Word: wig
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Dates: during 1970-1979
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...still going strong. While only half of the graduates of the 240-pupil Rabun Gap school go on to college, all of Foxfire's full-time staffers do-about a dozen each year. "It's a refuge for the kids where adults take them seriously," says "Wig," as his students call him. Many are so excited by the magazine that they even work on weekends, interviewing their neighbors on such subjects as quilting, moonshining and faith healing. Says June Graduate Karen Cox: "I would have dropped out of school if it hadn't been for Wig...
Wild Turnips. That change is what has attracted the interest of teachers in other American subcultures, and Wig now travels far and wide to explain his methods. He has helped Puerto Rican youngsters in New York City to found the Fourth Street i, which records the street games, block news and recipes of the Lower East Side. He has encouraged Oglala Sioux children in Pine Ridge, S. Dak., to publish Hoyekiya (Sioux for "to find a voice"), which has printed stories on tribal culture, including the sun dance, herbal medicine and the tipsinna, an edible wild turnip...
...both Indians and Eskimos in Alaska. Unlike Foxfire's originators, who began with $400 raised from parents and friends, the other groups can obtain money and guidance from IDEAS, Inc., a Washington-based educational foundation that has hired Wigginton as its $425-a-month adviser. Wig has settled permanently in Rabun Gap, where he is building a log cabin home. Now 29, he summered in the town as a child with his father, who was a professor at the University of Georgia, then came back after graduating from Cornell...
...Chicano and black children and their teachers on problems as diverse as copyright forms and printing presses. Then they spoke about the serious purpose: "These old people have lived and learned the hard way; what you learn by living is the best education you can have," said Karen. Added Wig: "But there aren't many ways you can get a job if you yourself can't read and write...
Dead Space. Kaufman does not hesitate to preach what he practices, irking conventional architects. "Handsome details and elegant proportions are meaningless," he says. "No one notices them; they fade into the canyon walls." He therefore deprecates Manhattan's architectural landmarks-Lud-wig Mies van der Rohe's Seagram building and Eero Saarinen's CBS building, for example-calling them "gigantic sculptures that do nothing for the city. Look at their plazas. Dead spaces!" Their tragic flaw, he insists, is that the architects designed the ground floor to relate to the building rather than to the street, where...