006 the Tennessee General Assembly put that identity into law. Senate Joint Resolution 527 described Lewis as a BMI award-winning songwriter and performer whose country and Christian country compositions had been recorded by artists including Charley Pride, Little Jimmy Dickens, Del Reeves, Jim Ed Brown, Stonewall Jackson, Carl Smith, and Kitty Wells. It credited him with more than 250 songs and more than 250 poems and noted his appearances on the Grand Ole Opry, Renfro Valley Barn Dance, Tennessee Barn Dance, and Louisiana Hayride.
The resolution also described his daily poetry feature on the Gospel Radio Network.
The General Assembly then formally designated Colonel Hugh X. Lewis as the “Poet Laureate of Christian Country Music in Tennessee.”
It was an unusual title for an unusual career. The boy who had started writing songs in the Kentucky mountains had become, in the eyes of Tennessee lawmakers, a representative voice for an entire form of Christian country expression.
Bringing the Stories Back to Eastern Kentucky
Late in Lewis’s life, the path that had carried him outward from Appalachia began to circle home.
By 2018, the Baptist & Reflector was reporting that Lewis was hosting the Christian Country Music Story through WSGS-FM in Hazard. The station’s signal covered the Kentucky mountains, including Leslie County.
Lewis introduced traditional country performers singing hymns and sacred songs, told stories about the artists he had known during decades in the music business, discussed the origins of songs, and recited his own inspirational poetry.
There was something fitting about the arrangement. A man who had once traveled away from Cumberland and Lynch to find distant radio microphones was now using radio to send his voice back across the ridges of eastern Kentucky.
The homecoming became still more literal in 2019.
That May, Lewis appeared at a “Local Treasures” program at the Kentucky School of Bluegrass and Traditional Music in Hyden. The program honored Lewis alongside bluegrass legend Bobby Osborne and Leslie County firefighters. Both musicians had roots in the county, and trees were planted in a Hyden park in their honor.
More than half a century had passed since Hugh Lewis had left the Kentucky coalfields for the Nashville music business. Now Leslie County was recognizing him as one of its own.
The Last Years of Hugh X. Lewis
Lewis continued writing and sharing music well into old age. The Nashville Musicians Association remembered him as a life member, a songwriter, musician, actor, broadcaster, poet, and personality whose professional life had stretched across more than half a century.
He died on December 29, 2020, only four days after his ninetieth birthday.
His family obituary remembered a husband of sixty-nine years, a father and grandfather, and a man whose career had carried him from the mines of Kentucky to Nashville. The Nashville Musicians Association remembered the songwriter who had joined its ranks in 1964. Music historians remembered “B.J. the D.J.,” the Kapp records, television, and Printer’s Alley. Christian publications remembered the poet who had spent his later years trying to keep traditional gospel and Christian country music on the air.
Leslie County had another way to remember him.
He was the boy from Yeaddiss who left the mountains, but never quite stopped talking and singing about the world that had produced him.
Why Hugh X. Lewis Matters
Hugh X. Lewis’s story belongs to Appalachian history because it reaches beyond the familiar outline of a country music success story.
He was born in Leslie County, grew up around Cumberland, and spent years working in the Lynch coal mines. His earliest surviving Kentucky records include one called “Bloody Harlan.” When Stonewall Jackson carried one of his songs to No. 1, Lewis followed the opportunity to Nashville and became a professional songwriter, recording artist, television host, club performer, actor, broadcaster, and poet.
Yet some of the most revealing moments of his career point back toward Kentucky.
When thirty-eight miners died near Hyden, Lewis appeared at the benefit for their families. When he reached his later years, his voice returned to eastern Kentucky through WSGS in Hazard. When Leslie County honored its “Local Treasures,” Lewis came back to Hyden and stood beside another mountain musician, Bobby Osborne.
The surviving records also show why local history benefits from looking beyond obituaries. A Fern 45 from 1960 places Lewis in Kentucky’s independent recording scene. A 1964 Billboard photograph catches him signing with Kapp. Country charts trace his singles as they moved through radio. Television listings in Texas prove that his syndicated show reached viewers far from Nashville. Cash Box records the moment Mayor Beverly Briley handed him an ambassador’s medallion. The Congressional Record places him among the performers who responded after the Hyden mine disaster. Tennessee’s legislative record preserves the title he carried late in life.
Put together, those pieces tell a much larger story than the simple phrase “country singer from Kentucky.”
Hugh X. Lewis belonged to the generation of Appalachian performers who carried mountain experiences into the expanding postwar country music industry, learning how to move from coal camps and barn dances into publishing houses, record companies, television studios, and national syndication without entirely abandoning the places that formed them.
His career began close to the coalfields and, in a way, ended there too, with his stories and songs traveling across the mountains on a Sunday radio signal.
Sources & Further Reading
Tennessee General Assembly. Senate Joint Resolution 527. 104th General Assembly, 2006. https://www.capitol.tn.gov/Bills/104/Bill/SJR0527.pdf
Tennessee General Assembly, House of Representatives. House Journal, 104th General Assembly, 2006 Session. Proceedings concerning SJR 527. https://wapp.capitol.tn.gov/apps/publications/journal.aspx?GA=104&chamber=H
Billboard. September 19, 1964. Contemporary photograph and notice concerning Hugh X. Lewis, Paul Cohen, Cedarwood Publishing, and Lewis’s Kapp Records contract. https://www.worldradiohistory.com/Archive-All-Music/Billboard/60s/1964/Billboard%201964-09-19.pdf
Billboard. July 1, 1967. “Hot Country Singles,” including Hugh X. Lewis’s “You’re So Cold,” Kapp 830. https://www.worldradiohistory.com/Archive-All-Music/Billboard/60s/1967/Billboard%201967-07-01.pdf
Billboard. June 29, 1968. Contemporary coverage of WROL program director Phil Rainey and Kapp recording artist Hugh X. Lewis. https://www.worldradiohistory.com/Archive-All-Music/Billboard/60s/1968/Billboard%201968-06-29.pdf
RPM. May 11, 1968. Country chart listing for Hugh X. Lewis’s “Evolution & the Bible,” Kapp 895. https://www.worldradiohistory.com/Archive-All-Music/RPM/60s/1968/RPM-1968-05-11.pdf
Billboard. April 26, 1969. Contemporary trade listing for Hugh X. Lewis’s “All Heaven Broke Loose,” Kapp 978. https://www.worldradiohistory.com/Archive-All-Music/Billboard/60s/1969/Billboard%201969-04-26.pdf
Cash Box. November 7, 1970. “Country Roundup.” Coverage of Lewis’s first GRT release, “Blues Sells a Lot of Booze,” and plans for his syndicated television program. https://www.worldradiohistory.com/Archive-All-Music/Cash-Box/70s/1970/CB-1970-11-07.pdf
Record World. November 28, 1970. Country singles chart listing “Blues Sells a Lot of Booze” by Hugh X. Lewis. https://www.worldradiohistory.com/Archive-All-Music/Record-World/70s/70/RW-1970-11-28.pdf
Cash Box. December 5, 1970. “Country Roundup.” Reports Lewis resuming taping of The Hugh X. Lewis Country Club, with Heil-Quaker and General Electric as sponsors. https://www.worldradiohistory.com/Archive-All-Music/Cash-Box/70s/1970/CB-1970-12-05.pdf
Billboard. “Hugh Lewis Show Set for 100 Marts.” January 23, 1971. https://www.worldradiohistory.com/Archive-All-Music/Billboard/70s/1971/Billboard%201971-01-23.pdf
United States Congress. Congressional Record. 92nd Cong., 1st sess., March 24, 1971. Remarks concerning the Loretta Lynn benefit following the Hyden mine disaster and listing Hugh X. Lewis among the entertainers. https://www.congress.gov/92/crecb/1971/03/24/GPO-CRECB-1971-pt6-6-3.pdf
Cash Box. April 17, 1971. Coverage of Nashville Mayor Beverly Briley naming Hugh X. Lewis Music City U.S.A.’s International Ambassador of Goodwill. https://www.worldradiohistory.com/Archive-All-Music/Cash-Box/Cash-Box/70s/1971/Cash-Box-1971-04-17.pdf
Cash Box. May 22, 1971. “Country Roundup.” Coverage of Lewis’s automobile accident and syndicated television program. https://www.worldradiohistory.com/Archive-All-Music/Cash-Box/Cash-Box/70s/1971/Cash-Box-1971-05-22.pdf
Billboard. “Television Success Prompts Hugh X. Lewis Club Debut.” February 12, 1972. https://www.worldradiohistory.com/Archive-All-Music/Billboard/70s/1972/BB-1972-02-12.pdf
Cash Box. February 17, 1973. Academy of Country and Western Music award nominations, including the Hugh X. Lewis Country Club. https://www.worldradiohistory.com/Archive-All-Music/Cash-Box/70s/1973/Cash-Box-1973-02-17.pdf
Billboard. October 20, 1973. Contemporary listing for Hugh X. Lewis’s “Heaven, Hell or Houston,” Fantasy 707. https://www.worldradiohistory.com/Archive-All-Music/Billboard/70s/1973/Billboard%201973-10-20.pdf
Library of Congress, Copyright Office. Catalog of Copyright Entries. Fourth Series. Washington, DC: Copyright Office, 1968. https://books.google.com/books?id=jX1xG8bOS0UC
Library of Congress, Recorded Sound Research Center. Jim McCoy Collection: Finding Aid. National Audio-Visual Conservation Center. https://tile.loc.gov/storage-services/service/gdc/gdcfindingaidpdfs/rs024008/rs024008.pdf
45cat. “Hugh Lewis Discography.” Accessed August 24, 2026. https://www.45cat.com/artist/hugh-lewis
45cat. “Fern [Kentucky] Label Discography.” Accessed August 24, 2026. https://www.45cat.com/label/fern
45cat. “Hugh X. Lewis Discography.” Accessed August 24, 2026. https://www.45cat.com/artist/hugh-x-lewis
Nashville Musicians Association. “Hubert Bradley Lewis (Hugh X. Lewis), Dec. 25, 1930–Dec. 29, 2020.” The Nashville Musician, April–June 2021. https://cdnc.heyzine.com/files/uploaded/752f957b700906b9effafec2c7f7a042994aa176.pdf
Oermann, Robert K. “Country Entertainer Hugh X. Lewis Dies at Age 90.” MusicRow, January 19, 2021. https://musicrow.com/2021/01/country-entertainer-hugh-x-lewis-dies-at-age-90/
The Tennessean. “Hubert Bradley Lewis.” January 2021. Legacy.com. https://www.legacy.com/us/obituaries/tennessean/name/hubert-lewis-obituary?id=32369278
Wilkey, Lonnie. “Baptist Named Tenn. Poet Laureate of Christian Country Music.” Baptist Press, August 7, 2006. https://www.baptistpress.com/resource-library/news/baptist-named-tenn-poet-laureate-of-christian-country-music/
Baptist & Reflector. “Baptist Takes Christian Country Music to the Internet.” December 19, 2018. https://baptistandreflector.org/baptist-takes-christian-country-music-to-the-internet/
Baptist & Reflector. “‘B&R Ambassador’ Hugh X. Lewis Dies.” January 15, 2021. https://baptistandreflector.org/br-ambassador-hugh-x-lewis-dies/
Terrace, Vincent. The Complete Encyclopedia of Television: Series, Pilots and Specials, 1937–1973. Entry for “Country Club.” https://www.worldradiohistory.com/BOOKSHELF-ARH/Encyclopedias/Encyclopedia-of-Television-Series-Pilots-Specials-1937-73.pdf
Author Note: This article was built from contemporary music trade publications, government records, surviving record evidence, and later institutional biographies, with primary sources given preference when accounts disagree. If you have photographs, recordings, programs, or family material connected to Hugh X. Lewis’s years in Leslie or Harlan County, I would be glad to hear from you.