"AMERICAN FOLK MUSIC, BLUE GRASS AND COUNTRY" "PROUDLY CALL THE BLUE RIDGE MOUNTAINS HOME." "NOT ONLY A SPOT ON THE MAP, BUT AN EMOTIONAL TERRAIN AS WELL." "YOU MAY WONDER WHY ME," "AND WHY THE BANJO." "I'M NOT A BANJO PLAYER MYSELF," "BUT THE INSTRUMENT IS STILL CENTRAL" "TO MY OWN MUSICAL LINEAGE." "OF COURSE MY FATHER, JOHNNY CASH," "GREW UP HEARING THIS MUSIC IN ARKANSAS," "AND THEN MARRIED INTO THE CARTER FAMILY," "WHO GAVE BIRTH TO MODERN COUNTRY MUSIC." "TONIGHT'S FILM, "GIVE ME THE BANJO,"" "CELEBRATES THIS ART FORM IN ALL ITS SPLENDOR." "A COMBINATION OF TRADITIONAL CELTIC SONGS MELDED WITH AN AFRICAN SLAVE BANJO" "HAS CREATED A SOUND AND A MOOD BOTH FOOT POUNDING AND HEART WRENCHING," "AND HAS AN INFECTIOUSNESS AND A SPIRIT UNIQUELY AMERICAN." "OUR FILM TONIGHT IS PRESENTED BY STEVE MARTIN," "NO STRANGER HIMSELF TO THE LURES OF THE BANJO," "AND AN ACCOMPLISHED PLAYER." "PLUS, OF COURSE, SO MANY LEGENDS." "EARL SCRUGGS, PETE SEEGER, BELA FLECK AND MORE." "SO GET COMFY BECAUSE THERE'S GONNA BE A LOT OF TOE TAPPING MUSIC AHEAD." "ENJOY "GIVE ME THE BANJO,"." "THE SOUTHERN HUMANITIES MEDIA FUND." "507 INDIVIDUAL DONORS ON KICKSTARTER." "INNOVATIVE FILMS, INC." "THE TIDES FOUNDATION." "MASSACHUSETTS HUMANITIES..." "AND OTHERS." "A COMPLETE LIST IS AVAILABLE FROM PBS." "[APPLAUSE]" "TOOPENTHESHOWTONIGHT," "WE WOULD LIKE" "TO PLAY OUR FIRST SONG." "[ LAUGHTER ]" "SO, LET'S KICK IT OFF." "1, 2, 3, 4!" "ITHINKPEOPLE" "ARE CONTINUALLY TRANSFIXED" "BY THE FIVE-STRING BANJO," "IN SOME MYSTERIOUS WAY." "THE BANJO REALLY HAS A COMPLICATED AND CHECKERED PAST." "THEBANJOHASALWAYS" "COMPLICATED AND CHECKERED PAST." "THEBANJOHASALWAYS SYMBOLIZED SOMETHING OTHER" "THEBANJOHASALWAYS SYMBOLIZED SOMETHING OTHER THAN JUST MUSIC IN OUR CULTURE." "SYMBOLIZED SOMETHING OTHER THAN JUST MUSIC IN OUR CULTURE." "EVERY TIME YOU PICK UP A BANJO," "THAN JUST MUSIC IN OUR CULTURE." "EVERY TIME YOU PICK UP A BANJO, IT'S GOING TO SYMBOLIZE" "EVERY TIME YOU PICK UP A BANJO, IT'S GOING TO SYMBOLIZE WILD, RURAL, SIMPLE," "IT'S GOING TO SYMBOLIZE WILD, RURAL, SIMPLE, AND EVEN CLOWNISH." "WILD, RURAL, SIMPLE, AND EVEN CLOWNISH." "THEBANJO'SBEEN" "AND EVEN CLOWNISH." "THEBANJO'SBEEN AN EMBLEM OF AMERICAN CULTURE." "THEBANJO'SBEEN AN EMBLEM OF AMERICAN CULTURE." "IT'S BEEN A..." "AN EMBLEM OF AMERICAN CULTURE." "IT'S BEEN A..." "A STEREOTYPE" "IT'S BEEN A..." "A STEREOTYPE FROM ITS BEGINNING HERE." "A STEREOTYPE FROM ITS BEGINNING HERE." "ITWASAN AFRICANINSTRUMENT" "FROM ITS BEGINNING HERE." "ITWASAN AFRICANINSTRUMENT WHEN IT CAME HERE." "ITWASAN AFRICANINSTRUMENT WHEN IT CAME HERE." "IT BECAME AN AFRICAN-AMERICAN" "WHEN IT CAME HERE." "IT BECAME AN AFRICAN-AMERICAN INSTRUMENT HERE" "IT BECAME AN AFRICAN-AMERICAN INSTRUMENT HERE AND EVENTUALLY BEGAN" "INSTRUMENT HERE AND EVENTUALLY BEGAN BEING PLAYED" "AND EVENTUALLY BEGAN BEING PLAYED BY THE EUROPEAN-AMERICANS." "BEING PLAYED BY THE EUROPEAN-AMERICANS." "ONEOFTHEGREATDARK SECRETS" "BY THE EUROPEAN-AMERICANS." "ONEOFTHEGREATDARK SECRETS OF THE BANJO IS THAT" "ONEOFTHEGREATDARK SECRETS OF THE BANJO IS THAT IT REALLY IS" "OF THE BANJO IS THAT IT REALLY IS AN EMOTIONAL INSTRUMENT." ""GIVE ME THE BANJO!" WROTE MARK TWAIN IN 1865, "WHEN YOU WANT GENUINE MUSIC," "WROTE MARK TWAIN IN 1865, "WHEN YOU WANT GENUINE MUSIC, MUSIC THAT WILL COME RIGHT HOME" ""WHEN YOU WANT GENUINE MUSIC, MUSIC THAT WILL COME RIGHT HOME TO YOU," "MUSIC THAT WILL COME RIGHT HOME TO YOU, SUFFUSE YOUR SYSTEM" "TO YOU, SUFFUSE YOUR SYSTEM LIKE STRYCHNINE WHISKEY," "SUFFUSE YOUR SYSTEM LIKE STRYCHNINE WHISKEY, RAMIFY YOUR WHOLE CONSTITUTION" "LIKE STRYCHNINE WHISKEY, RAMIFY YOUR WHOLE CONSTITUTION LIKE THE MEASLES" "RAMIFY YOUR WHOLE CONSTITUTION LIKE THE MEASLES AND BREAK OUT ON YOUR HIDE" "LIKE THE MEASLES AND BREAK OUT ON YOUR HIDE LIKE PINFEATHER PIMPLES" "AND BREAK OUT ON YOUR HIDE LIKE PINFEATHER PIMPLES ON A PICKED GOOSE." "LIKE PINFEATHER PIMPLES ON A PICKED GOOSE." "WHEN YOU WANT ALL THIS," "ON A PICKED GOOSE." "WHEN YOU WANT ALL THIS, JUST SMASH YOUR PIANO" "WHEN YOU WANT ALL THIS, JUST SMASH YOUR PIANO AND INVOKE" "JUST SMASH YOUR PIANO AND INVOKE THE GLORY BEAMING BANJO!"" "[CHEERINGANDAPPLAUSE] [ BANJO PLAYING ]" "WE'REGONNAPLAYFOR FISH." "THAT'S RIGHT, WE'RE GONNA PLAY FOR THE HALIBUT (HELL-OF-IT)." "THAT'S RIGHT, WE'RE GONNA PLAY FOR THE HALIBUT (HELL-OF-IT)." "HERE'S AN OLD SONG" "FOR THE HALIBUT (HELL-OF-IT)." "HERE'S AN OLD SONG CALLED "CRIPPLE CREEK."" "ITWASGOODBEINGHERE , KNOWING THAT THERE ARE OTHER BLACK PEOPLE" "KNOWING THAT THERE ARE OTHER BLACK PEOPLE WHO PLAY BANJO," "PLAY AND STUDY OLD-TIME MUSIC." "AND IT'S FUN JUST SEEING" "PEOPLE IN GENERAL, I DON'T CARE" "WHAT COLOR THEY ARE," "TAKE AN INTEREST IN ANYTHING" "INVOLVING GOOD MUSIC." "¶GOIN'ON THERUN" "GOIN' UP T' CRIPPLE CREEK" "HAVE A LITTLE FUN ¶" "YOUKNOW," "IT'S A SMALL CLUB." "IF THERE'S A HUNDRED BLACK BANJO" "PLAYERS IN THE WORLD," "THAT'S A VERY SMALL MINORITY." "AND IT WAS FUN TO SEE" "TWO DOZEN OF THEM." "YOU KNOW, IT'S, OH," "I'M NOT ALONE!" "¶GOIN'ON THERUN" "GOIN' UP T' CRIPPLE CREEK" "HAVE A LITTLE FUN ¶" "Martin:" "AMERICANSHAVEBEEN REDISCOVERING AND REINVENTING THE BANJO AND ITS MUSIC" "REDISCOVERING AND REINVENTING THE BANJO AND ITS MUSIC FOR TWO CENTURIES OR MORE." "THE BANJO AND ITS MUSIC FOR TWO CENTURIES OR MORE." "IN 2005 AND AGAIN IN 2010," "FOR TWO CENTURIES OR MORE." "IN 2005 AND AGAIN IN 2010, MUSICIANS AND SCHOLARS CAME" "IN 2005 AND AGAIN IN 2010, MUSICIANS AND SCHOLARS CAME TO BOONE, NORTH CAROLINA," "MUSICIANS AND SCHOLARS CAME TO BOONE, NORTH CAROLINA, FOR THE BLACK BANJO GATHERING," "TO BOONE, NORTH CAROLINA, FOR THE BLACK BANJO GATHERING, TO CELEBRATE THE BANJO'S" "FOR THE BLACK BANJO GATHERING, TO CELEBRATE THE BANJO'S AFRICAN, CARIBBEAN," "TO CELEBRATE THE BANJO'S AFRICAN, CARIBBEAN, AND AFRICAN-AMERICAN ORIGINS." "FOR SOME, LIKE RHIANNON GIDDENS," "IT WAS A CHANCE TO RECLAIM" "A MUSICAL HERITAGE." "Giddens:" "ALLTHESEMUSICIANS" "ARE ALL HERE DOING THIS CONCERT" "BECAUSE THEY BELIEVE" "IN THE MISSION," "GETTING PEOPLE TO KNOW MORE" "ABOUT WHERE THIS INSTRUMENT" "COMES FROM, 'CAUSE THEY AIN'T" "HERE FOR THE MONEY." "THEY AIN'T HERE FOR THE GLORY." "ISTHATBETTER?" "OH,PLAYIT !" "Giddens:" "THERE'SSO MUCH HISTORY IN THIS MUSIC THAT IS" "Giddens:" "THERE'SSO MUCH HISTORY IN THIS MUSIC THAT IS NOT IN PUBLIC VIEW." "HISTORY IN THIS MUSIC THAT IS NOT IN PUBLIC VIEW." "THE GOOD STUFF" "NOT IN PUBLIC VIEW." "THE GOOD STUFF AND THE BAD STUFF." "THE GOOD STUFF AND THE BAD STUFF." "[ BLOWING KAZOO ]" "THE CULTURAL RICHNESS OF IT, THE HISTORICAL RICHNESS OF IT, AND THEN THE MUSIC ITSELF" "THE HISTORICAL RICHNESS OF IT, AND THEN THE MUSIC ITSELF FILLS A HOLE," "AND THEN THE MUSIC ITSELF FILLS A HOLE, AND IF WE CAN GET CLOSER" "FILLS A HOLE, AND IF WE CAN GET CLOSER TO FILLING THAT HOLE, YOU KNOW," "AND IF WE CAN GET CLOSER TO FILLING THAT HOLE, YOU KNOW, I THINK EVERYBODY IS" "TO FILLING THAT HOLE, YOU KNOW, I THINK EVERYBODY IS ENRICHED BY IT." "I THINK EVERYBODY IS ENRICHED BY IT." "¶DON'TGETTROUBLE" "ENRICHED BY IT." "¶DON'TGETTROUBLE IN YOUR MIND ¶" "¶DON'TGETTROUBLE IN YOUR MIND ¶ ¶ DON'T GET TROUBLE" "IN YOUR MIND ¶ ¶ DON'T GET TROUBLE IN YOUR MIND ¶" "¶ TROUBLE, TROUBLE TROUBLE IN MY MIND ¶ ¶ IF TROUBLE DON'T KILL ME" "TROUBLE IN MY MIND ¶ ¶ IF TROUBLE DON'T KILL ME I'M SURE I'LL LIVE FINE ¶" "¶ IF TROUBLE DON'T KILL ME I'M SURE I'LL LIVE FINE ¶ ¶ DON'T GET TROUBLE" "I'M SURE I'LL LIVE FINE ¶ ¶ DON'T GET TROUBLE IN YOUR MIND ¶" "¶ DON'T GET TROUBLE IN YOUR MIND ¶ ¶ DON'T GET TROUBLE" "IN YOUR MIND ¶ ¶ DON'T GET TROUBLE IN YOUR MIND ¶" "¶ DON'T GET TROUBLE IN YOUR MIND ¶ ¶ DON'T GET TROUBLE" "IN YOUR MIND ¶ ¶ DON'T GET TROUBLE IN YOUR MIND ¶" "¶ DON'T GET TROUBLE IN YOUR MIND ¶ ¶ DON'T GET TROUBLE" "IN YOUR MIND ¶ ¶ DON'T GET TROUBLE IN YOUR MIND ¶" "¶ DON'T GET TROUBLE IN YOUR MIND ¶ ¶ WEEER-EEER-EEER-EEER..." "[WINDINGSPRING]" "YOUCAN'TTALKABOUT THE HISTORY OF THE BANJO IF YOU CAN'T TALK ABOUT RACISM," "THE HISTORY OF THE BANJO IF YOU CAN'T TALK ABOUT RACISM, SLAVERY, MISOGYNY," "IF YOU CAN'T TALK ABOUT RACISM, SLAVERY, MISOGYNY, APPROPRIATION, EXPLOITATION " "SLAVERY, MISOGYNY, APPROPRIATION, EXPLOITATION -- ALL OF THE THINGS THAT RUN" "APPROPRIATION, EXPLOITATION -- ALL OF THE THINGS THAT RUN COUNTER TO WHAT WE LOVE" "ALL OF THE THINGS THAT RUN COUNTER TO WHAT WE LOVE ABOUT THE BANJO." "WE'RE AT A POINT IN OUR" "UNDERSTANDING OF THE HISTORY OF" "THIS INSTRUMENT THAT IT'S NO" "LONGER ACCEPTABLE TO PRETEND" "THESE OTHER THINGS DON'T EXIST." "[ORCHESTRAPLAYS]" "Malechorus:¶INTHEEVENING" "BY THE MOONLIGHT... ¶" "THEMINSTRELSTAGEWAS" "LIKE GOING TO THE MOVIES TODAY." "I MEAN, IT WAS THE MOST POPULAR" "FORM OF ENTERTAINMENT" "FROM ROUGHLY 1830 UNTIL" "THE END OF THE CENTURY" "THAN ANY OTHER ENTERTAINMENT" "IN THE WORLD." "BECAUSE IT WAS SO POPULAR, ALL OF THAT WAS A PART OF THIS CARICATURE" "ALL OF THAT WAS A PART OF THIS CARICATURE THAT BEGAN AS A REALISTIC WAY" "OF THIS CARICATURE THAT BEGAN AS A REALISTIC WAY OF TRYING TO UNDERSTAND" "THAT BEGAN AS A REALISTIC WAY OF TRYING TO UNDERSTAND THE BLACK COMMUNITY," "OF TRYING TO UNDERSTAND THE BLACK COMMUNITY, BUT SHORTLY," "THE BLACK COMMUNITY, BUT SHORTLY, BECAME A WAY OF DEGRADING" "BUT SHORTLY, BECAME A WAY OF DEGRADING AND BECAME A WAY OF TRIVIALIZING" "BECAME A WAY OF DEGRADING AND BECAME A WAY OF TRIVIALIZING THE AFRICAN-AMERICAN COMMUNITY." "AND BECAME A WAY OF TRIVIALIZING THE AFRICAN-AMERICAN COMMUNITY." "THE BANJO BECAME THE INSTRUMENT" "THE AFRICAN-AMERICAN COMMUNITY." "THE BANJO BECAME THE INSTRUMENT THAT WAS THE IMAGE" "THE BANJO BECAME THE INSTRUMENT THAT WAS THE IMAGE OF SLAVE LIFE." "IFYOUTAKEAN AFRICAN-AMERICAN INSTRUMENT, WITH ITS AFRICAN ROOTS," "AFRICAN-AMERICAN INSTRUMENT, WITH ITS AFRICAN ROOTS, AND YOU ADD TO IT" "WITH ITS AFRICAN ROOTS, AND YOU ADD TO IT THE CELTIC MUSICAL TRADITIONS" "AND YOU ADD TO IT THE CELTIC MUSICAL TRADITIONS AND WESTERN EUROPEAN" "THE CELTIC MUSICAL TRADITIONS AND WESTERN EUROPEAN MUSICAL TRADITIONS" "AND WESTERN EUROPEAN MUSICAL TRADITIONS THAT THESE WHITE PERFORMERS HAD," "MUSICAL TRADITIONS THAT THESE WHITE PERFORMERS HAD, WHAT YOU WIND UP WITH" "THAT THESE WHITE PERFORMERS HAD, WHAT YOU WIND UP WITH IS SOMETHING THAT'S TOTALLY NEW," "WHAT YOU WIND UP WITH IS SOMETHING THAT'S TOTALLY NEW, THAT COME TOGETHER" "IS SOMETHING THAT'S TOTALLY NEW, THAT COME TOGETHER FOR THE FIRST TIME AND MAKE" "THAT COME TOGETHER FOR THE FIRST TIME AND MAKE SOMETHING TRULY AMERICAN." "THE STAGE IS SET VERY SIMPLY" "WHEN WE SEE THE TWO CULTURES" "COMING TOGETHER." "IT DIDN'T TAKE ENTERTAINERS" "LONG TO FIGURE OUT, WOW, IF I GO" "OUT TO THE CIRCUS OR IF I GO" "DOWN TO MY LOCAL MUSIC PARLOR" "AND I PLAY THIS BANJO," "WHICH NO ONE'S EVER SEEN" "A WHITE MAN PLAY BEFORE," "AND I PLAY THIS MUSIC THAT NO" "ONE'S EVER HEARD BEFORE," "I WILL MAKE MONEY." "Martin:" "JOELWALKERSWEENEY" "BROUGHT THE BANJO TO CENTER" "STAGE OF AMERICAN CULTURE." "BORN IN APPOMATTOX, VIRGINIA," "AROUND 1810, SWEENEY FOUND" "HIS CALLING WHEN HE HEARD" "THE "HALF-BARBARIC TWANG"" "OF THE GOURD BANJO AS PLAYED BY" "HIS NEIGHBOR SLAVES." "FROM THEM HE LEARNED" "THE DOWNSTROKE STYLE" "AND HOW TO BUILD" "HIS OWN INSTRUMENT." "HE MADE A NAME FOR HIMSELF" "AS A BLACK-FACE" "SONG-AND-DANCE MAN IN THE CIRCUS" "AND THEN CAME TO NEW YORK'S" "BOWERY THEATERS" "WITH THE BANJO ON HIS KNEE." "IT'STHEFIRSTBIG BANG" "OF THE BANJO." "ALL THE GUYS WHO HAD BEEN" "DOING BLACK FACE" "ALL OF THE SUDDEN WANTED" "TO PLAY BANJO." "NEW YORK WAS NOT ONLY THE JUMPING-OFF PLACE, BUT IT WAS ALSO A PLACE" "THE JUMPING-OFF PLACE, BUT IT WAS ALSO A PLACE FOR ALL THESE ACTS" "BUT IT WAS ALSO A PLACE FOR ALL THESE ACTS TO INTERMINGLE AND MIX" "FOR ALL THESE ACTS TO INTERMINGLE AND MIX AND COMPETE AND STEAL MATERIAL" "TO INTERMINGLE AND MIX AND COMPETE AND STEAL MATERIAL FROM EACH OTHER." "AND COMPETE AND STEAL MATERIAL FROM EACH OTHER." "AND SO HE FELL RIGHT INTO THAT." "FROM EACH OTHER." "AND SO HE FELL RIGHT INTO THAT." "Martin:" "NEWYORKAUDIENCES" "AND SO HE FELL RIGHT INTO THAT." "Martin:" "NEWYORKAUDIENCES WERE ALREADY WELL-ACQUAINTED" "Martin:" "NEWYORKAUDIENCES WERE ALREADY WELL-ACQUAINTED WITH BLACK-FACE ENTERTAINERS." "WERE ALREADY WELL-ACQUAINTED WITH BLACK-FACE ENTERTAINERS." "BUT THE SEEMINGLY AUTHENTIC" "WITH BLACK-FACE ENTERTAINERS." "BUT THE SEEMINGLY AUTHENTIC PLANTATION SONGS" "BUT THE SEEMINGLY AUTHENTIC PLANTATION SONGS AND PLAYING STYLE MADE SWEENEY" "PLANTATION SONGS AND PLAYING STYLE MADE SWEENEY INTO ONE OF THE HOTTEST TICKETS" "AND PLAYING STYLE MADE SWEENEY INTO ONE OF THE HOTTEST TICKETS ON THE BOWERY STAGE." "INTO ONE OF THE HOTTEST TICKETS ON THE BOWERY STAGE." "FOLLOWING IN SWEENEY'S" "ON THE BOWERY STAGE." "FOLLOWING IN SWEENEY'S FOOTSTEPS, FOUR BLACK-FACE" "FOLLOWING IN SWEENEY'S FOOTSTEPS, FOUR BLACK-FACE PERFORMERS JOINED FORCES" "FOOTSTEPS, FOUR BLACK-FACE PERFORMERS JOINED FORCES IN A BOWERY BOARDINGHOUSE" "PERFORMERS JOINED FORCES IN A BOWERY BOARDINGHOUSE AND CALLED THEMSELVES" "IN A BOWERY BOARDINGHOUSE AND CALLED THEMSELVES THE VIRGINIA MINSTRELS." "AND CALLED THEMSELVES THE VIRGINIA MINSTRELS." "IN THE WINTER OF 1843," "THE VIRGINIA MINSTRELS." "IN THE WINTER OF 1843, THEY DEBUTED A NEW FORM" "IN THE WINTER OF 1843, THEY DEBUTED A NEW FORM OF POPULAR ENTERTAINMENT" "THEY DEBUTED A NEW FORM OF POPULAR ENTERTAINMENT THAT WOULD DOMINATE" "OF POPULAR ENTERTAINMENT THAT WOULD DOMINATE THE AMERICAN STAGE" "THAT WOULD DOMINATE THE AMERICAN STAGE FOR THE NEXT HALF CENTURY " "THE AMERICAN STAGE FOR THE NEXT HALF CENTURY -- THE FIRST FULL-LENGTH" "FOR THE NEXT HALF CENTURY -- THE FIRST FULL-LENGTH BLACK-FACE MINSTREL SHOW." "THE FIRST FULL-LENGTH BLACK-FACE MINSTREL SHOW." "BECAUSETHEBANJOCOMES" "BLACK-FACE MINSTREL SHOW." "BECAUSETHEBANJOCOMES INTO AMERICAN POPULAR MUSIC" "BECAUSETHEBANJOCOMES INTO AMERICAN POPULAR MUSIC IN THE PERIOD OF THE EARLY 1840s" "INTO AMERICAN POPULAR MUSIC IN THE PERIOD OF THE EARLY 1840s WITH PLAYERS LIKE" "IN THE PERIOD OF THE EARLY 1840s WITH PLAYERS LIKE DANIEL DECATUR EMMETT" "WITH PLAYERS LIKE DANIEL DECATUR EMMETT AND JOEL WALKER SWEENEY," "DANIEL DECATUR EMMETT AND JOEL WALKER SWEENEY, THEY WERE BOTH, WE COULD SAY," "AND JOEL WALKER SWEENEY, THEY WERE BOTH, WE COULD SAY, A VERY EARLY EXAMPLE" "THEY WERE BOTH, WE COULD SAY, A VERY EARLY EXAMPLE OF WHITE BOYS PLAYING THE BLUES." "JUST AS A CENTURY LATER," "ERIC CLAPTON OR JEFF BECK" "OR JIMMY PAGE IN BRITAIN" "LEARNED TO PLAY BLACK MUSIC" "FROM LISTENING TO RECORDINGS" "OF BLACK MUSICIANS," "JOE SWEENEY AND DAN EMMETT IN THE 1840s LEARNED TO PLAY THE BANJO FROM BLACK MODELS," "IN THE 1840s LEARNED TO PLAY THE BANJO FROM BLACK MODELS, FROM BLACK MUSICIANS." "THEMINSTRELSHOWWAS" "THE FIRST REAL STATEMENT ABOUT" "THE UNIQUENESS" "OF AMERICAN CULTURE." "WE WEREN'T IMPORTING" "SHAKESPEARE." "WE WEREN'T TRYING TO EMULATE" "EUROPEAN CULTURE." "WE WERE TRYING TO CREATE OUR OWN" "NATIONAL IDENTITY" "THROUGH THIS MUSIC," "AS DEBASED AS IT MIGHT BE, BUT AN ATTEMPT TO CREATE SOMETHING OF NATIONAL TYPES" "BUT AN ATTEMPT TO CREATE SOMETHING OF NATIONAL TYPES THAT QUINTESSENTIALLY" "SOMETHING OF NATIONAL TYPES THAT QUINTESSENTIALLY IDENTIFY US." "THAT QUINTESSENTIALLY IDENTIFY US." "Martin:" "BY1844," "IDENTIFY US." "Martin:" "BY1844, OVER TWO DOZEN MINSTREL" "Martin:" "BY1844, OVER TWO DOZEN MINSTREL COMPANIES WERE TOURING" "OVER TWO DOZEN MINSTREL COMPANIES WERE TOURING THROUGHOUT THE COUNTRY." "COMPANIES WERE TOURING THROUGHOUT THE COUNTRY." "MINSTREL TROUPES ON WAGON TRAINS" "THROUGHOUT THE COUNTRY." "MINSTREL TROUPES ON WAGON TRAINS AND SHIPS ENTERTAINED PEOPLE" "MINSTREL TROUPES ON WAGON TRAINS AND SHIPS ENTERTAINED PEOPLE TRAVELING TO CALIFORNIA" "AND SHIPS ENTERTAINED PEOPLE TRAVELING TO CALIFORNIA TO SEARCH FOR GOLD." "TRAVELING TO CALIFORNIA TO SEARCH FOR GOLD." "WHEREVER AMERICANS WENT," "TO SEARCH FOR GOLD." "WHEREVER AMERICANS WENT, SO DID THE MINSTREL SHOW," "WHEREVER AMERICANS WENT, SO DID THE MINSTREL SHOW, AND WITH IT, THE BANJO." "SO DID THE MINSTREL SHOW, AND WITH IT, THE BANJO." "THE MINSTREL SHOW TRANSFORMED" "AND WITH IT, THE BANJO." "THE MINSTREL SHOW TRANSFORMED THE BANJO" "THE MINSTREL SHOW TRANSFORMED THE BANJO FROM A BLACK FOLK INSTRUMENT" "THE BANJO FROM A BLACK FOLK INSTRUMENT INTO THE NEW MUST-HAVE ICON" "FROM A BLACK FOLK INSTRUMENT INTO THE NEW MUST-HAVE ICON OF POP CULTURE." "INTO THE NEW MUST-HAVE ICON OF POP CULTURE." "Wunderlich:" "BYTHE1840s," "OF POP CULTURE." "Wunderlich:" "BYTHE1840s, WE'RE BEGINNING TO SEE" "Wunderlich:" "BYTHE1840s, WE'RE BEGINNING TO SEE A TRANSFORMATION OF THE BANJO" "WE'RE BEGINNING TO SEE A TRANSFORMATION OF THE BANJO FROM A PURELY CRAFT," "A TRANSFORMATION OF THE BANJO FROM A PURELY CRAFT, HANDMADE INSTRUMENT" "FROM A PURELY CRAFT, HANDMADE INSTRUMENT BEING MADE BY THE PERFORMER," "HANDMADE INSTRUMENT BEING MADE BY THE PERFORMER, TO SOMETHING THAT'S NOW BEING" "BEING MADE BY THE PERFORMER, TO SOMETHING THAT'S NOW BEING MANUFACTURED IN MAJOR CITIES." "TO SOMETHING THAT'S NOW BEING MANUFACTURED IN MAJOR CITIES." "THE DISSEMINATION IS INCREDIBLE" "MANUFACTURED IN MAJOR CITIES." "THE DISSEMINATION IS INCREDIBLE AND VERY QUICK." "THE DISSEMINATION IS INCREDIBLE AND VERY QUICK." "IT ALMOST SEEMS, AS YOU GET" "AND VERY QUICK." "IT ALMOST SEEMS, AS YOU GET TOWARDS THE CIVIL WAR," "IT ALMOST SEEMS, AS YOU GET TOWARDS THE CIVIL WAR, THERE AREN'T ENOUGH" "TOWARDS THE CIVIL WAR, THERE AREN'T ENOUGH MANUFACTURERS" "THERE AREN'T ENOUGH MANUFACTURERS ABLE TO PRODUCE BANJOS" "MANUFACTURERS ABLE TO PRODUCE BANJOS TO MEET THE NEED." "ABLE TO PRODUCE BANJOS TO MEET THE NEED." "Martin:" "THEBITTERAND BLOODY" "TO MEET THE NEED." "Martin:" "THEBITTERAND BLOODY CIVIL WAR HAS BEEN CALLED" "Martin:" "THEBITTERAND BLOODY CIVIL WAR HAS BEEN CALLED THE MOST MUSICAL WAR" "CIVIL WAR HAS BEEN CALLED THE MOST MUSICAL WAR IN OUR HISTORY." "THE MOST MUSICAL WAR IN OUR HISTORY." "MINSTRELSY REMAINED EQUALLY" "IN OUR HISTORY." "MINSTRELSY REMAINED EQUALLY POPULAR ON BOTH SIDES" "MINSTRELSY REMAINED EQUALLY POPULAR ON BOTH SIDES OF THE MASON-DIXON LINE." "POPULAR ON BOTH SIDES OF THE MASON-DIXON LINE." "[ BAND PLAYING "DIXIE"" "OF THE MASON-DIXON LINE." "[ BAND PLAYING "DIXIE" ON OLD RECORDING ]" "[ BAND PLAYING "DIXIE" ON OLD RECORDING ] A YANKEE, DAN EMMETT," "ON OLD RECORDING ] A YANKEE, DAN EMMETT, AND HIS BLACK NEIGHBORS" "A YANKEE, DAN EMMETT, AND HIS BLACK NEIGHBORS FROM OHIO, THE SNOWDENS," "AND HIS BLACK NEIGHBORS FROM OHIO, THE SNOWDENS, PROVIDED THE UNOFFICIAL" "FROM OHIO, THE SNOWDENS, PROVIDED THE UNOFFICIAL CONFEDERATE ANTHEM." "PROVIDED THE UNOFFICIAL CONFEDERATE ANTHEM." "THE BANJO GAVE SOLACE" "CONFEDERATE ANTHEM." "THE BANJO GAVE SOLACE AND DIVERSION TO FOOT SOLDIERS," "THE BANJO GAVE SOLACE AND DIVERSION TO FOOT SOLDIERS, CIVILIANS AND GENERALS." "AND DIVERSION TO FOOT SOLDIERS, CIVILIANS AND GENERALS." "LINCOLN'S BODYGUARD PLAYED BANJO" "CIVILIANS AND GENERALS." "LINCOLN'S BODYGUARD PLAYED BANJO TO LIFT THE PRESIDENT'S SPIRITS." "LINCOLN'S BODYGUARD PLAYED BANJO TO LIFT THE PRESIDENT'S SPIRITS." "MINSTRELSY EMERGED FROM THE WAR" "TO LIFT THE PRESIDENT'S SPIRITS." "MINSTRELSY EMERGED FROM THE WAR AS A NATIONAL PHENOMENON." "MINSTRELSY EMERGED FROM THE WAR AS A NATIONAL PHENOMENON." "BUT IT WASN'T LONG BEFORE" "AS A NATIONAL PHENOMENON." "BUT IT WASN'T LONG BEFORE ENTREPRENEURS OF THE GILDED AGE" "BUT IT WASN'T LONG BEFORE ENTREPRENEURS OF THE GILDED AGE SAW THE VALUE IN ELEVATING" "ENTREPRENEURS OF THE GILDED AGE SAW THE VALUE IN ELEVATING THE BANJO'S IMAGE." "SAW THE VALUE IN ELEVATING THE BANJO'S IMAGE." "BANJO MAKERS LIKE A.C. FAIRBANKS" "THE BANJO'S IMAGE." "BANJO MAKERS LIKE A.C. FAIRBANKS AND S.S. STEWART" "BANJO MAKERS LIKE A.C. FAIRBANKS AND S.S. STEWART DESIGNED ORNATE INSTRUMENTS" "AND S.S. STEWART DESIGNED ORNATE INSTRUMENTS INTENDED FOR RESPECTABLE" "DESIGNED ORNATE INSTRUMENTS INTENDED FOR RESPECTABLE MEN AND WOMEN TO PLAY IN" "INTENDED FOR RESPECTABLE MEN AND WOMEN TO PLAY IN PARLORS, COLLEGE BANJO CLUBS," "MEN AND WOMEN TO PLAY IN PARLORS, COLLEGE BANJO CLUBS, AND CONCERT HALLS." "PARLORS, COLLEGE BANJO CLUBS, AND CONCERT HALLS." "NEW PATENTS IN CONSTRUCTION" "AND CONCERT HALLS." "NEW PATENTS IN CONSTRUCTION TURNED THE FOLK INSTRUMENT" "NEW PATENTS IN CONSTRUCTION TURNED THE FOLK INSTRUMENT INTO AN INDUSTRIAL MARVEL." "TURNED THE FOLK INSTRUMENT INTO AN INDUSTRIAL MARVEL." "BUT REINVENTING THE INSTRUMENT" "INTO AN INDUSTRIAL MARVEL." "BUT REINVENTING THE INSTRUMENT WASN'T ENOUGH." "BUT REINVENTING THE INSTRUMENT WASN'T ENOUGH." "THEY HAD TO REINVENT THE MUSIC" "WASN'T ENOUGH." "THEY HAD TO REINVENT THE MUSIC AND THE WAY IT SHOULD BE PLAYED." "THEY HAD TO REINVENT THE MUSIC AND THE WAY IT SHOULD BE PLAYED." "THEY CALLED IT "CLASSIC."" "AND THE WAY IT SHOULD BE PLAYED." "THEY CALLED IT "CLASSIC." Carlin:" "ANDSO THEYWANTED" "THEY CALLED IT "CLASSIC." Carlin:" "ANDSO THEYWANTED TO SEPARATE OUT" "Carlin:" "ANDSO THEYWANTED TO SEPARATE OUT THIS INSTRUMENT FROM" "TO SEPARATE OUT THIS INSTRUMENT FROM BLACK CULTURE." "THIS INSTRUMENT FROM BLACK CULTURE." "THEY WEREN'T SELLING TO BLACKS," "BLACK CULTURE." "THEY WEREN'T SELLING TO BLACKS, THEY WERE SELLING TO WHITES." "THEY WEREN'T SELLING TO BLACKS, THEY WERE SELLING TO WHITES." "IT'S JUST ONE STEP REMOVED" "THEY WERE SELLING TO WHITES." "IT'S JUST ONE STEP REMOVED FROM SAYING," "IT'S JUST ONE STEP REMOVED FROM SAYING, "THIS IS AN AFRICAN WAY" "FROM SAYING, "THIS IS AN AFRICAN WAY AND THIS IS A EUROPEAN WAY."" ""THIS IS AN AFRICAN WAY AND THIS IS A EUROPEAN WAY." OR THIS IS THE OLD WAY," "AND THIS IS A EUROPEAN WAY." OR THIS IS THE OLD WAY, THIS IS THE MODERN WAY." "OR THIS IS THE OLD WAY, THIS IS THE MODERN WAY." "THIS IS THE SLAVE WAY, THIS IS" "THIS IS THE MODERN WAY." "THIS IS THE SLAVE WAY, THIS IS THE WHITE, MIDDLE-CLASS WAY." "MEMPHISISAREALLY" "AMAZING PLACE FOR THE BLUES" "AND FOR BLACK MUSIC" "IN GENERAL." "WHEN BOSS CRUMP WAS RUNNING" "THE SHOW AROUND HERE," "THERE WAS A LOT OF MUSIC" "AND THERE WAS A LOT OF" "ENTERTAINMENT THAT WAS" "AROUND THE CITY." "¶I 'MGOIN'DOWNTOMEMPHIS GOIN' DOWN FOR SOME BEER ¶" "¶ I'M GOIN' TO MEMPHIS GOIN' DOWN FOR THE BEER ¶" "¶ IF I CAN'T FIND ROBERTA I'M GONNA HAVE TO FIND LUCILLE ¶" "I'M GONNA HAVE TO FIND LUCILLE ¶ SHE'LL SEE ME ANY TIME I WANT." "LUCILLE ¶ SHE'LL SEE ME ANY TIME I WANT." "YOU GET TO SEE LIKE RAGTIME" "SHE'LL SEE ME ANY TIME I WANT." "YOU GET TO SEE LIKE RAGTIME AND BRASS BAND MUSIC AND BLUES," "AND COUNTRY BLUES AND OLD-TIME" "FIDDLING BANJO MUSIC" "AND THE SONGSTER MUSIC" "THAT WAS IN THERE." "ALL PUT TOGETHER IN A REALLY" "AMAZING MELTING POT." "Martin:" "GUSCANNONWAS  A BANJO-PLAYING SONGSTER WHO EMBODIED THE CULTURAL CROSSROADS" "A BANJO-PLAYING SONGSTER WHO EMBODIED THE CULTURAL CROSSROADS THAT WAS MEMPHIS." "EMBODIED THE CULTURAL CROSSROADS THAT WAS MEMPHIS." "HIS LONG CAREER LINKS" "THAT WAS MEMPHIS." "HIS LONG CAREER LINKS BLACK FOLK STYLES AND MINSTRELSY" "HIS LONG CAREER LINKS BLACK FOLK STYLES AND MINSTRELSY WITH THE POPULAR MUSIC" "BLACK FOLK STYLES AND MINSTRELSY WITH THE POPULAR MUSIC OF THE 1920s." "WITH THE POPULAR MUSIC OF THE 1920s." "THE SON OF A SHARECROPPER" "OF THE 1920s." "THE SON OF A SHARECROPPER AND FORMER SLAVE, GUS WAS BORN" "THE SON OF A SHARECROPPER AND FORMER SLAVE, GUS WAS BORN IN 1883 ON THE NEWELL PLANTATION" "AND FORMER SLAVE, GUS WAS BORN IN 1883 ON THE NEWELL PLANTATION IN THE NORTH MISSISSIPPI" "IN 1883 ON THE NEWELL PLANTATION IN THE NORTH MISSISSIPPI HILL COUNTRY." "IN THE NORTH MISSISSIPPI HILL COUNTRY." "HEWASCOMINGFROM" "HILL COUNTRY." "HEWASCOMINGFROM A PLACE IN WHICH YOU HAD" "HEWASCOMINGFROM A PLACE IN WHICH YOU HAD THIS HUGE BANJO CULTURE." "THERE WAS FIDDLING AND BANJO" "PLAYING IN THE FAMILY." "HE LEARNED TO FIDDLE FIRST, WHEN" "HE WAS STARTING, AROUND 8 YEARS" "OLD OR SOMETHING LIKE THAT." "AND HE STARTED PLAYING BANJO WHEN HE WAS 12." "Martin:" "EVERYSPRING,FROM" "WHEN HE WAS 12." "Martin:" "EVERYSPRING,FROM THE TIME HE WAS 13 YEARS OLD," "Martin:" "EVERYSPRING,FROM THE TIME HE WAS 13 YEARS OLD, HE JOINED THOUSANDS OF OTHER" "THE TIME HE WAS 13 YEARS OLD, HE JOINED THOUSANDS OF OTHER BLACKS SEARCHING" "HE JOINED THOUSANDS OF OTHER BLACKS SEARCHING FOR SEASONAL WORK." "BLACKS SEARCHING FOR SEASONAL WORK." "BY THE TIME HE WAS 20, HE HAD" "FOR SEASONAL WORK." "BY THE TIME HE WAS 20, HE HAD SHARECROPPED, BUILT LEVEES," "BY THE TIME HE WAS 20, HE HAD SHARECROPPED, BUILT LEVEES, DUG DITCHES, AND LOADED" "SHARECROPPED, BUILT LEVEES, DUG DITCHES, AND LOADED RIVERBOATS." "DUG DITCHES, AND LOADED RIVERBOATS." "WHEREVER CANNON HAPPENED TO BE" "RIVERBOATS." "WHEREVER CANNON HAPPENED TO BE WORKING, HE AND A FEW OF HIS" "WHEREVER CANNON HAPPENED TO BE WORKING, HE AND A FEW OF HIS BUDDIES PLAYED FOR COUNTRY" "WORKING, HE AND A FEW OF HIS BUDDIES PLAYED FOR COUNTRY DANCES, SUPPERS AND SPECIAL" "BUDDIES PLAYED FOR COUNTRY DANCES, SUPPERS AND SPECIAL EVENTS." "DANCES, SUPPERS AND SPECIAL EVENTS." "CANNON PRIDED HIMSELF ON BEING" "EVENTS." "CANNON PRIDED HIMSELF ON BEING A PROFESSIONAL ENTERTAINER," "CANNON PRIDED HIMSELF ON BEING A PROFESSIONAL ENTERTAINER, A "SONGSTER," PUTTING HIS" "A PROFESSIONAL ENTERTAINER, A "SONGSTER," PUTTING HIS DISTINCTIVE MARK ON WHATEVER HIS" "A "SONGSTER," PUTTING HIS DISTINCTIVE MARK ON WHATEVER HIS AUDIENCE WANTED TO HEAR." "DISTINCTIVE MARK ON WHATEVER HIS AUDIENCE WANTED TO HEAR." "THE TEENAGE CANNON WAS ALSO" "AUDIENCE WANTED TO HEAR." "THE TEENAGE CANNON WAS ALSO PICKING UP ON A BLACK FOLK STYLE" "THE TEENAGE CANNON WAS ALSO PICKING UP ON A BLACK FOLK STYLE THAT WOULD SOON BE KNOWN AS" "PICKING UP ON A BLACK FOLK STYLE THAT WOULD SOON BE KNOWN AS THE BLUES." "IN CLARKSDALE, MISSISSIPPI," "A LOCAL GUITARIST SHOWED HIM HOW" "TO SLIDE A KNIFE ALONG" "THE FRETS OF HIS INSTRUMENT TO" "PRODUCE A METALLIC MOAN." "WHILE THE YOUNGER MUSICIANS" "PREFERRED THE GUITAR FOR PLAYING" "THIS NEW STYLE, CANNON PUT IT ON" "THE BANJO." "GUSCANNONWASAMAZING" "BECAUSE HE COULD PLAY ALL" "THESE DIFFERENT STYLES." "SO GUS CANNON'S THE ONLY ONE" "THAT I KNOW OF THAT WAS RECORDED" "PLAYING THAT FINGER STYLE" "WITH BLUES." "I MEAN, EVERYBODY ELSE, IF THEY'RE PLAYING, THEY'RE PLECTRUM PLAYING." "THEY'RE PLAYING, THEY'RE PLECTRUM PLAYING." "YOU KNOW, OR THEY'RE PLAYING" "THEY'RE PLECTRUM PLAYING." "YOU KNOW, OR THEY'RE PLAYING A FOUR-STRING DOING CHORDAL" "YOU KNOW, OR THEY'RE PLAYING A FOUR-STRING DOING CHORDAL STUFF FOR JAZZ AND BLUES." "A FOUR-STRING DOING CHORDAL STUFF FOR JAZZ AND BLUES." "BUT HE'S THE ONLY ONE THAT'S" "STUFF FOR JAZZ AND BLUES." "BUT HE'S THE ONLY ONE THAT'S DOING THIS OFF-TIME PICKING" "AND FINGER PICKING STYLE" "THAT WORKS FOR THE BLUES." "¶BUTIGUESSI'LL HAVE TO" "CATCH A FRISCO OUT" "IN THIS LAN'" "CATCH A FRISCO OUT ¶" "Martin:" "THEASPIRINGSONGSTER ALSO HAD TO KEEP UP WITH THE LATEST POPULAR TUNES." ""COON SONGS," AS THEY WERE" "COMMONLY CALLED, SWEPT" "TIN PAN ALLEY IN THE 1890s." "THESE SONGS TOOK THE MINSTREL" "SHOW CARICATURES TO NEW" "EXTREMES." "ALONG WITH RAGTIME MUSIC AND" "THE CAKEWALK DANCE CRAZE," "COON SONGS WERE FAVORITE" "DIVERSIONS FOR A COUNTRY" "INCREASINGLY DOMINATED BY" "THE BRUTAL RACISM OF JIM CROW." "IRONICALLY, THEY PROVIDED" "A GATEWAY FOR AFRICAN-AMERICANS" "INTO MAINSTREAM SHOW BIZ." "Flemons:" "HISPERFORMANCE STYLE WAS ONE OF THE FIRST TIMES I WAS REALLY HEARING A BLACK" "STYLE WAS ONE OF THE FIRST TIMES I WAS REALLY HEARING A BLACK PERSON, NOT SO MUCH DOING" "I WAS REALLY HEARING A BLACK PERSON, NOT SO MUCH DOING THE STEREOTYPES OF THE MINSTREL" "PERSON, NOT SO MUCH DOING THE STEREOTYPES OF THE MINSTREL BUT HE WAS PLAYING UP TO THOSE" "THE STEREOTYPES OF THE MINSTREL BUT HE WAS PLAYING UP TO THOSE PERFORMANCE TYPES AND HE WAS" "BUT HE WAS PLAYING UP TO THOSE PERFORMANCE TYPES AND HE WAS MAKING IT A REALISTIC STATEMENT," "PERFORMANCE TYPES AND HE WAS MAKING IT A REALISTIC STATEMENT, A PERSONAL STATEMENT." "MAKING IT A REALISTIC STATEMENT, A PERSONAL STATEMENT." "HE ADAPTED HIS COUNTRY STYLE OF" "A PERSONAL STATEMENT." "HE ADAPTED HIS COUNTRY STYLE OF BANJO PLAYING INTO" "HE ADAPTED HIS COUNTRY STYLE OF BANJO PLAYING INTO THE POPULAR SONGS OF THE DAY." "Martin:" "FROM1914UNTIL THE EARLY 1930s, GUS CANNON TOURED WITH MEDICINE SHOWS" "THE EARLY 1930s, GUS CANNON TOURED WITH MEDICINE SHOWS THROUGHOUT THE COTTON SOUTH." "HE MADE A NAME FOR HIMSELF" "AS "BANJO JOE," BILLED AS" "THE COLORED CHAMPION BANJO" "PUGILIST OF THE WORLD." "IN BETWEEN THE PITCHES FOR" "KICKAPOO SAGWA, WIZARD OIL" "AND VIMTONE, BANJOISTS," "BLACK-FACE COMEDIANS, AND" "BLUES SINGERS WERE FAVORED" "ENTERTAINMENTS." "THE LINEAMENTS AND SALVES PROMISED TO BE "GOOD FOR WHAT AILS YOU."" "PROMISED TO BE "GOOD FOR WHAT AILS YOU." BUT THE HEALTHIEST TONIC WAS" "WHAT AILS YOU." BUT THE HEALTHIEST TONIC WAS PROBABLY THE MUSIC ITSELF." "BUT THE HEALTHIEST TONIC WAS PROBABLY THE MUSIC ITSELF." "SOJUSTTHEWHOLEIDEA OF" "PROBABLY THE MUSIC ITSELF." "SOJUSTTHEWHOLEIDEA OF THE MEDICINE SHOWS BEING" "SOJUSTTHEWHOLEIDEA OF THE MEDICINE SHOWS BEING AN ENTERTAINMENT MELTING POT" "THE MEDICINE SHOWS BEING AN ENTERTAINMENT MELTING POT SORT OF APPEALS TO ME." "AN ENTERTAINMENT MELTING POT SORT OF APPEALS TO ME." "THERE ARE NO STRICT RULES." "YOU CAN JUST TAKE FROM HERE AND" "TAKE FROM THERE AND JUST MIX" "AND MATCH AND PUT IT ALL" "TOGETHER ON THE STAGE AND SEE" "WHAT HAPPENS." "Martin:" "WHENHE WASN'T TOURING IN THE DOCTOR SHOWS, CANNON JOINED THE THRIVING BLACK" "TOURING IN THE DOCTOR SHOWS, CANNON JOINED THE THRIVING BLACK MUSIC SCENE IN MEMPHIS." "CANNON JOINED THE THRIVING BLACK MUSIC SCENE IN MEMPHIS." "THE CONCENTRATION OF MUSICIANS" "MUSIC SCENE IN MEMPHIS." "THE CONCENTRATION OF MUSICIANS DREW THE ATTENTION OF LEGENDARY" "THE CONCENTRATION OF MUSICIANS DREW THE ATTENTION OF LEGENDARY TALENT SCOUT RALPH PEER." "DREW THE ATTENTION OF LEGENDARY TALENT SCOUT RALPH PEER." "HE WAS LOOKING FOR THE NEXT BIG" "TALENT SCOUT RALPH PEER." "HE WAS LOOKING FOR THE NEXT BIG THING IN RACE RECORDS." "HE WAS LOOKING FOR THE NEXT BIG THING IN RACE RECORDS." "CANNON WAS READY TO JUMP ON" "THING IN RACE RECORDS." "CANNON WAS READY TO JUMP ON THE OPPORTUNITY." "CANNON WAS READY TO JUMP ON THE OPPORTUNITY." "HE ASSEMBLED A NEW BAND" "THE OPPORTUNITY." "HE ASSEMBLED A NEW BAND ESPECIALLY FOR THE SESSIONS." "HE ASSEMBLED A NEW BAND ESPECIALLY FOR THE SESSIONS." "HE CALLED THEM" "ESPECIALLY FOR THE SESSIONS." "HE CALLED THEM "THE JUG STOMPERS."" "[SINGING"TEARITDOWN "]" "Martin:" "JUGBANDSBECAME FIXTURES OF THE BUSTLING MUSIC SCENE ON BEALE STREET" "FIXTURES OF THE BUSTLING MUSIC SCENE ON BEALE STREET IN MEMPHIS." "SCENE ON BEALE STREET IN MEMPHIS." "BLACK STRING BANDS WITH" "IN MEMPHIS." "BLACK STRING BANDS WITH A TWIST, FEATURING NOVELTY" "BLACK STRING BANDS WITH A TWIST, FEATURING NOVELTY INSTRUMENTS WITH AN EMPHASIS ON" "A TWIST, FEATURING NOVELTY INSTRUMENTS WITH AN EMPHASIS ON THE HOMEMADE AND THE RUSTIC." "INSTRUMENTS WITH AN EMPHASIS ON THE HOMEMADE AND THE RUSTIC." "THE BRASHNESS OF THE BANJO FIT" "THE HOMEMADE AND THE RUSTIC." "THE BRASHNESS OF THE BANJO FIT WELL WITH THE SCRAPE OF" "THE BRASHNESS OF THE BANJO FIT WELL WITH THE SCRAPE OF THE WASHBOARD AND THE BASS BUZZ" "WELL WITH THE SCRAPE OF THE WASHBOARD AND THE BASS BUZZ OF THE JUG." "THE WASHBOARD AND THE BASS BUZZ OF THE JUG." "NO FASHIONABLE PRIVATE PARTY," "OF THE JUG." "NO FASHIONABLE PRIVATE PARTY, PICNIC OR RIVERBOAT CRUISE COULD" "NO FASHIONABLE PRIVATE PARTY, PICNIC OR RIVERBOAT CRUISE COULD TAKE PLACE WITHOUT THE MUSICAL" "PICNIC OR RIVERBOAT CRUISE COULD TAKE PLACE WITHOUT THE MUSICAL ANTICS OF A JUG BAND." "TAKE PLACE WITHOUT THE MUSICAL ANTICS OF A JUG BAND." "Wilson:" "THESEINSTRUMENTS," "ANTICS OF A JUG BAND." "Wilson:" "THESEINSTRUMENTS, THE STEREOTYPE IS," "Wilson:" "THESEINSTRUMENTS, THE STEREOTYPE IS, NUMBER ONE, THIS IS FUN MUSIC." "THE STEREOTYPE IS, NUMBER ONE, THIS IS FUN MUSIC." "JUST GRAB ANYTHING AND PLAY" "NUMBER ONE, THIS IS FUN MUSIC." "JUST GRAB ANYTHING AND PLAY ANYTHING AND JUST HAVE FUN." "JUST GRAB ANYTHING AND PLAY ANYTHING AND JUST HAVE FUN." "NUMBER TWO, OH, THE POOR, THEY" "ANYTHING AND JUST HAVE FUN." "NUMBER TWO, OH, THE POOR, THEY COULDN'T AFFORD REAL" "NUMBER TWO, OH, THE POOR, THEY COULDN'T AFFORD REAL INSTRUMENTS." "COULDN'T AFFORD REAL INSTRUMENTS." "AREN'T THOSE PEOPLE SO" "INSTRUMENTS." "AREN'T THOSE PEOPLE SO INVENTIVE?" "AREN'T THOSE PEOPLE SO INVENTIVE?" "NO." "IT'S NOT ABOUT THEY COULDN'T" "INVENTIVE?" "NO." "IT'S NOT ABOUT THEY COULDN'T AFFORD SOMETHING." "NO." "IT'S NOT ABOUT THEY COULDN'T AFFORD SOMETHING." "IT'S, WELL, YOU DON'T HAVE" "AFFORD SOMETHING." "IT'S, WELL, YOU DON'T HAVE ANYTHING THAT MAKES THE SOUND" "IT'S, WELL, YOU DON'T HAVE ANYTHING THAT MAKES THE SOUND THAT WE NEED FOR OUR CULTURE," "ANYTHING THAT MAKES THE SOUND THAT WE NEED FOR OUR CULTURE, FOR OUR CULTURAL ESTHETIC." "THAT WE NEED FOR OUR CULTURE, FOR OUR CULTURAL ESTHETIC." "SO WE HAVE TO MAKE AND USE." "IWENTTO AN OLDLADY'SHOUSE" "ONE DAY, AND SHE TOLD ME," ""WALK RIGHT IN."" "I SAID, "I THANK YOU."" "SHE SAID, "WELL, WILL YOU" "SIT DOWN?"" "I SAID, "THANK YOU, MA'AM."" "SHE SAYS TO ME, SAYS, "WELL, HOW" "LONG YOU GONNA BE HERE?"" "I SAY, "I'LL ONLY BE HERE" "BUT A LITTLE WHILE."" "AND SO THAT NIGHT, SOME WAY OR" "ANOTHER, I COMMENCE A-DREAMIN'." "SO GOT OUT MY OLD BANJO," "NOW, YOU KNOW I MUST GET" "SOMETHING OR OTHER ON IT." "¶WALKRIGHTIN SIT RIGHT DOWN AND, BABY, LET YOUR MIND" "SIT RIGHT DOWN AND, BABY, LET YOUR MIND ROLL ON ¶" "AND, BABY, LET YOUR MIND ROLL ON ¶ ¶ HEY, WALK RIGHT IN" "ROLL ON ¶ ¶ HEY, WALK RIGHT IN STAY A LITTLE WHILE" "¶ HEY, WALK RIGHT IN STAY A LITTLE WHILE 'CAUSE, DADDY, YOU CAN'T" "STAY A LITTLE WHILE 'CAUSE, DADDY, YOU CAN'T STAY TOO LONG ¶" "'CAUSE, DADDY, YOU CAN'T STAY TOO LONG ¶ Martin:" "IN1929,CANNON" "STAY TOO LONG ¶ Martin:" "IN1929,CANNON AND HIS JUG STOMPERS RECORDED" "Martin:" "IN1929,CANNON AND HIS JUG STOMPERS RECORDED HIS SONG "WALK RIGHT IN."" "AND HIS JUG STOMPERS RECORDED HIS SONG "WALK RIGHT IN." IT HAD THE PLAYFUL STRUT OF" "HIS SONG "WALK RIGHT IN." IT HAD THE PLAYFUL STRUT OF AN OLD-FASHIONED CAKEWALK AND" "IT HAD THE PLAYFUL STRUT OF AN OLD-FASHIONED CAKEWALK AND THE RECORDING REMAINED LARGELY" "AN OLD-FASHIONED CAKEWALK AND THE RECORDING REMAINED LARGELY UNNOTICED FOR THE NEXT 30 YEARS." "THE RECORDING REMAINED LARGELY UNNOTICED FOR THE NEXT 30 YEARS." "¶WALKRIGHTIN" "SIT RIGHT DOWN" "DADDY, LET YOUR MIND ROLL ON ¶" "¶ WALK RIGHT IN SIT RIGHT DOWN DADDY, LET YOUR MIND ROLL ON ¶" "SIT RIGHT DOWN DADDY, LET YOUR MIND ROLL ON ¶ Martin:" "IN1963," "DADDY, LET YOUR MIND ROLL ON ¶ Martin:" "IN1963, BANJOIST ERIC DARLING, WHO HAD" "Martin:" "IN1963, BANJOIST ERIC DARLING, WHO HAD REPLACED PETE SEEGER" "BANJOIST ERIC DARLING, WHO HAD REPLACED PETE SEEGER AND THE WEAVERS, CREATED" "REPLACED PETE SEEGER AND THE WEAVERS, CREATED A NEW GROUP CALLED" "AND THE WEAVERS, CREATED A NEW GROUP CALLED THE ROOFTOP SINGERS TO RECORD" "A NEW GROUP CALLED THE ROOFTOP SINGERS TO RECORD WHAT HE THOUGHT WAS AN OBSCURE" "THE ROOFTOP SINGERS TO RECORD WHAT HE THOUGHT WAS AN OBSCURE JUG BAND TUNE." "WHAT HE THOUGHT WAS AN OBSCURE JUG BAND TUNE." "THAT SAME YEAR, THINGS HAD" "JUG BAND TUNE." "THAT SAME YEAR, THINGS HAD GOTTEN SO BAD FOR CANNON THAT HE" "THAT SAME YEAR, THINGS HAD GOTTEN SO BAD FOR CANNON THAT HE HAD TO HOCK HIS BANJO JUST TO" "GOTTEN SO BAD FOR CANNON THAT HE HAD TO HOCK HIS BANJO JUST TO BUY COAL TO HEAT HIS HOUSE." "HAD TO HOCK HIS BANJO JUST TO BUY COAL TO HEAT HIS HOUSE." ""WALK RIGHT IN" SPENT THREE" "BUY COAL TO HEAT HIS HOUSE." ""WALK RIGHT IN" SPENT THREE WEEKS AT NUMBER ONE AND SOLD" ""WALK RIGHT IN" SPENT THREE WEEKS AT NUMBER ONE AND SOLD OVER A MILLION COPIES." "WEEKS AT NUMBER ONE AND SOLD OVER A MILLION COPIES." "CANNON DREAMED OF GOING ON TOUR" "OVER A MILLION COPIES." "CANNON DREAMED OF GOING ON TOUR AND RECORDING AGAIN." "CANNON DREAMED OF GOING ON TOUR AND RECORDING AGAIN." "HE WAS INVITED TO A FEW FOLK" "AND RECORDING AGAIN." "HE WAS INVITED TO A FEW FOLK FESTIVALS UP NORTH" "AND THE MEMPHIS-BASED" "STAX RECORDS SET UP A RECORDING" "SESSION FOR HIM." "BUT STAX WAS THE STUDIO OF THE NEW SOUL MUSIC, OTIS REDDING AND RUFUS THOMAS, AND THE" "THE NEW SOUL MUSIC, OTIS REDDING AND RUFUS THOMAS, AND THE AUDIENCE FOR THE BLACK BANJO" "AND RUFUS THOMAS, AND THE AUDIENCE FOR THE BLACK BANJO SONGSTER HAD LONG SINCE" "AUDIENCE FOR THE BLACK BANJO SONGSTER HAD LONG SINCE MOVED ON." "SONGSTER HAD LONG SINCE MOVED ON." "¶WALKRIGHTIN" "MOVED ON." "¶WALKRIGHTIN SIT RIGHT DOWN" "¶WALKRIGHTIN SIT RIGHT DOWN DADDY, LET YOUR MIND ROLL ON ¶" "SIT RIGHT DOWN DADDY, LET YOUR MIND ROLL ON ¶ ¶ DADDY, LET YOUR MIND ROLL ON" "DADDY, LET YOUR MIND ROLL ON ¶ ¶ DADDY, LET YOUR MIND ROLL ON [APPLAUSE]" "FORME," "I NEVER SET OUT TO TRY AND BE" "SOMETHING THAT WAS DEFINED." "YOU KNOW, NO MATTER WHAT I'M PLAYING, I TRY TO PUT MYSELF INTO IT AND DO WHAT I CAN." "MY GENERATION AND THE ONE BEFORE ME FELT THE BANJO'S AN UNCLE TOM INSTRUMENT." "BEFORE ME FELT THE BANJO'S AN UNCLE TOM INSTRUMENT." "I'VE ALWAYS HAD A SORT OPEN MIND" "AN UNCLE TOM INSTRUMENT." "I'VE ALWAYS HAD A SORT OPEN MIND SO I'M NOT SURE IF I EVER REALLY" "I'VE ALWAYS HAD A SORT OPEN MIND SO I'M NOT SURE IF I EVER REALLY FELT THAT WAY." "SO I'M NOT SURE IF I EVER REALLY FELT THAT WAY." "IF WE CAN GET ANYTHING OUT" "FELT THAT WAY." "IF WE CAN GET ANYTHING OUT OF IT, WE SHOULD ALL TRY TO" "IF WE CAN GET ANYTHING OUT OF IT, WE SHOULD ALL TRY TO EMBRACE EVERYTHING THAT IT" "OF IT, WE SHOULD ALL TRY TO EMBRACE EVERYTHING THAT IT STANDS FOR." "EMBRACE EVERYTHING THAT IT STANDS FOR." "WE COULD LEARN A LOT FROM IT." "STANDS FOR." "WE COULD LEARN A LOT FROM IT." "[ SINGING "MAMSELLE JOSEPHINE" ]" "WELL,CHARLIE,OLDBOY , IT'S BEEN A LONG TIME SINCE YOU AND I ALONE PLAYED" "IT'S BEEN A LONG TIME SINCE YOU AND I ALONE PLAYED ANY TOGETHER, HADN'T IT?" "YOU AND I ALONE PLAYED ANY TOGETHER, HADN'T IT?" "Charlie:" "YES,IT HAS,BOY ." "ANY TOGETHER, HADN'T IT?" "Charlie:" "YES,IT HAS,BOY ." "LET'STRYAFEW OFTHOSEOLD" "Charlie:" "YES,IT HAS,BOY ." "LET'STRYAFEW OFTHOSEOLD SOUTHERN MELODIES FOR THE BOYS." "LET'STRYAFEW OFTHOSEOLD SOUTHERN MELODIES FOR THE BOYS." "Charlie:" "OH,IT DOESMEGOOD" "SOUTHERN MELODIES FOR THE BOYS." "Charlie:" "OH,IT DOESMEGOOD  TO HEAR YOU SAY THAT." "Charlie:" "OH,IT DOESMEGOOD  TO HEAR YOU SAY THAT." "LET'SGO." "TO HEAR YOU SAY THAT." "LET'SGO." "Charlie:" "GOOD." "LET'SGO." "Charlie:" "GOOD." "STEPONIT !" "Sapoznik:" "WECAN'TEXPLAIN" "HOW EACH GENERATION PRODUCES A" "VISIONARY, WHO, IN ATTEMPTING TO" "CREATE SOMETHING FOR HIMSELF," "CREATES A LIBERATING AND" "REVOLUTIONARY LANDSCAPE FOR" "EVERYONE ELSE TO TAKE PART." "¶BUYME AHORSE AND MAKE ME A SLED NOBODY RIDES WITH IDA RED ¶" "AND MAKE ME A SLED NOBODY RIDES WITH IDA RED ¶ ¶ IDA RED, SHE LIVED IN TOWN" "NOBODY RIDES WITH IDA RED ¶ ¶ IDA RED, SHE LIVED IN TOWN SHE WEIGHED 440 POUNDS ¶" "¶ IDA RED, SHE LIVED IN TOWN SHE WEIGHED 440 POUNDS ¶ ¶ GOIN' UP SHOOTIN' CREEK" "SHE WEIGHED 440 POUNDS ¶ ¶ GOIN' UP SHOOTIN' CREEK GOIN' IN A RUN" "¶ GOIN' UP SHOOTIN' CREEK GOIN' IN A RUN GOIN' UP SHOOTIN' CREEK" "GOIN' IN A RUN GOIN' UP SHOOTIN' CREEK HAVE A LITTLE FUN ¶" "ASA KID,MY FATHERAND  UNCLE WERE GREAT STORYTELLERS." "AND THEY WERE ALWAYS TELLING" "UNCLE WERE GREAT STORYTELLERS." "AND THEY WERE ALWAYS TELLING STORIES ABOUT THINGS" "AND THEY WERE ALWAYS TELLING STORIES ABOUT THINGS CHARLIE HAD DONE." "STORIES ABOUT THINGS CHARLIE HAD DONE." "WHERE A LOT OF KIDS HEAR" "CHARLIE HAD DONE." "WHERE A LOT OF KIDS HEAR NURSERY RHYMES," "WHERE A LOT OF KIDS HEAR NURSERY RHYMES, I HEARD CHARLIE POOLE STORIES." "NURSERY RHYMES, I HEARD CHARLIE POOLE STORIES." "¶IDARED," "I HEARD CHARLIE POOLE STORIES." "¶IDARED, SHE'S A DARNED OLD FOOL" "¶IDARED, SHE'S A DARNED OLD FOOL TRIED TO PUT A SADDLE" "SHE'S A DARNED OLD FOOL TRIED TO PUT A SADDLE ON A HUMPBACK MULE ¶" "TRIED TO PUT A SADDLE ON A HUMPBACK MULE ¶ WECAMEUP HERE" "ON A HUMPBACK MULE ¶ WECAMEUP HERE TO FIND HIS GRAVE." "WECAMEUP HERE TO FIND HIS GRAVE." "WE HAD TO GET THE OLD MAP," "TO FIND HIS GRAVE." "WE HAD TO GET THE OLD MAP, YOU KNOW, TO FIND THE GRAVE." "WE HAD TO GET THE OLD MAP, YOU KNOW, TO FIND THE GRAVE." "AND WHEN WE FOUND HIS GRAVE," "YOU KNOW, TO FIND THE GRAVE." "AND WHEN WE FOUND HIS GRAVE, THERE WAS A LIQUOR BOTTLE" "AND WHEN WE FOUND HIS GRAVE, THERE WAS A LIQUOR BOTTLE ON THE GRAVE." "THERE WAS A LIQUOR BOTTLE ON THE GRAVE." "AND WE THOUGHT, "OKAY, THIS" "ON THE GRAVE." "AND WE THOUGHT, "OKAY, THIS MUST BE IT."" "AND WE THOUGHT, "OKAY, THIS MUST BE IT." [ CHUCKLES ]" "MUST BE IT." [ CHUCKLES ] ONE OF THE THINGS I LOVE" "[ CHUCKLES ] ONE OF THE THINGS I LOVE ABOUT CHARLIE'S MUSIC IS" "HE WAS BONA FIDE," "AS THEY WOULD SAY." "HE WAS AUTHENTIC." "WHEN HE SANG HE RAMBLED," "IT COULD HAVE BEEN" "AUTOBIOGRAPHICAL." "WHEN HE SANG, "TAKE A DRINK ON ME," HE MEANT IT." "IT WAS PART AND PARCEL" "ON ME," HE MEANT IT." "IT WAS PART AND PARCEL OF THE WAY HE LIVED." "IT WAS PART AND PARCEL OF THE WAY HE LIVED." "CHARLIE SANG WHAT HE LIVED AND" "OF THE WAY HE LIVED." "CHARLIE SANG WHAT HE LIVED AND LIVED WHAT HE SANG." "CHARLIE SANG WHAT HE LIVED AND LIVED WHAT HE SANG." "¶HERAMBLEDTILL" "LIVED WHAT HE SANG." "¶HERAMBLEDTILL THE BUTCHERS CUT HIM DOWN ¶" "¶HERAMBLEDTILL THE BUTCHERS CUT HIM DOWN ¶ Martin:" "BORNIN 1892IN" "THE BUTCHERS CUT HIM DOWN ¶ Martin:" "BORNIN 1892IN RANDOLPH COUNTY, NORTH CAROLINA," "Martin:" "BORNIN 1892IN RANDOLPH COUNTY, NORTH CAROLINA, CHARLES CLEVELAND POOLE GREW UP" "RANDOLPH COUNTY, NORTH CAROLINA, CHARLES CLEVELAND POOLE GREW UP IN MILL COMPANY HOUSES WITH" "CHARLES CLEVELAND POOLE GREW UP IN MILL COMPANY HOUSES WITH HIS EIGHT BROTHERS AND A SISTER." "IN MILL COMPANY HOUSES WITH HIS EIGHT BROTHERS AND A SISTER." "CHARLIE STARTED IN THE MILLS" "HIS EIGHT BROTHERS AND A SISTER." "CHARLIE STARTED IN THE MILLS AT AGE 9 AS A DOFFER BOY," "CHARLIE STARTED IN THE MILLS AT AGE 9 AS A DOFFER BOY, WORKING 12-HOUR DAYS, BUT HE HAD" "AT AGE 9 AS A DOFFER BOY, WORKING 12-HOUR DAYS, BUT HE HAD A HOMEMADE BANJO AND WAS EAGER" "WORKING 12-HOUR DAYS, BUT HE HAD A HOMEMADE BANJO AND WAS EAGER TO USE IT IN THE LIVELY" "A HOMEMADE BANJO AND WAS EAGER TO USE IT IN THE LIVELY LOCAL MUSIC SCENE." "TO USE IT IN THE LIVELY LOCAL MUSIC SCENE." "Rorrer:" "THISAREAOFNORTH" "LOCAL MUSIC SCENE." "Rorrer:" "THISAREAOFNORTH CENTRAL NORTH CAROLINA AND" "Rorrer:" "THISAREAOFNORTH CENTRAL NORTH CAROLINA AND SOUTH CENTRAL VIRGINIA AND FROM" "CENTRAL NORTH CAROLINA AND SOUTH CENTRAL VIRGINIA AND FROM HERE WEST PROBABLY HAD MORE" "SOUTH CENTRAL VIRGINIA AND FROM HERE WEST PROBABLY HAD MORE BANJO PLAYERS AND FIDDLERS PER" "HERE WEST PROBABLY HAD MORE BANJO PLAYERS AND FIDDLERS PER SQUARE FOOT THAN ABOUT" "BANJO PLAYERS AND FIDDLERS PER SQUARE FOOT THAN ABOUT ANY PLACE IN THE COUNTRY." "SQUARE FOOT THAN ABOUT ANY PLACE IN THE COUNTRY." "¶" "ANY PLACE IN THE COUNTRY." "¶ Rorrer:" "MILLS,ITHINK," "¶ Rorrer:" "MILLS,ITHINK, INADVERTENTLY, WITHOUT" "Rorrer:" "MILLS,ITHINK, INADVERTENTLY, WITHOUT REALIZING IT, HELPED THIS MUSIC" "INADVERTENTLY, WITHOUT REALIZING IT, HELPED THIS MUSIC DEVELOP BY BRINGING ALL" "REALIZING IT, HELPED THIS MUSIC DEVELOP BY BRINGING ALL THESE PEOPLE TOGETHER." "DEVELOP BY BRINGING ALL THESE PEOPLE TOGETHER." "AND THEY SWAPPED LICKS," "THESE PEOPLE TOGETHER." "AND THEY SWAPPED LICKS, THEY SWAPPED TUNES." "[OLDBANJORECORDINGPLAYS]" "Rorrer:" "THEYHADTHESE,WHAT  WE WOULD NOW CLASSIFY AS A JUKEBOX," "WE WOULD NOW CLASSIFY AS A JUKEBOX, THAT YOU WOULD HAVE FOUND" "A JUKEBOX, THAT YOU WOULD HAVE FOUND IN A GENERAL STORE" "THAT YOU WOULD HAVE FOUND IN A GENERAL STORE OR IN A SALOON." "IN A GENERAL STORE OR IN A SALOON." "SO IF CHARLIE POOLE AS" "OR IN A SALOON." "SO IF CHARLIE POOLE AS A 10-YEAR-OLD BOY HAD AN EXTRA" "SO IF CHARLIE POOLE AS A 10-YEAR-OLD BOY HAD AN EXTRA PENNY OR EXTRA NICKEL AND HE" "A 10-YEAR-OLD BOY HAD AN EXTRA PENNY OR EXTRA NICKEL AND HE WENT IN THE COUNTRY STORE, HE" "PENNY OR EXTRA NICKEL AND HE WENT IN THE COUNTRY STORE, HE COULD HEAR A VESS OSSMAN" "WENT IN THE COUNTRY STORE, HE COULD HEAR A VESS OSSMAN BANJO RECORD." "COULD HEAR A VESS OSSMAN BANJO RECORD." "HE COULD HEAR A FRED VAN EPS" "BANJO RECORD." "HE COULD HEAR A FRED VAN EPS BANJO RECORD" "HE COULD HEAR A FRED VAN EPS BANJO RECORD AND PICK UP WHATEVER SONG WAS" "BANJO RECORD AND PICK UP WHATEVER SONG WAS JUST OUT FROM TIN PAN ALLEY." "Martin:" "BANJOTEACHERS THROUGHOUT THE SOUTH TAUGHT THE CLASSIC GUITAR STYLE" "THROUGHOUT THE SOUTH TAUGHT THE CLASSIC GUITAR STYLE PICKING." "THE CLASSIC GUITAR STYLE PICKING." "CHARLIE'S COUSIN, A LOCAL BANJO" "PICKING." "CHARLIE'S COUSIN, A LOCAL BANJO HERO NAMED DANER JOHNSON," "CHARLIE'S COUSIN, A LOCAL BANJO HERO NAMED DANER JOHNSON, LEARNED THAT TECHNIQUE AND" "HERO NAMED DANER JOHNSON, LEARNED THAT TECHNIQUE AND TAUGHT IT TO CHARLIE." "CHARLIE'S UNIQUE BANJO PICKING" "STYLE, HOWEVER, WAS ULTIMATELY" "THE RESULT OF A DRUNKEN BET." "Rorrer:" "CHARLIEHADHAD" "A FEW DRINKS," "AND HE BET A GUY 50 CENTS THAT" "THE GUY COULD THROW A BALL AS" "HARD AS HE WANTED AND CHARLIE" "COULD CATCH IT WITH" "HIS BARE HANDS." "SO THE GUY THREW THE BALL AND THE BALL HIT HIM RIGHT ACROSS THE FINGERS AND BROKE ALL" "THE BALL HIT HIM RIGHT ACROSS THE FINGERS AND BROKE ALL OF HIS FINGERS." "THE FINGERS AND BROKE ALL OF HIS FINGERS." "SO HIS FINGERS HEALED BACK" "OF HIS FINGERS." "SO HIS FINGERS HEALED BACK CROOKED." "SO HIS FINGERS HEALED BACK CROOKED." "SO WHEN CHARLIE PUT HIS HAND" "CROOKED." "SO WHEN CHARLIE PUT HIS HAND AGAINST THE BANJO, HE WAS" "SO WHEN CHARLIE PUT HIS HAND AGAINST THE BANJO, HE WAS ALREADY IN A PICKING POSITION." "AGAINST THE BANJO, HE WAS ALREADY IN A PICKING POSITION." "HE HAD A CROOK." "¶MAYISLEEP IN YOUR BARN TONIGHT, MISTER?" "¶ ¶ IT'S TOO COLD LYING OUT" "IN YOUR BARN TONIGHT, MISTER?" "¶ ¶ IT'S TOO COLD LYING OUT ON THE GROUND ¶" "¶ IT'S TOO COLD LYING OUT ON THE GROUND ¶ Martin:" "RAMBLINGWASIN" "ON THE GROUND ¶ Martin:" "RAMBLINGWASIN HIS BLOOD AND ESSENTIAL TO" "Martin:" "RAMBLINGWASIN HIS BLOOD AND ESSENTIAL TO HIS SURVIVAL." "HIS BLOOD AND ESSENTIAL TO HIS SURVIVAL." "IT WAS THE ONLY WAY A" "HIS SURVIVAL." "IT WAS THE ONLY WAY A PROFESSIONAL MUSICIAN COULD MAKE" "IT WAS THE ONLY WAY A PROFESSIONAL MUSICIAN COULD MAKE A LIVING IN THOSE DAYS." "PROFESSIONAL MUSICIAN COULD MAKE A LIVING IN THOSE DAYS." "IN COAL FIELDS, LUMBER CAMPS," "A LIVING IN THOSE DAYS." "IN COAL FIELDS, LUMBER CAMPS, AND GENERAL STORES FROM" "IN COAL FIELDS, LUMBER CAMPS, AND GENERAL STORES FROM NORTH CAROLINA TO MONTANA," "AND GENERAL STORES FROM NORTH CAROLINA TO MONTANA, CHARLIE GRADUALLY BUILT A NAME" "NORTH CAROLINA TO MONTANA, CHARLIE GRADUALLY BUILT A NAME FOR HIMSELF." "CHARLIE GRADUALLY BUILT A NAME FOR HIMSELF." "HE ALSO BEFRIENDED A CLUBFOOTED" "FOR HIMSELF." "HE ALSO BEFRIENDED A CLUBFOOTED YOUNG COAL MINER NAMED" "HE ALSO BEFRIENDED A CLUBFOOTED YOUNG COAL MINER NAMED POSEY RORRER, WHO SHARED HIS" "YOUNG COAL MINER NAMED POSEY RORRER, WHO SHARED HIS LOVE OF BOOZE, STRING BANDS," "POSEY RORRER, WHO SHARED HIS LOVE OF BOOZE, STRING BANDS, AND RAMBLING." "LOVE OF BOOZE, STRING BANDS, AND RAMBLING." "POSEY, LIKE CHARLIE, STARTED" "AND RAMBLING." "POSEY, LIKE CHARLIE, STARTED ON A HANDMADE BANJO, BUT SHOWED" "POSEY, LIKE CHARLIE, STARTED ON A HANDMADE BANJO, BUT SHOWED HIS REAL TALENTS" "ON A HANDMADE BANJO, BUT SHOWED HIS REAL TALENTS ON THE FIDDLE." "HIS REAL TALENTS ON THE FIDDLE." "WHENYOUHEARTHEMPLAY" "ON THE FIDDLE." "WHENYOUHEARTHEMPLAY  TOGETHER, THAT'S FROM YEARS OF" "WHENYOUHEARTHEMPLAY  TOGETHER, THAT'S FROM YEARS OF CONSTANTLY PLAYING TOGETHER." "TOGETHER, THAT'S FROM YEARS OF CONSTANTLY PLAYING TOGETHER." "EACH ONE KNEW WHAT THE OTHER" "CONSTANTLY PLAYING TOGETHER." "EACH ONE KNEW WHAT THE OTHER WAS DOING" "EACH ONE KNEW WHAT THE OTHER WAS DOING AND THE RESULT WAS IT JUST" "WAS DOING AND THE RESULT WAS IT JUST DOVETAILED BEAUTIFULLY, BLENDED" "AND THE RESULT WAS IT JUST DOVETAILED BEAUTIFULLY, BLENDED BEAUTIFULLY." "Martin:" "LINKEDBY FRIENDSHIP, MUSIC AND THE BOTTLE, CHARLIE AND POSEY BECAME CLOSER" "MUSIC AND THE BOTTLE, CHARLIE AND POSEY BECAME CLOSER STILL WHEN CHARLIE MARRIED" "CHARLIE AND POSEY BECAME CLOSER STILL WHEN CHARLIE MARRIED POSEY'S OLDER SISTER LOU EMMA" "STILL WHEN CHARLIE MARRIED POSEY'S OLDER SISTER LOU EMMA AND SETTLED IN THE TOWN" "POSEY'S OLDER SISTER LOU EMMA AND SETTLED IN THE TOWN OF SPRAY." "AND SETTLED IN THE TOWN OF SPRAY." "SHE SUFFERED HIS WANDERLUST BUT" "OF SPRAY." "SHE SUFFERED HIS WANDERLUST BUT REPEATEDLY BAILED HIM OUT OF" "SHE SUFFERED HIS WANDERLUST BUT REPEATEDLY BAILED HIM OUT OF THE DRUNK TANK AND SENT HIM" "REPEATEDLY BAILED HIM OUT OF THE DRUNK TANK AND SENT HIM TRAIN FARE HOME." "THE DRUNK TANK AND SENT HIM TRAIN FARE HOME." "BUT AS SOON AS CHARLIE RETURNED" "TRAIN FARE HOME." "BUT AS SOON AS CHARLIE RETURNED TO HIS OLD JOB IN THE SPINNING" "BUT AS SOON AS CHARLIE RETURNED TO HIS OLD JOB IN THE SPINNING ROOM, HE LOOKED FOR ANOTHER" "TO HIS OLD JOB IN THE SPINNING ROOM, HE LOOKED FOR ANOTHER EXCUSE TO ESCAPE." "ROOM, HE LOOKED FOR ANOTHER EXCUSE TO ESCAPE." "WE'REGONNADO YOUASONG" "EXCUSE TO ESCAPE." "WE'REGONNADO YOUASONG  THAT CHARLIE POOLE DID." "WE'REGONNADO YOUASONG  THAT CHARLIE POOLE DID." "CHARLIE AND POSEY USED TO PLAY" "THAT CHARLIE POOLE DID." "CHARLIE AND POSEY USED TO PLAY BACK HERE IN FRONT OF THIS GRAY" "CHARLIE AND POSEY USED TO PLAY BACK HERE IN FRONT OF THIS GRAY MERCANTILE BUILDING." "THIS IS CHARLIE'S BIGGEST HIT" "FROM 1925." "IT'S CALLED "DON'T LET" "YOUR DEAL GO DOWN."" "¶BEENALLAROUND THIS WHOLE WIDE WORLD DOWN TO MEMPHIS, TENNESSEE ¶" "THIS WHOLE WIDE WORLD DOWN TO MEMPHIS, TENNESSEE ¶ Rorrer:" "ONEDAYIN1925 ," "DOWN TO MEMPHIS, TENNESSEE ¶ Rorrer:" "ONEDAYIN1925 , CHARLIE AND POSEY CAME IN TO" "Rorrer:" "ONEDAYIN1925 , CHARLIE AND POSEY CAME IN TO COLLECT THEIR PAY." "CHARLIE AND POSEY CAME IN TO COLLECT THEIR PAY." "HE SAID THEY WERE GOING TO" "COLLECT THEIR PAY." "HE SAID THEY WERE GOING TO NEW YORK AND TRY THEIR HAND" "HE SAID THEY WERE GOING TO NEW YORK AND TRY THEIR HAND AT MAKING RECORDS." "NEW YORK AND TRY THEIR HAND AT MAKING RECORDS." "HIS BANJO WAS HIS TICKET" "AT MAKING RECORDS." "HIS BANJO WAS HIS TICKET OUT OF THE MILLS." "HIS BANJO WAS HIS TICKET OUT OF THE MILLS." "Martin:" "WHENHE FINALLYGOT" "OUT OF THE MILLS." "Martin:" "WHENHE FINALLYGOT  TO THE COLUMBIA OFFICES" "Martin:" "WHENHE FINALLYGOT  TO THE COLUMBIA OFFICES IN NEW YORK, ALL IT TOOK WERE" "TO THE COLUMBIA OFFICES IN NEW YORK, ALL IT TOOK WERE A FEW BARS OF "DON'T LET" "IN NEW YORK, ALL IT TOOK WERE A FEW BARS OF "DON'T LET YOUR DEAL GO DOWN" AND HE HAD" "A FEW BARS OF "DON'T LET YOUR DEAL GO DOWN" AND HE HAD A RECORDING CONTRACT." "YOUR DEAL GO DOWN" AND HE HAD A RECORDING CONTRACT." "Rorrer:" "THATFIRSTRECORD" "A RECORDING CONTRACT." "Rorrer:" "THATFIRSTRECORD SOLD 102,000 COPIES." "Rorrer:" "THATFIRSTRECORD SOLD 102,000 COPIES." "IT WAS RELEASED IN SEPTEMBER" "SOLD 102,000 COPIES." "IT WAS RELEASED IN SEPTEMBER 1925." "IT WAS RELEASED IN SEPTEMBER 1925." "NOW, WHAT YOU'VE GOT TO REMEMBER 1925." "NOW, WHAT YOU'VE GOT TO REMEMBER IS, AT THAT TIMEANY RECORD" "NOW, WHAT YOU'VE GOT TO REMEMBER IS, AT THAT TIMEANY RECORD THAT SOLD OVER 5,000 COPIES WAS" "IS, AT THAT TIMEANY RECORD THAT SOLD OVER 5,000 COPIES WAS CONSIDERED A HIT." "THAT SOLD OVER 5,000 COPIES WAS CONSIDERED A HIT." "ANYTHING THAT SOLD 20,000 " " AND" "CONSIDERED A HIT." "ANYTHING THAT SOLD 20,000 " " AND WE'RE TALKING ABOUT EVEN" "ANYTHING THAT SOLD 20,000 " " AND WE'RE TALKING ABOUT EVEN THE POP SINGERS " " IF IT SOLD" "WE'RE TALKING ABOUT EVEN THE POP SINGERS " " IF IT SOLD 20,000, IT WAS A MAJOR HIT." "THE POP SINGERS " " IF IT SOLD 20,000, IT WAS A MAJOR HIT." "WELL, FOR A COTTON MILL WORKER 20,000, IT WAS A MAJOR HIT." "WELL, FOR A COTTON MILL WORKER FROM SPRAY, NORTH CAROLINA, TO" "WELL, FOR A COTTON MILL WORKER FROM SPRAY, NORTH CAROLINA, TO COME IN AND RECORD A RECORD THAT" "FROM SPRAY, NORTH CAROLINA, TO COME IN AND RECORD A RECORD THAT SOLD 102,000 COPIES" "COME IN AND RECORD A RECORD THAT SOLD 102,000 COPIES WAS PHENOMENAL." "SOLD 102,000 COPIES WAS PHENOMENAL." "HEBECAMEUNBELIEVABLY" "WAS PHENOMENAL." "HEBECAMEUNBELIEVABLY POPULAR BECAUSE OF HIS ABILITY" "HEBECAMEUNBELIEVABLY POPULAR BECAUSE OF HIS ABILITY TO GIVE HIS AUDIENCE A SENSE" "POPULAR BECAUSE OF HIS ABILITY TO GIVE HIS AUDIENCE A SENSE THAT THEY WERE HEARING STUFF" "TO GIVE HIS AUDIENCE A SENSE THAT THEY WERE HEARING STUFF THAT WAS NEW AND NATTY AND" "THAT THEY WERE HEARING STUFF THAT WAS NEW AND NATTY AND EXCITING, BUT ALSO IN A TONALITY" "THAT WAS NEW AND NATTY AND EXCITING, BUT ALSO IN A TONALITY THAT WAS INCREDIBLY FAMILIAR." "EXCITING, BUT ALSO IN A TONALITY THAT WAS INCREDIBLY FAMILIAR." "[ SPINDLES CLICKING" "THAT WAS INCREDIBLY FAMILIAR." "[ SPINDLES CLICKING RHYTHMICALLY ]" "Rorrer:" "THENORTHCAROLINA RAMBLERS HAVE BEEN COMPARED TO LIKE A STRING ORCHESTRA." "RAMBLERS HAVE BEEN COMPARED TO LIKE A STRING ORCHESTRA." "THEIR MUSIC IS ALMOST LIKE" "LIKE A STRING ORCHESTRA." "THEIR MUSIC IS ALMOST LIKE A METRONOME." "THEIR MUSIC IS ALMOST LIKE A METRONOME." "THE CLICKING BACK AND FORTH." "A METRONOME." "THE CLICKING BACK AND FORTH." "THE TIMING IS IMPECCABLE." "THE CLICKING BACK AND FORTH." "THE TIMING IS IMPECCABLE." "IT'S LIKE A SPINDLE IN" "THE TIMING IS IMPECCABLE." "IT'S LIKE A SPINDLE IN THE LOOM FLYING BACK AND FORTH." "IT'S LIKE A SPINDLE IN THE LOOM FLYING BACK AND FORTH." "THE OLD LOOMS MAKE" "THE LOOM FLYING BACK AND FORTH." "THE OLD LOOMS MAKE A "CLICK-CLACK, CLICK-CLACK,"" "THE OLD LOOMS MAKE A "CLICK-CLACK, CLICK-CLACK," AS THE SPOOLS GO BACK AND FORTH," "A "CLICK-CLACK, CLICK-CLACK," AS THE SPOOLS GO BACK AND FORTH, THE YARN SHOOTS BACK AND FORTH" "AS THE SPOOLS GO BACK AND FORTH, THE YARN SHOOTS BACK AND FORTH LIKE OUT OF A CANNON." "AND YOU GET THIS KIND OF, YOU COULD PAT YOUR FEET TO THE SOUND, THE METRONOME" "YOU COULD PAT YOUR FEET TO THE SOUND, THE METRONOME SOUND THAT THE LOOMS ARE MAKING." "TO THE SOUND, THE METRONOME SOUND THAT THE LOOMS ARE MAKING." "I MEAN, EVERYTHING FLOWS AND" "SOUND THAT THE LOOMS ARE MAKING." "I MEAN, EVERYTHING FLOWS AND INTERLOCKS, ALMOST LIKE" "I MEAN, EVERYTHING FLOWS AND INTERLOCKS, ALMOST LIKE A DOVETAILING." "INTERLOCKS, ALMOST LIKE A DOVETAILING." "CHARLIE IS PICKING THE BANJO THE" "A DOVETAILING." "CHARLIE IS PICKING THE BANJO THE WAY ROY HARVEY IS PICKING" "CHARLIE IS PICKING THE BANJO THE WAY ROY HARVEY IS PICKING GUITAR, AND THEY'RE MAKING" "WAY ROY HARVEY IS PICKING GUITAR, AND THEY'RE MAKING BASICALLY THE SAME RUNS," "GUITAR, AND THEY'RE MAKING BASICALLY THE SAME RUNS, THESE BASS RUNS." "BASICALLY THE SAME RUNS, THESE BASS RUNS." "AND SO THEY'RE RIGHT TOGETHER." "THESE BASS RUNS." "AND SO THEY'RE RIGHT TOGETHER." "¶ BOOM-BOOM-BOOM-BOOM" "AND SO THEY'RE RIGHT TOGETHER." "¶ BOOM-BOOM-BOOM-BOOM AS THEY GO THROUGH THE RECORD." "SO,WHATYOUENDEDUPWITH WAS THIS BEAUTIFUL OVERLAP OF ARPEGGIATED CHORDS, CREATING" "WAS THIS BEAUTIFUL OVERLAP OF ARPEGGIATED CHORDS, CREATING A KIND OF LITTLE CHAMBER TRIO." "ARPEGGIATED CHORDS, CREATING A KIND OF LITTLE CHAMBER TRIO." "Martin:" "CHARLIE'SNEW" "A KIND OF LITTLE CHAMBER TRIO." "Martin:" "CHARLIE'SNEW CONTRACT WITH COLUMBIA GAVE HIM" "Martin:" "CHARLIE'SNEW CONTRACT WITH COLUMBIA GAVE HIM THE MONEY TO BUY ONE OF THE NEW" "CONTRACT WITH COLUMBIA GAVE HIM THE MONEY TO BUY ONE OF THE NEW GIBSON RB4 MASTERTONES, ONE OF" "THE MONEY TO BUY ONE OF THE NEW GIBSON RB4 MASTERTONES, ONE OF THE MOST COVETED BANJOS" "GIBSON RB4 MASTERTONES, ONE OF THE MOST COVETED BANJOS OF THE TIME." "THE MOST COVETED BANJOS OF THE TIME." "BUT INSTEAD OF GIVING POSEY HIS" "OF THE TIME." "BUT INSTEAD OF GIVING POSEY HIS SHARE OF THE MONEY, CHARLIE" "BUT INSTEAD OF GIVING POSEY HIS SHARE OF THE MONEY, CHARLIE APPARENTLY DRANK UP THE REST" "SHARE OF THE MONEY, CHARLIE APPARENTLY DRANK UP THE REST OF THEIR ROYALTY PAYMENTS." "APPARENTLY DRANK UP THE REST OF THEIR ROYALTY PAYMENTS." "THE FALLING OUT DESTROYED" "OF THEIR ROYALTY PAYMENTS." "THE FALLING OUT DESTROYED THEIR MUSICAL PARTNERSHIP AND" "THE FALLING OUT DESTROYED THEIR MUSICAL PARTNERSHIP AND THE TWO NEVER SPOKE AGAIN." "THEIR MUSICAL PARTNERSHIP AND THE TWO NEVER SPOKE AGAIN." "BY 1930, THE DEPRESSION WAS" "THE TWO NEVER SPOKE AGAIN." "BY 1930, THE DEPRESSION WAS HAVING A DEVASTATING EFFECT" "BY 1930, THE DEPRESSION WAS HAVING A DEVASTATING EFFECT ON THE RURAL SOUTH." "HAVING A DEVASTATING EFFECT ON THE RURAL SOUTH." "RECORD SALES PLUNGED." "ON THE RURAL SOUTH." "RECORD SALES PLUNGED." "AND AFTER A FINAL RECORDING" "RECORD SALES PLUNGED." "AND AFTER A FINAL RECORDING SESSION IN NEW YORK, COLUMBIA" "AND AFTER A FINAL RECORDING SESSION IN NEW YORK, COLUMBIA DROPPED THE NORTH CAROLINA" "SESSION IN NEW YORK, COLUMBIA DROPPED THE NORTH CAROLINA RAMBLERS FROM ITS ROSTER." "DROPPED THE NORTH CAROLINA RAMBLERS FROM ITS ROSTER." "SOCHARLIE'SCAREERSEEMEDTO" "RAMBLERS FROM ITS ROSTER." "SOCHARLIE'SCAREERSEEMEDTO BE KIND OF A DEAD END." "SOCHARLIE'SCAREERSEEMEDTO BE KIND OF A DEAD END." "IN FACT, THINGS HAD GOTTEN SO" "BE KIND OF A DEAD END." "IN FACT, THINGS HAD GOTTEN SO DIFFICULT FOR HIM, HE WENT BACK" "IN FACT, THINGS HAD GOTTEN SO DIFFICULT FOR HIM, HE WENT BACK TO THE MILLS TO WORK." "DIFFICULT FOR HIM, HE WENT BACK TO THE MILLS TO WORK." "FOR A FEW MONTHS, HE'D BE CLEAN," "TO THE MILLS TO WORK." "FOR A FEW MONTHS, HE'D BE CLEAN, HE'D BE SOBER, AND HE'D WORK." "Martin:" "WITHTHECOMINGOF SOUND, HOLLYWOOD BEGAN CALLING ON POP MUSIC STARS IN EVERY" "SOUND, HOLLYWOOD BEGAN CALLING ON POP MUSIC STARS IN EVERY GENRE TO MAKE SHORT SOUND FILMS." "HELLO,FOLKS." "HOW 'BOUT A COUPLE OF GOOD OLD" "BANJO NUMBERS?" "WHAT WOULD YOU LIKE TO HEAR?" ""OH,SUSANNA!"" "[ PLAYING "OH, SUSANNA!" ] Rorrer:" "INFEBRUARYOF1931 , HE GOT A LETTER FROM A MOVIE" "Rorrer:" "INFEBRUARYOF1931 , HE GOT A LETTER FROM A MOVIE COMPANY." "HE GOT A LETTER FROM A MOVIE COMPANY." "THEY SENT HIM THE TRAIN TICKETS" "COMPANY." "THEY SENT HIM THE TRAIN TICKETS AND THE CONTRACT TO COME TO" "THEY SENT HIM THE TRAIN TICKETS AND THE CONTRACT TO COME TO HOLLYWOOD AND PLAY BACKUP" "AND THE CONTRACT TO COME TO HOLLYWOOD AND PLAY BACKUP IN A MOVIE." "HOLLYWOOD AND PLAY BACKUP IN A MOVIE." "Martin:" "ONCEAGAIN,CHARLIE'S" "IN A MOVIE." "Martin:" "ONCEAGAIN,CHARLIE'S MUSIC BECAME HIS TICKET OUT" "Martin:" "ONCEAGAIN,CHARLIE'S MUSIC BECAME HIS TICKET OUT OF THE MILLS, SO HE CELEBRATED" "MUSIC BECAME HIS TICKET OUT OF THE MILLS, SO HE CELEBRATED BY EMBARKING ON AN EPIC BINGE" "OF THE MILLS, SO HE CELEBRATED BY EMBARKING ON AN EPIC BINGE OF DRINKING AND RAMBLING." "13 WEEKS LATER, HE WAS BACK IN SPRAY, WANDERING THE STREETS AND DRINKING FROM A FLASK" "IN SPRAY, WANDERING THE STREETS AND DRINKING FROM A FLASK OF RAW ALCOHOL." "AND DRINKING FROM A FLASK OF RAW ALCOHOL." "HE COLLAPSED ON HIS SISTER'S" "OF RAW ALCOHOL." "HE COLLAPSED ON HIS SISTER'S PORCH AND DIED THAT EVENING," "HE COLLAPSED ON HIS SISTER'S PORCH AND DIED THAT EVENING, THE TRAIN TICKETS TO HOLLYWOOD" "PORCH AND DIED THAT EVENING, THE TRAIN TICKETS TO HOLLYWOOD STILL PROPPED ON HIS DRESSER." "THE TRAIN TICKETS TO HOLLYWOOD STILL PROPPED ON HIS DRESSER." "HE WAS 39 YEARS OLD." "Rorrer:" "WHENTHEYGOT WORD THAT CHARLIE HAD DIED, POSEY'S IMMEDIATE REACTION WAS," "THAT CHARLIE HAD DIED, POSEY'S IMMEDIATE REACTION WAS, "IT'S A SHAME A MAN LIKE THAT" "POSEY'S IMMEDIATE REACTION WAS, "IT'S A SHAME A MAN LIKE THAT WOULD DRINK HIMSELF TO DEATH."" "FIVE YEARS LATER, POSEY HAD DONE" "THE SAME THING, HE DRANK HIMSELF" "TO DEATH." "Sapoznik:" "WENOWCAN STEP BACK AND SEE EVERYTHING HE DID AND SAY, "OH, MY GOD, HE WAS" "BACK AND SEE EVERYTHING HE DID AND SAY, "OH, MY GOD, HE WAS ANTICIPATING STUFF."" "AND SAY, "OH, MY GOD, HE WAS ANTICIPATING STUFF." HE'S DOING SOMETHING THAT IS" "ANTICIPATING STUFF." HE'S DOING SOMETHING THAT IS THE DNA OF BLUEGRASS BANJO." "HE'S DOING SOMETHING THAT IS THE DNA OF BLUEGRASS BANJO." "SO THOSE RECORDS WERE INCREDIBLY" "THE DNA OF BLUEGRASS BANJO." "SO THOSE RECORDS WERE INCREDIBLY IMPORTANT WAY BEYOND THE MOMENT." "SO THOSE RECORDS WERE INCREDIBLY IMPORTANT WAY BEYOND THE MOMENT." "THOSE BECAME THE TEMPLATE" "IMPORTANT WAY BEYOND THE MOMENT." "THOSE BECAME THE TEMPLATE FOR ALL THIS FUTURE PLAYING." "THOSE BECAME THE TEMPLATE FOR ALL THIS FUTURE PLAYING." "POOLEACHIEVEDNEARLEGENDARY" "FOR ALL THIS FUTURE PLAYING." "POOLEACHIEVEDNEARLEGENDARY STATUS AS THE HARD-LIVING," "POOLEACHIEVEDNEARLEGENDARY STATUS AS THE HARD-LIVING, HELL-RAISING" "STATUS AS THE HARD-LIVING, HELL-RAISING "MILLBILLY" SONGSTER," "HELL-RAISING "MILLBILLY" SONGSTER, THE PROTOTYPICAL COUNTRY MUSIC" ""MILLBILLY" SONGSTER, THE PROTOTYPICAL COUNTRY MUSIC STAR." "THE PROTOTYPICAL COUNTRY MUSIC STAR." "THE CRISP ROLLING SOUND OF" "STAR." "THE CRISP ROLLING SOUND OF POOLE'S BANJO AS THE DRIVING" "THE CRISP ROLLING SOUND OF POOLE'S BANJO AS THE DRIVING FORCE OF A TIGHT STRING BAND" "POOLE'S BANJO AS THE DRIVING FORCE OF A TIGHT STRING BAND TRANSFORMED THE LOCAL FOLK STYLE" "FORCE OF A TIGHT STRING BAND TRANSFORMED THE LOCAL FOLK STYLE AND LAID THE FOUNDATION FOR" "TRANSFORMED THE LOCAL FOLK STYLE AND LAID THE FOUNDATION FOR A NEW GENRE OF POPULAR MUSIC" "AND LAID THE FOUNDATION FOR A NEW GENRE OF POPULAR MUSIC THAT WOULD COME TO BE KNOWN" "A NEW GENRE OF POPULAR MUSIC THAT WOULD COME TO BE KNOWN AS "BLUEGRASS."" "MYSTORYAS ACOLLECTOR STARTED AT A YOUNG AGE." "I'D BEEN COLLECTING OBJECTS" "STARTED AT A YOUNG AGE." "I'D BEEN COLLECTING OBJECTS SINCE I WAS 4 OR 5 YEARS OLD." "I'D BEEN COLLECTING OBJECTS SINCE I WAS 4 OR 5 YEARS OLD." "I HAVE THIS DEFECTIVE COLLECTING" "SINCE I WAS 4 OR 5 YEARS OLD." "I HAVE THIS DEFECTIVE COLLECTING GENE THAT'S BEEN WITH ME" "I HAVE THIS DEFECTIVE COLLECTING GENE THAT'S BEEN WITH ME MY WHOLE LIFE." "GENE THAT'S BEEN WITH ME MY WHOLE LIFE." "THESE INSTRUMENTS WERE MADE" "MY WHOLE LIFE." "THESE INSTRUMENTS WERE MADE PRIMARILY NOT TO BE PLAYED" "BUT THEY WERE MADE AS DESIGN" "EXERCISES TO BE USED" "IN EXHIBITIONS." "THE COMPANIES VIED AT VARIOUS" "MECHANICS FAIRS AND EXHIBITIONS" "FOR PRIZES AND THEY WOULD USE" "THEIR GOLD MEDALS IN" "THEIR ADVERTISING." "WELL, THESE PARTICULAR INSTRUMENTS, I THINK THEY SORT OF CHARACTERIZE VICTORIAN" "INSTRUMENTS, I THINK THEY SORT OF CHARACTERIZE VICTORIAN EXCESS." "OF CHARACTERIZE VICTORIAN EXCESS." "VERY FANCY, NEOCLASSICAL DESIGN." "EXCESS." "VERY FANCY, NEOCLASSICAL DESIGN." "I COLLECTED OBJECTS." "VERY FANCY, NEOCLASSICAL DESIGN." "I COLLECTED OBJECTS." "I BOUGHT A FEW BANJOS, AND" "I COLLECTED OBJECTS." "I BOUGHT A FEW BANJOS, AND SUDDENLY I WAS A COLLECTOR AND" "I BOUGHT A FEW BANJOS, AND SUDDENLY I WAS A COLLECTOR AND FOUND THAT THERE WAS SUCH" "SUDDENLY I WAS A COLLECTOR AND FOUND THAT THERE WAS SUCH AN INCREDIBLE VARIETY OF" "FOUND THAT THERE WAS SUCH AN INCREDIBLE VARIETY OF INSTRUMENTS, AND SOME OF THEM" "AN INCREDIBLE VARIETY OF INSTRUMENTS, AND SOME OF THEM WERE SO BEAUTIFUL ESTHETICALLY" "INSTRUMENTS, AND SOME OF THEM WERE SO BEAUTIFUL ESTHETICALLY THAT I DECIDED THAT THAT'S WHAT" "WERE SO BEAUTIFUL ESTHETICALLY THAT I DECIDED THAT THAT'S WHAT I WANTED TO DO WITH MY LIFE," "THAT I DECIDED THAT THAT'S WHAT I WANTED TO DO WITH MY LIFE, IS LEARN MORE ABOUT THEM." "I WANTED TO DO WITH MY LIFE, IS LEARN MORE ABOUT THEM." "I'VE NEVER LOST MY PASSION FOR" "IS LEARN MORE ABOUT THEM." "I'VE NEVER LOST MY PASSION FOR INSTRUMENTS AND I STILL GET," "I'VE NEVER LOST MY PASSION FOR INSTRUMENTS AND I STILL GET, I THINK, JUST AS EXCITED OVER" "INSTRUMENTS AND I STILL GET, I THINK, JUST AS EXCITED OVER A RARE INSTRUMENT TURNING UP AS" "I THINK, JUST AS EXCITED OVER A RARE INSTRUMENT TURNING UP AS I DID 30 OR 40 YEARS AGO." "¶OH,HADIAGOLDENTHREAD  AND NEEDLE SO FINE ¶" "¶ I'D WEAVE A MAGIC STRAND OF RAINBOW DESIGN ¶ THISBANJOCANDOTHINGS" "OF RAINBOW DESIGN ¶ THISBANJOCANDOTHINGS WHICH A GUITAR CAN'T DO." "THISBANJOCANDOTHINGS WHICH A GUITAR CAN'T DO." "YOU CAN GET THESE NEEDLE POINTS" "WHICH A GUITAR CAN'T DO." "YOU CAN GET THESE NEEDLE POINTS OF TONE." "YOU CAN GET THESE NEEDLE POINTS OF TONE." "NEEDLE POINTS ARE LIKE" "OF TONE." "NEEDLE POINTS ARE LIKE A STAR IN THE SKY." "YOU KNOW, THERE'S THOUSANDS OF" "STARS UP THERE, BUT YOU CAN PICK" "OUT A CONSTELLATION AMONG THEM," "SO HERE YOU'RE HEARING A LOT OF" "NOTES, BUT SOMEHOW THERE'S" "A MELODY THERE, TOO." "Martin:" "A LONG,TALLYANKEE WITH HIS LONG-NECK BANJO, ALWAYS CLAIMED THAT HE WAS MORE" "WITH HIS LONG-NECK BANJO, ALWAYS CLAIMED THAT HE WAS MORE CONCERNED WITH DOING GOOD" "CLAIMED THAT HE WAS MORE CONCERNED WITH DOING GOOD THAN PLAYING GOOD, BUT HE COULD" "CONCERNED WITH DOING GOOD THAN PLAYING GOOD, BUT HE COULD STILL PICK A MEAN BANJO." "INSPIRED BY THE MUSIC HE HEARD ON THE FIELD RECORDINGS OF JOHN AND ALAN LOMAX, PETE" "ON THE FIELD RECORDINGS OF JOHN AND ALAN LOMAX, PETE EAGERLY ACCOMPANIED HIS FATHER," "JOHN AND ALAN LOMAX, PETE EAGERLY ACCOMPANIED HIS FATHER, CHARLES, ON A ROAD TRIP SOUTH" "EAGERLY ACCOMPANIED HIS FATHER, CHARLES, ON A ROAD TRIP SOUTH TO HEAR REAL MOUNTAIN MUSIC." "CHARLES, ON A ROAD TRIP SOUTH TO HEAR REAL MOUNTAIN MUSIC." "¶BYE-BYE,BYE-BYE" "TO HEAR REAL MOUNTAIN MUSIC." "¶BYE-BYE,BYE-BYE BYE-BYE ¶" "¶BYE-BYE,BYE-BYE BYE-BYE ¶ ¶ BYE-BYE, MY WOMAN, I'M GONE" "BYE-BYE ¶ ¶ BYE-BYE, MY WOMAN, I'M GONE BYE-BYE, MY WOMAN, I'M GONE ¶" "¶ BYE-BYE, MY WOMAN, I'M GONE BYE-BYE, MY WOMAN, I'M GONE ¶ Martin:" "INTHESUMMEROF" "BYE-BYE, MY WOMAN, I'M GONE ¶ Martin:" "INTHESUMMEROF 1936, PETE SEEGER SAW" "Martin:" "INTHESUMMEROF 1936, PETE SEEGER SAW THE FIVE-STRING BANJO PLAYED 1936, PETE SEEGER SAW THE FIVE-STRING BANJO PLAYED FOR THE FIRST TIME AT" "THE FIVE-STRING BANJO PLAYED FOR THE FIRST TIME AT THE NINTH ANNUAL FOLK SONG AND" "FOR THE FIRST TIME AT THE NINTH ANNUAL FOLK SONG AND DANCE FESTIVAL IN ASHEVILLE," "THE NINTH ANNUAL FOLK SONG AND DANCE FESTIVAL IN ASHEVILLE, NORTH CAROLINA." "DANCE FESTIVAL IN ASHEVILLE, NORTH CAROLINA." "THE SYMBOLIC CONNECTION BETWEEN" "NORTH CAROLINA." "THE SYMBOLIC CONNECTION BETWEEN THE BANJO, THE PEOPLE WHO PLAYED" "THE SYMBOLIC CONNECTION BETWEEN THE BANJO, THE PEOPLE WHO PLAYED IT AND THE SONGS THEY PLAYED" "THE BANJO, THE PEOPLE WHO PLAYED IT AND THE SONGS THEY PLAYED LEFT A LASTING IMPRESSION." "THE FESTIVAL WAS THE BRAINCHILD OF A COUNTRY LAWYER AND MUSICIAN" "NAMED BASCOM LAMAR LUNSFORD, WHO" "MADE IT HIS MISSION TO SAVE" "THE OLD MOUNTAIN MUSIC" "AND FOLKWAYS." "HEHADAGREATBIGSTAGE" "IN THE LOCAL BASEBALL PARK." "ABOUT 2,000, 3,000 PEOPLE WERE THERE." "AND HE'D GET A STRING BAND" "THERE." "AND HE'D GET A STRING BAND PLAYING ON STAGE RIGHT, AND HE" "AND HE'D GET A STRING BAND PLAYING ON STAGE RIGHT, AND HE SAID, "NOW, YOU'RE ALL IN TUNE" "PLAYING ON STAGE RIGHT, AND HE SAID, "NOW, YOU'RE ALL IN TUNE WITH EACH OTHER AND YOU KNOW" "SAID, "NOW, YOU'RE ALL IN TUNE WITH EACH OTHER AND YOU KNOW WHAT YOU'RE GONNA DO, AND WHEN" "WITH EACH OTHER AND YOU KNOW WHAT YOU'RE GONNA DO, AND WHEN THE LIGHT COMES ON," "WHAT YOU'RE GONNA DO, AND WHEN THE LIGHT COMES ON, YOU START PLAYING."" "THE LIGHT COMES ON, YOU START PLAYING." BASCOMLAMARLUNSFORDWAS" "YOU START PLAYING." BASCOMLAMARLUNSFORDWAS  A VERY SAVVY CHARACTER AND WAS" "BASCOMLAMARLUNSFORDWAS  A VERY SAVVY CHARACTER AND WAS COMMODIFYING THE CULTURE" "FOR EASY CONSUMPTION, AND THAT" "MADE IT VERY SIMPLE FOR" "PETE SEEGER TO COME DOWN AND" "FEEL THAT HE HAD PLUGGED" "INTO THIS." "Martin:" "PETETRANSFORMED HIMSELF INTO THE JOHNNY APPLESEED OF FOLK MUSIC." "HIMSELF INTO THE JOHNNY APPLESEED OF FOLK MUSIC." "THE INSTRUMENT HE CHOSE AS" "JOHNNY APPLESEED OF FOLK MUSIC." "THE INSTRUMENT HE CHOSE AS HIS PLANTING TOOL WAS" "THE INSTRUMENT HE CHOSE AS HIS PLANTING TOOL WAS THE EMBODIMENT OF HIS POLITICAL" "HIS PLANTING TOOL WAS THE EMBODIMENT OF HIS POLITICAL MESSAGE." "THE EMBODIMENT OF HIS POLITICAL MESSAGE." "HE FOUND FERTILE GROUND AMONG" "MESSAGE." "HE FOUND FERTILE GROUND AMONG YOUNG URBAN AUDIENCES." "HE FOUND FERTILE GROUND AMONG YOUNG URBAN AUDIENCES." "ITWASAN ASTOUNDINGTIMEOF" "YOUNG URBAN AUDIENCES." "ITWASAN ASTOUNDINGTIMEOF SELF-INVENTION." "ITWASAN ASTOUNDINGTIMEOF SELF-INVENTION." "THE IDEA OF BRINGING THE" "SELF-INVENTION." "THE IDEA OF BRINGING THE SOUTHERN CULTURE TO THE URBAN" "THE IDEA OF BRINGING THE SOUTHERN CULTURE TO THE URBAN SETTING SET IN MOTION" "SOUTHERN CULTURE TO THE URBAN SETTING SET IN MOTION A CONTINUITY THAT IS" "SETTING SET IN MOTION A CONTINUITY THAT IS UNBROKEN TO TODAY." "HELLOTHERE,PETER." "HOWDY." "MIGHTYNICEMUSIC" "YOU'RE MAKING, PETE." "OH,I 'MJUSTWARMINGUP." "WHAT'STHATFUNNY-LOOKING" "GUITAR YOU'RE PLAYING?" "OH,THISISN'TAGUITAR." "THIS IS A BANJO." "TELLME," "IS THE BANJO SOMETHING NEW?" "NEW?" "ABOUTAS NEW" "AS AMERICA IS." "Martin:" "INPETE'SHANDS, THE FIVE-STRING BANJO TOOK ON NEW MEANING AND NEW USES." "THE FIVE-STRING BANJO TOOK ON NEW MEANING AND NEW USES." "IT BECAME A METAPHOR FOR" "NEW MEANING AND NEW USES." "IT BECAME A METAPHOR FOR THE RURAL WORKING CLASS AND" "IT BECAME A METAPHOR FOR THE RURAL WORKING CLASS AND A TOOL FOR EXPRESSING THE" "THE RURAL WORKING CLASS AND A TOOL FOR EXPRESSING THE PLIGHT OF THE UNDERDOG." "A TOOL FOR EXPRESSING THE PLIGHT OF THE UNDERDOG." "PETE'S BANJO RANG OUT AT" "PLIGHT OF THE UNDERDOG." "PETE'S BANJO RANG OUT AT UNION RALLIES AND LEFT-WING" "PETE'S BANJO RANG OUT AT UNION RALLIES AND LEFT-WING HOOTENANNIES AS HE PLAYED WITH" "UNION RALLIES AND LEFT-WING HOOTENANNIES AS HE PLAYED WITH THE ALMANAC SINGERS." "HOOTENANNIES AS HE PLAYED WITH THE ALMANAC SINGERS." "IDON'TWANT" "THE ALMANAC SINGERS." "IDON'TWANT YOUR MILLIONS, MISTER ¶" "IDON'TWANT YOUR MILLIONS, MISTER ¶ ¶ I DON'T WANT" "YOUR MILLIONS, MISTER ¶ ¶ I DON'T WANT YOUR DIAMOND RING ¶" "¶ I DON'T WANT YOUR DIAMOND RING ¶ ¶ ALL I WANT" "YOUR DIAMOND RING ¶ ¶ ALL I WANT IS THE RIGHT TO LIVE, MISTER ¶" "¶ ALL I WANT IS THE RIGHT TO LIVE, MISTER ¶ ¶ GIVE ME BACK" "IS THE RIGHT TO LIVE, MISTER ¶ ¶ GIVE ME BACK MY JOB AGAIN ¶" "¶ GIVE ME BACK MY JOB AGAIN ¶ Martin:" "ATABENEFITFOR" "MY JOB AGAIN ¶ Martin:" "ATABENEFITFOR FARM WORKERS, PETE MET" "Martin:" "ATABENEFITFOR FARM WORKERS, PETE MET AN INSPIRATIONAL HILLBILLY" "FARM WORKERS, PETE MET AN INSPIRATIONAL HILLBILLY SONGWRITER NAMED WOODY GUTHRIE," "AN INSPIRATIONAL HILLBILLY SONGWRITER NAMED WOODY GUTHRIE, WHO SOON JOINED THE ALMANACS." "SONGWRITER NAMED WOODY GUTHRIE, WHO SOON JOINED THE ALMANACS." "HITCHHIKING AND HOBOING ACROSS" "WHO SOON JOINED THE ALMANACS." "HITCHHIKING AND HOBOING ACROSS COUNTRY WITH WOODY, PETE LEARNED" "HITCHHIKING AND HOBOING ACROSS COUNTRY WITH WOODY, PETE LEARNED THAT ANYTHING WORTH STRUGGLING" "COUNTRY WITH WOODY, PETE LEARNED THAT ANYTHING WORTH STRUGGLING FOR WAS WORTH SINGING ABOUT." "THAT ANYTHING WORTH STRUGGLING FOR WAS WORTH SINGING ABOUT." "IT WAS A VALUABLE LESSON ABOUT" "FOR WAS WORTH SINGING ABOUT." "IT WAS A VALUABLE LESSON ABOUT THE PURPOSE AND POWER OF" "IT WAS A VALUABLE LESSON ABOUT THE PURPOSE AND POWER OF FOLK SONGS." "IDIDN'TREALLYKNOWHOW TO PLAY THE BANJO, TILL I SPENT FOUR MONTHS IN" "TO PLAY THE BANJO, TILL I SPENT FOUR MONTHS IN THE SOUTH HITCHHIKING AROUND." "EVERY TIME I RAN INTO" "A BANJO PICKER," "I'D WATCH CLOSELY." "AND TRY AND FIGURE OUT" "WHAT HE WAS DOING." "AND THAT'S WHEN I FOUND OUT" "ABOUT FRAILING." "Martin:" "FORTHEMINSTRELWITH" "A MISSION, FOLK MUSIC WAS NOT" "JUST ABOUT COLLECTING OLD SONGS," "BUT CREATING AND SPREADING" "NEW ONES BY EVERY AVAILABLE" "MEANS." "FIRSTI 'LLASSUMETHATYOU  KNOW HOW TO TUNE A BANJO." "[ TUNING ]" "KNOW HOW TO TUNE A BANJO." "[ TUNING ] Martin:" "IN1948,HEWROTE" "[ TUNING ] Martin:" "IN1948,HEWROTE A PIONEERING BANJO MANUAL." "Martin:" "IN1948,HEWROTE A PIONEERING BANJO MANUAL." "AND LATER IN THE '50s, FOLLOWED" "A PIONEERING BANJO MANUAL." "AND LATER IN THE '50s, FOLLOWED IT WITH AN INSTRUCTIONAL LP" "AND LATER IN THE '50s, FOLLOWED IT WITH AN INSTRUCTIONAL LP AND EVEN A 16-MILLIMETER" "IT WITH AN INSTRUCTIONAL LP AND EVEN A 16-MILLIMETER FILM LOOP." "NOW,PLACETHEFINGERSOF YOUR LEFT HAND FIRMLY SO." "AND THAT SHOULD MAKE A C CHORD." "I REALIZED I WANTED TO TEACH PEOPLE DIFFERENT WAYS OF PLAYING IT." "PEOPLE DIFFERENT WAYS OF PLAYING IT." "SOMETIMES YOU KIND OF STRUM IT." "PLAYING IT." "SOMETIMES YOU KIND OF STRUM IT." "THAT'S WHERE I SAID," "SOMETIMES YOU KIND OF STRUM IT." "THAT'S WHERE I SAID, GET "BUMP-DITTY."" "AND THEN I SHOWED HOW YOU GET" "AN EXTRA NOTE WITH YOUR" "LEFT HAND." "I CALLED IT "HAMMERING ON." DIDYOUINVENTTHATTERM ?" "IINVENTEDTHATWORD." "DIDYOUINVENTTHATTERM ?" "IINVENTEDTHATWORD." "IT'S USED THROUGHOUT THE ENTIRE" "IINVENTEDTHATWORD." "IT'S USED THROUGHOUT THE ENTIRE ENGLISH-SPEAKING WORLD" "IT'S USED THROUGHOUT THE ENTIRE ENGLISH-SPEAKING WORLD BY GUITAR PICKERS NOW." "ENGLISH-SPEAKING WORLD BY GUITAR PICKERS NOW." "IF YOU COME DOWN ON A STRING," "BY GUITAR PICKERS NOW." "IF YOU COME DOWN ON A STRING, GET A NOTE WITH YOUR LEFT HAND," "IF YOU COME DOWN ON A STRING, GET A NOTE WITH YOUR LEFT HAND, IT'S CALLED "HAMMERING ON."" "GET A NOTE WITH YOUR LEFT HAND, IT'S CALLED "HAMMERING ON." AND I INVENTED THE WORD" "IT'S CALLED "HAMMERING ON." AND I INVENTED THE WORD "PULLING OFF."" "AND I INVENTED THE WORD "PULLING OFF." MY MOTHER SAID, "THAT'S CALLED" ""PULLING OFF." MY MOTHER SAID, "THAT'S CALLED LEFT-HAND PIZZICATO."" "MY MOTHER SAID, "THAT'S CALLED LEFT-HAND PIZZICATO." THAT'S WHAT VIOLINISTS CALL IT." "LEFT-HAND PIZZICATO." THAT'S WHAT VIOLINISTS CALL IT." "I SAID, "EH, I CALL IT" "THAT'S WHAT VIOLINISTS CALL IT." "I SAID, "EH, I CALL IT 'PULLING OFF.'"" "I SAID, "EH, I CALL IT 'PULLING OFF.'" Martin:" "FORAGENERATION" "'PULLING OFF.'" Martin:" "FORAGENERATION GROWING UP IN THE '50s," "Martin:" "FORAGENERATION GROWING UP IN THE '50s, MYSELF INCLUDED, PETE'S" "GROWING UP IN THE '50s, MYSELF INCLUDED, PETE'S HOMEMADE MANUAL WAS" "MYSELF INCLUDED, PETE'S HOMEMADE MANUAL WAS AN OPEN SESAME TO A NEW WORLD" "HOMEMADE MANUAL WAS AN OPEN SESAME TO A NEW WORLD OF MUSICAL POSSIBILITIES." "CHILDREN,GO" "WHERE I SEND THEE ¶" "¶ HOW SHALL I SEND THEE?" "GUESSWHOBOUGHTONE OF THOSE COPIES?" "A STUDENT AT STANFORD" "THOSE COPIES?" "A STUDENT AT STANFORD NAMED DAVE GUARD." "A STUDENT AT STANFORD NAMED DAVE GUARD." "AND A YEAR LATER, I GET" "NAMED DAVE GUARD." "AND A YEAR LATER, I GET A LETTER." "AND A YEAR LATER, I GET A LETTER." ""PETE, I'VE BEEN PUTTING THAT" "A LETTER." ""PETE, I'VE BEEN PUTTING THAT BOOK TO HARD USE." ""PETE, I'VE BEEN PUTTING THAT BOOK TO HARD USE." "I AND TWO OTHERS HAVE A GROUP" "BOOK TO HARD USE." "I AND TWO OTHERS HAVE A GROUP WE CALL THE KINGSTON TRIO."" "I AND TWO OTHERS HAVE A GROUP WE CALL THE KINGSTON TRIO." ¶ONEFORTHE" "WE CALL THE KINGSTON TRIO." ¶ONEFORTHE  LITTLE-BITTY BABY ¶" "¶ONEFORTHE  LITTLE-BITTY BABY ¶ SO,LIKEIT OR NOT,YOU 'VE" "LITTLE-BITTY BABY ¶ SO,LIKEIT OR NOT,YOU 'VE INFLUENCED A WHOLE GENERATION" "SO,LIKEIT OR NOT,YOU 'VE INFLUENCED A WHOLE GENERATION OR TWO OF BANJO PLAYERS," "INFLUENCED A WHOLE GENERATION OR TWO OF BANJO PLAYERS, I GUESS." "OR TWO OF BANJO PLAYERS, I GUESS." "ITWASTHEMOSTIMPORTANT" "I GUESS." "ITWASTHEMOSTIMPORTANT THING I'D EVER DID IN MY LIFE," "ITWASTHEMOSTIMPORTANT THING I'D EVER DID IN MY LIFE, WAS WHAT I DID IN THE '50s." "THING I'D EVER DID IN MY LIFE, WAS WHAT I DID IN THE '50s." "I COULD HAVE KICKED THE BUCKET" "WAS WHAT I DID IN THE '50s." "I COULD HAVE KICKED THE BUCKET IN 1960, AND MY MAIN WORK ON" "I COULD HAVE KICKED THE BUCKET IN 1960, AND MY MAIN WORK ON THIS WORLD HAD BEEN DONE." "IN 1960, AND MY MAIN WORK ON THIS WORLD HAD BEEN DONE." "NOW,IFYOUHAD PATIENCE" "THIS WORLD HAD BEEN DONE." "NOW,IFYOUHAD PATIENCE TO SIT THROUGH 25 MINUTES OF" "NOW,IFYOUHAD PATIENCE TO SIT THROUGH 25 MINUTES OF THIS BANJO AND ME, I GUESS YOU" "TO SIT THROUGH 25 MINUTES OF THIS BANJO AND ME, I GUESS YOU MUST REALLY WANT TO LEARN HOW TO" "THIS BANJO AND ME, I GUESS YOU MUST REALLY WANT TO LEARN HOW TO PLAY THE INSTRUMENT." "¶ZENA,ZENA,ZENA,ZENA  CAN'T YOU HEAR THE MUSIC PLAYING IN THE CITY SQUARE?" "¶" "CAN'T YOU HEAR THE MUSIC PLAYING IN THE CITY SQUARE?" "¶ Martin:" "BETWEEN1950AND" "IN THE CITY SQUARE?" "¶ Martin:" "BETWEEN1950AND  1952, PETE SEEGER AND HIS" "Martin:" "BETWEEN1950AND  1952, PETE SEEGER AND HIS BANDMATES IN THE WEAVERS SOLD 1952, PETE SEEGER AND HIS BANDMATES IN THE WEAVERS SOLD OVER 4 MILLION RECORDS WITH" "BANDMATES IN THE WEAVERS SOLD OVER 4 MILLION RECORDS WITH THEIR INTERPRETATIONS OF" "OVER 4 MILLION RECORDS WITH THEIR INTERPRETATIONS OF FOLK SONGS LIKE" "THEIR INTERPRETATIONS OF FOLK SONGS LIKE "GOOD NIGHT, IRENE,"" "FOLK SONGS LIKE "GOOD NIGHT, IRENE," "ZENA ZENA," AND" ""GOOD NIGHT, IRENE," "ZENA ZENA," AND "KISSES SWEETER THAN WINE."" ""ZENA ZENA," AND "KISSES SWEETER THAN WINE." IT SHOULD HAVE BEEN A TRIUMPHANT" ""KISSES SWEETER THAN WINE." IT SHOULD HAVE BEEN A TRIUMPHANT TIME FOR THEM." "IT SHOULD HAVE BEEN A TRIUMPHANT TIME FOR THEM." "WHILE THE WEAVERS' COMMERCIAL" "TIME FOR THEM." "WHILE THE WEAVERS' COMMERCIAL SUCCESS SPARKED MAINSTREAM" "WHILE THE WEAVERS' COMMERCIAL SUCCESS SPARKED MAINSTREAM INTEREST IN FOLK MUSIC, THEIR" "SUCCESS SPARKED MAINSTREAM INTEREST IN FOLK MUSIC, THEIR POLITICAL CAUSES AND PAST" "INTEREST IN FOLK MUSIC, THEIR POLITICAL CAUSES AND PAST ASSOCIATIONS DREW THE ATTENTION" "POLITICAL CAUSES AND PAST ASSOCIATIONS DREW THE ATTENTION OF THE HOUSE UN-AMERICAN" "ASSOCIATIONS DREW THE ATTENTION OF THE HOUSE UN-AMERICAN ACTIVITIES COMMITTEE." "OF THE HOUSE UN-AMERICAN ACTIVITIES COMMITTEE." "WEFINDIN SOMEOFOUR" "ACTIVITIES COMMITTEE." "WEFINDIN SOMEOFOUR LONG-PLAYING ALBUMS" "WEFINDIN SOMEOFOUR LONG-PLAYING ALBUMS SUCH MUSICAL COMBINATIONS AS" "LONG-PLAYING ALBUMS SUCH MUSICAL COMBINATIONS AS THE WEAVERS." "SUCH MUSICAL COMBINATIONS AS THE WEAVERS." "THIS PARTICULAR ALBUM," "THE WEAVERS." "THIS PARTICULAR ALBUM, "THE WEAVERS ON TOUR."" "THIS PARTICULAR ALBUM, "THE WEAVERS ON TOUR." THREE OF THESE PEOPLE MENTIONED" ""THE WEAVERS ON TOUR." THREE OF THESE PEOPLE MENTIONED IN GOVERNMENT PUBLICATIONS" "THREE OF THESE PEOPLE MENTIONED IN GOVERNMENT PUBLICATIONS AS HAVING BEEN IDENTIFIED AS" "IN GOVERNMENT PUBLICATIONS AS HAVING BEEN IDENTIFIED AS MEMBERS OF THE COMMUNIST" "AS HAVING BEEN IDENTIFIED AS MEMBERS OF THE COMMUNIST CONSPIRACY." "MEMBERS OF THE COMMUNIST CONSPIRACY." "AND NOW WE ARE CONCERNED THAT" "CONSPIRACY." "AND NOW WE ARE CONCERNED THAT THE COMMUNISTS ARE MOVING INTO" "AND NOW WE ARE CONCERNED THAT THE COMMUNISTS ARE MOVING INTO THIS FIELD AND THAT THEY'RE" "THE COMMUNISTS ARE MOVING INTO THIS FIELD AND THAT THEY'RE GOING TO PERVERT THIS WONDERFUL" "THIS FIELD AND THAT THEY'RE GOING TO PERVERT THIS WONDERFUL FORM OF ENTERTAINMENT" "GOING TO PERVERT THIS WONDERFUL FORM OF ENTERTAINMENT SO IT WILL SATISFY" "FORM OF ENTERTAINMENT SO IT WILL SATISFY THEIR OWN NEEDS." "SO IT WILL SATISFY THEIR OWN NEEDS." "Martin:" "THEFBI'SCAMPAIGNTO" "THEIR OWN NEEDS." "Martin:" "THEFBI'SCAMPAIGNTO BLACKLIST THE WEAVERS CAUSED" "Martin:" "THEFBI'SCAMPAIGNTO BLACKLIST THE WEAVERS CAUSED THEIR TOURS AND RECORDING DEALS" "BLACKLIST THE WEAVERS CAUSED THEIR TOURS AND RECORDING DEALS TO BE CANCELED." "THEIR TOURS AND RECORDING DEALS TO BE CANCELED." "ALLDURINGTHE'50s,IWAS" "TO BE CANCELED." "ALLDURINGTHE'50s,IWAS  BLACKLISTED FROM COMMERCIAL" "ALLDURINGTHE'50s,IWAS  BLACKLISTED FROM COMMERCIAL WORK, BUT I WENT FROM COLLEGE TO" "BLACKLISTED FROM COMMERCIAL WORK, BUT I WENT FROM COLLEGE TO COLLEGE TO COLLEGE TO COLLEGE" "WORK, BUT I WENT FROM COLLEGE TO COLLEGE TO COLLEGE TO COLLEGE TO COLLEGE." "COLLEGE TO COLLEGE TO COLLEGE TO COLLEGE." "I SHOWED A WHOLE BATCH OF PEOPLE" "TO COLLEGE." "I SHOWED A WHOLE BATCH OF PEOPLE THE SONGS OF WOODY GUTHRIE" "I SHOWED A WHOLE BATCH OF PEOPLE THE SONGS OF WOODY GUTHRIE AND LEADBELLY AND SAID, "THERE'S" "THE SONGS OF WOODY GUTHRIE AND LEADBELLY AND SAID, "THERE'S A LOT OF GREAT MUSIC IN THIS" "AND LEADBELLY AND SAID, "THERE'S A LOT OF GREAT MUSIC IN THIS COUNTRY THAT YOU HARDLY EVER" "A LOT OF GREAT MUSIC IN THIS COUNTRY THAT YOU HARDLY EVER HEAR ON THE RADIO."" "COUNTRY THAT YOU HARDLY EVER HEAR ON THE RADIO." ¶RAILROADBILL" "HEAR ON THE RADIO." ¶RAILROADBILL RAILROAD BILL ¶" "¶RAILROADBILL RAILROAD BILL ¶ ¶ HE NEVER WORKED" "RAILROAD BILL ¶ ¶ HE NEVER WORKED AND HE NEVER EVER WILL ¶" "¶ HE NEVER WORKED AND HE NEVER EVER WILL ¶ Martin:" "FORYEARSAFTER" "AND HE NEVER EVER WILL ¶ Martin:" "FORYEARSAFTER THE BLACKLIST, THE NETWORKS" "Martin:" "FORYEARSAFTER THE BLACKLIST, THE NETWORKS BANNED HIM FROM TELEVISION," "THE BLACKLIST, THE NETWORKS BANNED HIM FROM TELEVISION, INCLUDING SOME OF THE SAME SHOWS" "BANNED HIM FROM TELEVISION, INCLUDING SOME OF THE SAME SHOWS THAT HIS MUSIC HAD INSPIRED." "BUT HE MANAGED TO GET HIS OWN PUBLIC ACCESS SHOW, AND WITH HIS TIRELESS APPEARANCES AT FOLK" "PUBLIC ACCESS SHOW, AND WITH HIS TIRELESS APPEARANCES AT FOLK FESTIVALS, CIVIL RIGHTS" "TIRELESS APPEARANCES AT FOLK FESTIVALS, CIVIL RIGHTS DEMONSTRATIONS, AND IN PRINT," "FESTIVALS, CIVIL RIGHTS DEMONSTRATIONS, AND IN PRINT, SEEGER PASSED ALONG HIS PASSION" "DEMONSTRATIONS, AND IN PRINT, SEEGER PASSED ALONG HIS PASSION FOR RURAL FOLK MUSIC TO" "SEEGER PASSED ALONG HIS PASSION FOR RURAL FOLK MUSIC TO A NEW GENERATION OF MUSICIANS" "FOR RURAL FOLK MUSIC TO A NEW GENERATION OF MUSICIANS AND FANS." "HIS MESSAGE IS WRITTEN" "ON HIS BANJO." "Seeger:" "WOODYWENTTHROUGH WORLD WAR II WITH A SIGN ON HIS GUITAR SAYING," "WORLD WAR II WITH A SIGN ON HIS GUITAR SAYING, "THIS MACHINE KILLS FASCISTS."" "HIS GUITAR SAYING, "THIS MACHINE KILLS FASCISTS." I WAS THINKING OVER THAT SIGN" ""THIS MACHINE KILLS FASCISTS." I WAS THINKING OVER THAT SIGN AND I DECIDED TO MAKE SOMETHING" "I WAS THINKING OVER THAT SIGN AND I DECIDED TO MAKE SOMETHING A LITTLE BIT MORE PEACEFUL." "AND I DECIDED TO MAKE SOMETHING A LITTLE BIT MORE PEACEFUL." "HERE, YOU CAN READ IT." "A LITTLE BIT MORE PEACEFUL." "HERE, YOU CAN READ IT." ""THIS MACHINE SURROUNDS HATE" "HERE, YOU CAN READ IT." ""THIS MACHINE SURROUNDS HATE AND FORCES IT TO SURRENDER."" ""THIS MACHINE SURROUNDS HATE AND FORCES IT TO SURRENDER." I HOPE." "AND FORCES IT TO SURRENDER." I HOPE." "YOU NEVER CAN TELL." "[APPLAUSE] FINELITTLEDARLIN'." "THANK YOU SO MUCH." "FINELITTLEDARLIN'." "THANK YOU SO MUCH." "TIME FOR SOME FIVE-STRING" "THANK YOU SO MUCH." "TIME FOR SOME FIVE-STRING BANJO PICKIN' NOW." "TIME FOR SOME FIVE-STRING BANJO PICKIN' NOW." "WE'RE GONNA CALL ON A FELLOW" "BANJO PICKIN' NOW." "WE'RE GONNA CALL ON A FELLOW THAT CAN DO JUST THAT." "WE'RE GONNA CALL ON A FELLOW THAT CAN DO JUST THAT." "MY BUDDY EARL SCRUGGS WITH" "THAT CAN DO JUST THAT." "MY BUDDY EARL SCRUGGS WITH A TUNE CALLED" "MY BUDDY EARL SCRUGGS WITH A TUNE CALLED "THE RANDY LYNN RAG."" "A TUNE CALLED "THE RANDY LYNN RAG." EARL?" "BACKWHENEARLFIRST CAME ALONG AND THE BANJO WAS BEING PLAYED IN THE FRAILING" "CAME ALONG AND THE BANJO WAS BEING PLAYED IN THE FRAILING STYLE AND TWO-FINGER STYLE AND" "BEING PLAYED IN THE FRAILING STYLE AND TWO-FINGER STYLE AND WAS CONSIDERED MORE OF A PROP" "BUT WASN'T TAKEN SERIOUSLY AS" "A MUSICAL INSTRUMENT." "BUT EARL CHANGED ALL THAT." "IT BECAME A VERY DEFINITE" "MUSICAL INSTRUMENT IN HIS HANDS." "WHENEARLGOTINTHERE," "THAT TURNED IT ALTOGETHER" "AROUND, JUST LIKE DAYLIGHT" "AND NIGHT WITH THE MUSIC." "IT JUST MADE IT A DIFFERENT" "SOUND T-TOTALLY." "AND GOODNESS GRACIOUS, IT'S GOOD." "Martin:" "BORNIN 1924, EARL SCRUGGS GREW UP ON A SMALL FARM OUTSIDE" "EARL SCRUGGS GREW UP ON A SMALL FARM OUTSIDE THE MILL TOWN OF SHELBY," "A SMALL FARM OUTSIDE THE MILL TOWN OF SHELBY, NORTH CAROLINA." "THE MILL TOWN OF SHELBY, NORTH CAROLINA." "IT WAS ONE OF THE FEW PARTS OF" "NORTH CAROLINA." "IT WAS ONE OF THE FEW PARTS OF THE COUNTRY WHERE THE" "IT WAS ONE OF THE FEW PARTS OF THE COUNTRY WHERE THE FIVE-STRING BANJO WAS STILL" "THE COUNTRY WHERE THE FIVE-STRING BANJO WAS STILL AN ACTIVE PART OF THE CULTURE." "FIVE-STRING BANJO WAS STILL AN ACTIVE PART OF THE CULTURE." "THERE'SA PICTUREOF" "AN ACTIVE PART OF THE CULTURE." "THERE'SA PICTUREOF  HORACE AND EARL WHEN THEY WERE" "THERE'SA PICTUREOF  HORACE AND EARL WHEN THEY WERE LITTLE BOYS, 5 AND 6 YEARS OLD." "HORACE WITH A GUITAR AND" "EARL WITH A BANJO," "PLAYING UNDER ONE" "OF THESE TREES." "I BELIEVE IT'S THIS ONE." "THE WAY HORACE TELLS ME," "THEY WOULD START AT ONE END" "OF THE HOUSE." "I DON'T KNOW IF THEY STARTED ON" "THE FRONT OR THE BACK." "THEY WOULD START OUT BACK TO BACK AND THEY WOULD PLAY A SONG TOGETHER." "BACK AND THEY WOULD PLAY A SONG TOGETHER." "AND THE ONE THAT I RECALL" "A SONG TOGETHER." "AND THE ONE THAT I RECALL HORACE TALKING ABOUT WAS" "AND THE ONE THAT I RECALL HORACE TALKING ABOUT WAS "SALLY GOODIN" ACTUALLY." "HORACE TALKING ABOUT WAS "SALLY GOODIN" ACTUALLY." "SO ONE WOULD WALK THIS WAY AND" ""SALLY GOODIN" ACTUALLY." "SO ONE WOULD WALK THIS WAY AND ONE WOULD WALK THAT WAY AND THEY" "SO ONE WOULD WALK THIS WAY AND ONE WOULD WALK THAT WAY AND THEY WOULD GO ALL THE WAY AROUND THE" "ONE WOULD WALK THAT WAY AND THEY WOULD GO ALL THE WAY AROUND THE HOUSE." "WOULD GO ALL THE WAY AROUND THE HOUSE." "THEY WOULD PLAY AND HOPE TO BE" "HOUSE." "THEY WOULD PLAY AND HOPE TO BE IN TIME WITH EACH OTHER" "THEY WOULD PLAY AND HOPE TO BE IN TIME WITH EACH OTHER WHEN THEY GOT AROUND TO" "IN TIME WITH EACH OTHER WHEN THEY GOT AROUND TO THE BACK SIDE OF THE HOUSE." "WHEN THEY GOT AROUND TO THE BACK SIDE OF THE HOUSE." "WHEN THEY GOT AROUND HERE" "THE BACK SIDE OF THE HOUSE." "WHEN THEY GOT AROUND HERE TO THE BACK, IF THEY WERE IN" "WHEN THEY GOT AROUND HERE TO THE BACK, IF THEY WERE IN PERFECT TIME, THAT WAS GREAT." "TO THE BACK, IF THEY WERE IN PERFECT TIME, THAT WAS GREAT." "IF THEY WEREN'T, THEY'D PUT" "PERFECT TIME, THAT WAS GREAT." "IF THEY WEREN'T, THEY'D PUT THEIR BACKS TO EACH OTHER AGAIN" "IF THEY WEREN'T, THEY'D PUT THEIR BACKS TO EACH OTHER AGAIN AND THEY'D GO AROUND, AND I'M" "THEIR BACKS TO EACH OTHER AGAIN AND THEY'D GO AROUND, AND I'M SURE THAT THEY WORE OUT A PATH" "AND THEY'D GO AROUND, AND I'M SURE THAT THEY WORE OUT A PATH ALL THE WAY AROUND THIS HOUSE" "SURE THAT THEY WORE OUT A PATH ALL THE WAY AROUND THIS HOUSE GETTING THAT TIMING RIGHT." "DOYOUREADMUSIC?" "NO,I DON'T." "WELL,HOWDO YOUDEVELOP" "SOMETHING SO COMPLICATED?" "WELL,I STARTEDPLAYING" "LIKE WHEN I WAS 5 YEARS OLD." "UH, AND, UH..." "I'VE PRETTY WELL LIVED" "AND BREATHED THE BANJO" "ALL THE WAY." "SO, A LOT OF IT..." "WELL, MOST OF IT IS SELF-TAUGHT," "YOU MIGHT SAY." "Martin:" "THESTYLETHAT ULTIMATELY REVIVED THE FIVE-STRING BANJO EMERGED WHEN" "ULTIMATELY REVIVED THE FIVE-STRING BANJO EMERGED WHEN 10-YEAR-OLD EARL WAS COOLING HIS" "FIVE-STRING BANJO EMERGED WHEN 10-YEAR-OLD EARL WAS COOLING HIS TEMPER AFTER A BROTHERLY 10-YEAR-OLD EARL WAS COOLING HIS TEMPER AFTER A BROTHERLY ARGUMENT." "TEMPER AFTER A BROTHERLY ARGUMENT." "IWASSITTINGINTHAT ROOM ," "ARGUMENT." "IWASSITTINGINTHAT ROOM , JUST BY MYSELF ONE DAY, PLAYING" "IWASSITTINGINTHAT ROOM , JUST BY MYSELF ONE DAY, PLAYING "REUBEN."" "AND ALL OF THE SUDDEN," "I REALIZED THAT I HAD" "THE OTHER FINGER GOING," "PLAYING "REUBEN."" "AND, BOY, THAT REALLY" "SHOCKED ME." "I DIDN'T KNOW WHERE IT CAME FROM" "OR ANYTHING." "I KNEW WHAT I WAS PLAYING WITH" "THE THUMB AND ONE FINGER WAS..." "I COULDN'T GET A ROLL THAT" "SUITED ME JUST RIGHT." "AND THEN ALL OF THE SUDDEN," "I STARTED USING THAT" "MIDDLE FINGER." "Martin:" "EARLRECALLEDSEVERAL PICKERS IN THE COMMUNITY WHO MADE LASTING IMPRESSIONS." "A DISTANT COUSIN NAMED" "SMITH HAMMETT WHO VISITED OFTEN" "WITH A LITTLE BANJO THAT EARL" "WAS ABLE TO HOLD AND MAKE" "CHORDS ON." "DEWITT "SNUFFY" JENKINS," "WHOSE POPULAR RADIO PERFORMANCES" "WERE SPONSORED BY A PATENT" "MEDICINE COMPANY." "HE WAS THE FIRST THREE-FINGER" "PICKER EARL HEARD" "ON THE RADIO." "AND THERE WAS ANOTHER YOUNG CAROLINA BANJO PHENOM BY THE NAME OF DON RENO, WHO WAS" "CAROLINA BANJO PHENOM BY THE NAME OF DON RENO, WHO WAS DEVELOPING HIS OWN SOPHISTICATED" "NAME OF DON RENO, WHO WAS DEVELOPING HIS OWN SOPHISTICATED THREE-FINGER STYLE." "DEVELOPING HIS OWN SOPHISTICATED THREE-FINGER STYLE." "RENO ALSO ACKNOWLEDGED" "THREE-FINGER STYLE." "RENO ALSO ACKNOWLEDGED THE INFLUENCE OF SNUFFY JENKINS" "RENO ALSO ACKNOWLEDGED THE INFLUENCE OF SNUFFY JENKINS AND WENT ON TO BECOME" "THE INFLUENCE OF SNUFFY JENKINS AND WENT ON TO BECOME A BLUEGRASS LEGEND IN HIS" "AND WENT ON TO BECOME A BLUEGRASS LEGEND IN HIS OWN RIGHT." "A BLUEGRASS LEGEND IN HIS OWN RIGHT." "WHYDON'TWE GIVERENO" "OWN RIGHT." "WHYDON'TWE GIVERENO THE CREDIT?" "WHYDON'TWE GIVERENO THE CREDIT?" "WHY DON'T WE GIVE" "THE CREDIT?" "WHY DON'T WE GIVE SNUFFY JENKINS THE CREDIT?" "WHY DON'T WE GIVE ANY OF" "THESE OTHER MUSICIANS CREDIT FOR" "PLAYING WITH THREE FINGERS?" "WELL, THE ACTUAL REALITY IS, THERE WERE LOTS OF PEOPLE PLAYING WITH THREE FINGERS" "THERE WERE LOTS OF PEOPLE PLAYING WITH THREE FINGERS BEFORE ANY OF THESE GUYS WERE." "PLAYING WITH THREE FINGERS BEFORE ANY OF THESE GUYS WERE." "AND ALL IT TOOK WAS EARL" "BEFORE ANY OF THESE GUYS WERE." "AND ALL IT TOOK WAS EARL TWEAKING THIS STYLE, THIS KIND" "AND ALL IT TOOK WAS EARL TWEAKING THIS STYLE, THIS KIND OF ROLLING ARPEGGIATED STYLE," "THAT WAS A SMOOTHED-OUT VERSION" "OF CLASSIC STYLE, FILTERED" "THROUGH CHARLIE POOLE AND PEOPLE" "OF HIS GENERATION." "AND SO EARL HAD SOMETHING" "SPECIAL THAT PEOPLE" "REACTED TO IT." "HEREANDNOW,THERE'S" "A BULL MARKET IN" "A TRADITIONAL ART FORM " "COUNTRY MUSIC." "AT A 10-YEAR PEAK OF POPULARITY," "IT'S A RESILIENT, VIRILE STRAIN," "NOT EASILY IGNORED" "OR FORGOTTEN." "AND THE FRESHEST SOUND OF ALL," "THE FIVE-STRING BANJO," "CONSIDERED AMERICA'S ONLY" "NATIONAL INSTRUMENT." "IN 1945, A YOUNG CAROLINA" "BANJOIST, EARL SCRUGGS, DAZZLED" "AUDIENCES WITH A NEW" "HARD-DRIVING, THREE-FINGERED" "TECHNIQUE OF PLAYING." "IT WAS ARTISTRY WHICH GAVE LIFE" "TO A BAND STYLE CALLED" "BLUEGRASS." "POWERFUL AND EXCITING." "Martin:" "IN1945,THE SHY , YOUNG PICKER FROM SHELBY WAS PERSUADED BY A FRIEND TO ASK" "YOUNG PICKER FROM SHELBY WAS PERSUADED BY A FRIEND TO ASK FOR AN AUDITION WITH ONE OF" "PERSUADED BY A FRIEND TO ASK FOR AN AUDITION WITH ONE OF THE GRAND OLE OPRY'S" "FOR AN AUDITION WITH ONE OF THE GRAND OLE OPRY'S BIGGEST STARS." "THE GRAND OLE OPRY'S BIGGEST STARS." "ALTHOUGH HE ACTED UNIMPRESSED," "BIGGEST STARS." "ALTHOUGH HE ACTED UNIMPRESSED, BILL MONROE INVITED EARL SCRUGGS" "ALTHOUGH HE ACTED UNIMPRESSED, BILL MONROE INVITED EARL SCRUGGS TO THE OPRY TO PICK WITH" "BILL MONROE INVITED EARL SCRUGGS TO THE OPRY TO PICK WITH HIS BAND, THE BLUEGRASS BOYS." "TO THE OPRY TO PICK WITH HIS BAND, THE BLUEGRASS BOYS." "BILL MONROE HAD ALREADY SPENT" "HIS BAND, THE BLUEGRASS BOYS." "BILL MONROE HAD ALREADY SPENT THE BETTER PART OF A DECADE" "BILL MONROE HAD ALREADY SPENT THE BETTER PART OF A DECADE DEVELOPING A NEW STRING BAND" "THE BETTER PART OF A DECADE DEVELOPING A NEW STRING BAND SOUND, THE STYLE THAT WOULD COME" "DEVELOPING A NEW STRING BAND SOUND, THE STYLE THAT WOULD COME TO BE KNOWN AS BLUEGRASS." "SOUND, THE STYLE THAT WOULD COME TO BE KNOWN AS BLUEGRASS." "BUT IT WAS EARL SCRUGGS' BANJO" "TO BE KNOWN AS BLUEGRASS." "BUT IT WAS EARL SCRUGGS' BANJO THAT PROVED TO BE" "BUT IT WAS EARL SCRUGGS' BANJO THAT PROVED TO BE THE MISSING INGREDIENT." "WHENBLUEGRASSMUSIC TOOK OFF, THAT'S WHEN PEOPLE SAID, "I'VE GOT TO LEARN" "TOOK OFF, THAT'S WHEN PEOPLE SAID, "I'VE GOT TO LEARN THE BANJO."" "SAID, "I'VE GOT TO LEARN THE BANJO." YOUCAN'TTALKABOUT" "THE BANJO." YOUCAN'TTALKABOUT BLUEGRASS MUSIC WITHOUT TALKING" "YOUCAN'TTALKABOUT BLUEGRASS MUSIC WITHOUT TALKING ABOUT EARL SCRUGGS AND WITHOUT" "BLUEGRASS MUSIC WITHOUT TALKING ABOUT EARL SCRUGGS AND WITHOUT TALKING ABOUT THE BANJO," "ABOUT EARL SCRUGGS AND WITHOUT TALKING ABOUT THE BANJO, BECAUSE, UNFORTUNATELY FOR" "TALKING ABOUT THE BANJO, BECAUSE, UNFORTUNATELY FOR MONROE, THAT'S THE MAIN THING" "BECAUSE, UNFORTUNATELY FOR MONROE, THAT'S THE MAIN THING THAT DIFFERENTIATES IT, AND" "MONROE, THAT'S THE MAIN THING THAT DIFFERENTIATES IT, AND THAT'S THE MAIN THING THAT" "THAT DIFFERENTIATES IT, AND THAT'S THE MAIN THING THAT MADE IT EXCITING." "THAT'S THE MAIN THING THAT MADE IT EXCITING." "Martin:" "BUTTHECLASSIC" "MADE IT EXCITING." "Martin:" "BUTTHECLASSIC BLUEGRASS BOYS' LINEUP LASTED" "Martin:" "BUTTHECLASSIC BLUEGRASS BOYS' LINEUP LASTED JUST OVER TWO YEARS BEFORE LOW" "BLUEGRASS BOYS' LINEUP LASTED JUST OVER TWO YEARS BEFORE LOW PAY AND NONSTOP TOURING" "JUST OVER TWO YEARS BEFORE LOW PAY AND NONSTOP TOURING TOOK ITS TOLL." "PAY AND NONSTOP TOURING TOOK ITS TOLL." "OFCOURSE,WHENSCRUGGSTOLD" "TOOK ITS TOLL." "OFCOURSE,WHENSCRUGGSTOLD  MONROE THAT HE WAS LEAVING," "HE SAID, "YOU'LL NEVER AMOUNT" "TO ANYTHING WITHOUT ME."" "WELL,HEWASFAR WRONG." "THE DAY EARL LEFT, HE TOOK HIS SOUND WITH HIM, AND IT'S" "THE DAY EARL LEFT, HE TOOK HIS SOUND WITH HIM, AND IT'S STILL GOING TODAY." "TODAY,MOVINGAT TOPVOLUME, HEAVY SYNCOPATION, AND MORE THAN 2,500 MILES WEEKLY," "HEAVY SYNCOPATION, AND MORE THAN 2,500 MILES WEEKLY, IN A SPECIALLY OUTFITTED BUS," "THAN 2,500 MILES WEEKLY, IN A SPECIALLY OUTFITTED BUS, ARE THE ACKNOWLEDGED KINGS" "IN A SPECIALLY OUTFITTED BUS, ARE THE ACKNOWLEDGED KINGS OF BLUEGRASS " "ARE THE ACKNOWLEDGED KINGS OF BLUEGRASS -- TENNESSEE-BORN LESTER FLATT" "OF BLUEGRASS -- TENNESSEE-BORN LESTER FLATT AND BANJO VIRTUOSO EARL SCRUGGS." "TENNESSEE-BORN LESTER FLATT AND BANJO VIRTUOSO EARL SCRUGGS." "Martin:" "WHENEARLSCRUGGS" "AND BANJO VIRTUOSO EARL SCRUGGS." "Martin:" "WHENEARLSCRUGGS QUIT MONROE, HE WAS PLANNING TO" "Martin:" "WHENEARLSCRUGGS QUIT MONROE, HE WAS PLANNING TO RETURN HOME AND GO BACK TO WORK" "QUIT MONROE, HE WAS PLANNING TO RETURN HOME AND GO BACK TO WORK IN THE MILL." "RETURN HOME AND GO BACK TO WORK IN THE MILL." "BUT FLATS SUGGESTED THAT" "IN THE MILL." "BUT FLATS SUGGESTED THAT THEY FORM THEIR OWN BAND AND" "BUT FLATS SUGGESTED THAT THEY FORM THEIR OWN BAND AND JUST PLAY CLOSE TO HOME." "THEY FORM THEIR OWN BAND AND JUST PLAY CLOSE TO HOME." "FOR THE NEXT 21 YEARS," "JUST PLAY CLOSE TO HOME." "FOR THE NEXT 21 YEARS, FLATT AND SCRUGGS WERE ONE OF" "FOR THE NEXT 21 YEARS, FLATT AND SCRUGGS WERE ONE OF THE BUSIEST AND MOST SUCCESSFUL" "FLATT AND SCRUGGS WERE ONE OF THE BUSIEST AND MOST SUCCESSFUL COUNTRY MUSIC GROUPS." "THE BUSIEST AND MOST SUCCESSFUL COUNTRY MUSIC GROUPS." "THANKS TO SHREWD MANAGEMENT BY" "COUNTRY MUSIC GROUPS." "THANKS TO SHREWD MANAGEMENT BY EARL'S WIFE, LOUISE," "THANKS TO SHREWD MANAGEMENT BY EARL'S WIFE, LOUISE, FLATT  SCRUGGS WENT FROM BEING" "EARL'S WIFE, LOUISE, FLATT  SCRUGGS WENT FROM BEING A REGIONAL ACT TO BEING" "FLATT  SCRUGGS WENT FROM BEING A REGIONAL ACT TO BEING NATIONAL FOLK STARS," "A REGIONAL ACT TO BEING NATIONAL FOLK STARS, ALL THE WHILE ATTRACTING" "NATIONAL FOLK STARS, ALL THE WHILE ATTRACTING A NEW GENERATION OF BLUEGRASS" "ALL THE WHILE ATTRACTING A NEW GENERATION OF BLUEGRASS DISCIPLES." "OFCOURSE,WE ALLHAVE" "OUR MENTORS." "WE ALL HAVE FOLLOWED PEOPLE THAT" "WE LEARNED FROM." "AND I FOLLOWED EARL, OF COURSE." "I MEAN, HAD IT NOT BEEN FOR HIM," "I WOULD NOT BE SITTING HERE" "TALKING ABOUT PLAYING THE BANJO." "IF YOU'RE TALKING ABOUT BLUEGRASS -- GOOD, SOLID, HARD-DRIVIN' " "BLUEGRASS -- GOOD, SOLID, HARD-DRIVIN' -- THAT'S IT." "GOOD, SOLID, HARD-DRIVIN' -- THAT'S IT." "THAT'S WHERE IT IS." "THAT'S IT." "THAT'S WHERE IT IS." "I HAVEN'T HEARD A BAND YET" "THAT'S WHERE IT IS." "I HAVEN'T HEARD A BAND YET THAT COULD BEAT HIM." "IWASAN EARLSCRUGGS" "DISCIPLE, THAT'S GOOD." "AND I STUDIED EARL..." "YOU COULDN'T BELIEVE." "I COULD LISTEN TO EARL PLAY ON A RADIO SHOW SOMEWHERE" "I COULD LISTEN TO EARL PLAY ON A RADIO SHOW SOMEWHERE AND I COULD TELL YOU WHAT KIND" "ON A RADIO SHOW SOMEWHERE AND I COULD TELL YOU WHAT KIND OF MOOD HE WAS IN." "AND I COULD TELL YOU WHAT KIND OF MOOD HE WAS IN." "I'D REALLY, I'D LISTEN TO HIM" "OF MOOD HE WAS IN." "I'D REALLY, I'D LISTEN TO HIM SO MUCH BECAUSE HE HAD" "I'D REALLY, I'D LISTEN TO HIM SO MUCH BECAUSE HE HAD EVERYTHING YOU NEEDED" "SO MUCH BECAUSE HE HAD EVERYTHING YOU NEEDED IN HIS RIGHT HAND." "EVERYTHING YOU NEEDED IN HIS RIGHT HAND." "EVERYTHING." "IN HIS RIGHT HAND." "EVERYTHING." "[APPLAUSE]" "EVERYTHING." "[APPLAUSE] NOWWE'DLIKETOINTRODUCE" "[APPLAUSE] NOWWE'DLIKETOINTRODUCE A GENTLEMAN THAT'S BEEN ON" "NOWWE'DLIKETOINTRODUCE A GENTLEMAN THAT'S BEEN ON THE GRAND OLE OPRY A LONG TIME" "A GENTLEMAN THAT'S BEEN ON THE GRAND OLE OPRY A LONG TIME AND STARTED WITH ME ABOUT" "THE GRAND OLE OPRY A LONG TIME AND STARTED WITH ME ABOUT 22 YEARS AGO HERE." "AND STARTED WITH ME ABOUT 22 YEARS AGO HERE." "THE SECOND BANJO PLAYER 22 YEARS AGO HERE." "THE SECOND BANJO PLAYER THAT EVER PLAYED FOR ME." "THE SECOND BANJO PLAYER THAT EVER PLAYED FOR ME." "HIM AND HIS TWO SONS ARE GONNA" "THAT EVER PLAYED FOR ME." "HIM AND HIS TWO SONS ARE GONNA PICK FOR YOU HERE TONIGHT." "HIM AND HIS TWO SONS ARE GONNA PICK FOR YOU HERE TONIGHT." "EARL SCRUGGS AND HIS TWO SONS," "PICK FOR YOU HERE TONIGHT." "EARL SCRUGGS AND HIS TWO SONS, GARY AND RANDALL." "EARL SCRUGGS AND HIS TWO SONS, GARY AND RANDALL." "LET'S GIVE THEM A NICE HAND" "GARY AND RANDALL." "LET'S GIVE THEM A NICE HAND HERE TONIGHT," "LET'S GIVE THEM A NICE HAND HERE TONIGHT, WHAT DO YOU SAY?" "HERE TONIGHT, WHAT DO YOU SAY?" "Martin:" "FLATTSCRUGGS" "WHAT DO YOU SAY?" "Martin:" "FLATTSCRUGGS FINALLY SPLIT UP IN 1969 BECAUSE" "Martin:" "FLATTSCRUGGS FINALLY SPLIT UP IN 1969 BECAUSE EARL WANTED TO EXPAND BEYOND" "FINALLY SPLIT UP IN 1969 BECAUSE EARL WANTED TO EXPAND BEYOND THE TRADITIONAL BLUEGRASS" "EARL WANTED TO EXPAND BEYOND THE TRADITIONAL BLUEGRASS REPERTOIRE." "THE TRADITIONAL BLUEGRASS REPERTOIRE." "HE CONTINUED TO LOOK FOR NEW" "REPERTOIRE." "HE CONTINUED TO LOOK FOR NEW WAYS TO USE THE BANJO, DRAWING" "HE CONTINUED TO LOOK FOR NEW WAYS TO USE THE BANJO, DRAWING INSPIRATION FROM HIS FAMILY" "WAYS TO USE THE BANJO, DRAWING INSPIRATION FROM HIS FAMILY AND THE NEW MUSIC OF THE ERA." "INSPIRATION FROM HIS FAMILY AND THE NEW MUSIC OF THE ERA." "¶THISNINEPOUNDHAMMER" "AND THE NEW MUSIC OF THE ERA." "¶THISNINEPOUNDHAMMER IS A LITTLE TOO HEAVY" "¶THISNINEPOUNDHAMMER IS A LITTLE TOO HEAVY FOR MY SIZE" "IS A LITTLE TOO HEAVY FOR MY SIZE FOR MY SIZE ¶" "¶ NOW ROLL ON, BUDDY" "ROLL ON, BUDDY ¶" "¶ DON'T YA ROLL SO SLOW" "HOW CAN I ROLL" "WHEN THE WHEELS DON'T GO?" "¶" "MYBOYS,GARYAND RANDY PLAYED THEIR STEELS, JUST GETTING TOO GOOD TO NOT GO" "PLAYED THEIR STEELS, JUST GETTING TOO GOOD TO NOT GO TO WORK WITH THEM." "GETTING TOO GOOD TO NOT GO TO WORK WITH THEM." "THAT'S THE FIRST TIME I'D EVER" "TO WORK WITH THEM." "THAT'S THE FIRST TIME I'D EVER HEARD ANYTHING LIKE THAT." "THAT'S THE FIRST TIME I'D EVER HEARD ANYTHING LIKE THAT." "I WAS ALWAYS TRYING TO FIGURE" "HEARD ANYTHING LIKE THAT." "I WAS ALWAYS TRYING TO FIGURE OUT HOW TO PUT A BANJO IN ON" "I WAS ALWAYS TRYING TO FIGURE OUT HOW TO PUT A BANJO IN ON THAT KIND OF STUFF, YOU KNOW." "Martin:" "THEEARLSCRUGGS REVUE MADE BLUEGRASS PURISTS UNCOMFORTABLE." "REVUE MADE BLUEGRASS PURISTS UNCOMFORTABLE." "BUT SCRUGGS WAS DETERMINED TO" "UNCOMFORTABLE." "BUT SCRUGGS WAS DETERMINED TO EXPLORE NEW MUSICAL TERRITORY" "BUT SCRUGGS WAS DETERMINED TO EXPLORE NEW MUSICAL TERRITORY AND CONNECT WITH NEW AUDIENCES." "EXPLORE NEW MUSICAL TERRITORY AND CONNECT WITH NEW AUDIENCES." "THE BANJO, HE SAID, WAS NOT" "AND CONNECT WITH NEW AUDIENCES." "THE BANJO, HE SAID, WAS NOT AN INSTRUMENT THAT HAD TO BE" "THE BANJO, HE SAID, WAS NOT AN INSTRUMENT THAT HAD TO BE CORNERED OFF INTO ANY PARTICULAR" "AN INSTRUMENT THAT HAD TO BE CORNERED OFF INTO ANY PARTICULAR TYPE OF MUSIC." "CORNERED OFF INTO ANY PARTICULAR TYPE OF MUSIC." "¶NOW,ROLLON, BUDDY" "TYPE OF MUSIC." "¶NOW,ROLLON, BUDDY ROLL ON, BUDDY ¶" "¶NOW,ROLLON, BUDDY ROLL ON, BUDDY ¶ ¶ DON'T YOU ROLL SO SLOW" "ROLL ON, BUDDY ¶ ¶ DON'T YOU ROLL SO SLOW ¶ HOW CAN I ROLL" "¶ DON'T YOU ROLL SO SLOW ¶ HOW CAN I ROLL WHEN THE WHEELS DON'T GO?" "¶" "¶ HOW CAN I ROLL WHEN THE WHEELS DON'T GO?" "¶ [ APPLAUSE ]" "THAT'SPRETTYCOOL,MAN ." "SO HE CHANGED THE HEAD?" "I'VEGOTTONSOFSTUDENTS." "AND I TRY TO TELL THEM ALL THAT IT'S AN ART THAT'S NOT ABOUT WHO'S BETTER THAN WHO." "IT'S AN ART THAT'S NOT ABOUT WHO'S BETTER THAN WHO." "IT'S AN ART ABOUT MAKING IT WHAT" "WHO'S BETTER THAN WHO." "IT'S AN ART ABOUT MAKING IT WHAT YOU WANT TO MAKE OF IT." "IT'S AN ART ABOUT MAKING IT WHAT YOU WANT TO MAKE OF IT." "I'VE SEEN MUSIC SAVE PEOPLE'S" "YOU WANT TO MAKE OF IT." "I'VE SEEN MUSIC SAVE PEOPLE'S LIVES." "I'VE SEEN MUSIC SAVE PEOPLE'S LIVES." "I'VE SEEN MUSIC SOOTHE" "LIVES." "I'VE SEEN MUSIC SOOTHE PEOPLE'S LIVES." "I'VE SEEN MUSIC SOOTHE PEOPLE'S LIVES." "AND I THINK THAT THE BANJO IS" "PEOPLE'S LIVES." "AND I THINK THAT THE BANJO IS SOMETHING THAT, IF YOU DO IT AND" "AND I THINK THAT THE BANJO IS SOMETHING THAT, IF YOU DO IT AND YOU KEEP PLAYING IT, IT WILL" "SOMETHING THAT, IF YOU DO IT AND YOU KEEP PLAYING IT, IT WILL SURELY HELP YOU IN YOUR LIFE." "YOU KEEP PLAYING IT, IT WILL SURELY HELP YOU IN YOUR LIFE." "AND THAT'S THE REASON I" "SURELY HELP YOU IN YOUR LIFE." "AND THAT'S THE REASON I PASSED IT ALONG TO OTHER KIDS." "AND THAT'S THE REASON I PASSED IT ALONG TO OTHER KIDS." "AND I HAD A LOT OF PEOPLE" "PASSED IT ALONG TO OTHER KIDS." "AND I HAD A LOT OF PEOPLE PASS IT ALONG TO ME." "[LAUGHTER]" "WELL,WEAREIN" "GREENWICH VILLAGE NOW WHERE" "PEOPLE COME TO GET AWAY" "FROM AMERICA." "IT'S NOT JAZZ AROUND HERE" "ANYMORE, IT'S FOLK MUSIC." "THE YOUNG PEOPLE HAVE GONE MAD OVER BALLADS AND BLUES, GUITAR PLAYING AND BANJO" "OVER BALLADS AND BLUES, GUITAR PLAYING AND BANJO PICKING." "GUITAR PLAYING AND BANJO PICKING." "WE'RE RECORDING HERE TONIGHT." "PICKING." "WE'RE RECORDING HERE TONIGHT." "WE'RE HAVING A PARTY," "WE'RE RECORDING HERE TONIGHT." "WE'RE HAVING A PARTY, SO COME ON IN." "WE'RE HAVING A PARTY, SO COME ON IN." "THE INSTRUMENTS ARE PLAYED BY" "SO COME ON IN." "THE INSTRUMENTS ARE PLAYED BY YOUNG PEOPLE LIKE" "THE INSTRUMENTS ARE PLAYED BY YOUNG PEOPLE LIKE THE NEW LOST CITY RAMBLERS," "YOUNG PEOPLE LIKE THE NEW LOST CITY RAMBLERS, WITH MIKE SEEGER," "THE NEW LOST CITY RAMBLERS, WITH MIKE SEEGER, AN ELECTRONICS ENGINEER;" "WITH MIKE SEEGER, AN ELECTRONICS ENGINEER;" "TOM PALEY, PROFESSOR OF" "AN ELECTRONICS ENGINEER;" "TOM PALEY, PROFESSOR OF MATHEMATICS;" "AND JOHN COHEN," "TOM PALEY, PROFESSOR OF MATHEMATICS;" "AND JOHN COHEN, A PHOTOGRAPHER." "MATHEMATICS;" "AND JOHN COHEN, A PHOTOGRAPHER." "BUT THOSE BOYS REALLY KNOW HOW" "A PHOTOGRAPHER." "BUT THOSE BOYS REALLY KNOW HOW TO PLAY MOUNTAIN MUSIC." "Martin:" "ITHADALWAYSBEEN  MUSIC MADE BY NEIGHBORS FOR THEIR NEIGHBORS." "MUSIC MADE BY NEIGHBORS FOR THEIR NEIGHBORS." "MIKE SEEGER AND THE NEW LOST" "FOR THEIR NEIGHBORS." "MIKE SEEGER AND THE NEW LOST CITY RAMBLERS CAME TOGETHER TO" "MIKE SEEGER AND THE NEW LOST CITY RAMBLERS CAME TOGETHER TO PRESENT AND PRESERVE THE RURAL" "CITY RAMBLERS CAME TOGETHER TO PRESENT AND PRESERVE THE RURAL MUSIC OF THE '20s AND '30s." "PRESENT AND PRESERVE THE RURAL MUSIC OF THE '20s AND '30s." "THEY REFERRED TO THIS MUSIC" "MUSIC OF THE '20s AND '30s." "THEY REFERRED TO THIS MUSIC AS "OLD-TIME," AND THE LABEL" "THEY REFERRED TO THIS MUSIC AS "OLD-TIME," AND THE LABEL CAUGHT ON." "SOMEBODYSAID,"THENEW" "LOST CITY RAMBLERS " " CRUSADERS" "FOR OLD-TIME MUSIC."" "IN A WAY, IT WAS ACCURATE." "WE KIND OF GOT INTO THAT ROLE AND TRAVELED ALL OVER" "WE KIND OF GOT INTO THAT ROLE AND TRAVELED ALL OVER THE COUNTRY." "WEREALIZEDTHEDEPTHAND" "THE BREADTH OF THE MUSIC" "AND THEN STARTED TO ADVOCATE FOR THE TRADITIONAL MUSICIANS IN THE NORTH." "FOR THE TRADITIONAL MUSICIANS IN THE NORTH." "¶SOMETHIN'IWANTTOTELL" "IN THE NORTH." "¶SOMETHIN'IWANTTOTELL ¶ TELL HER NOT TO BE" "¶SOMETHIN'IWANTTOTELL ¶ TELL HER NOT TO BE A-WASTIN' HER TIME" "¶ TELL HER NOT TO BE A-WASTIN' HER TIME RUNNIN' AROUND WITH" "A-WASTIN' HER TIME RUNNIN' AROUND WITH SOME OTHER FELLER ¶" "RUNNIN' AROUND WITH SOME OTHER FELLER ¶ ¶ IF ONLY I WAS" "SOME OTHER FELLER ¶ ¶ IF ONLY I WAS ON SOME FOGGY MOUNTAINTOP" "¶ IF ONLY I WAS ON SOME FOGGY MOUNTAINTOP I'D SAIL AWAY TO THE WEST ¶" "ON SOME FOGGY MOUNTAINTOP I'D SAIL AWAY TO THE WEST ¶ ¶ I'D SAIL ALL AROUND" "I'D SAIL AWAY TO THE WEST ¶ ¶ I'D SAIL ALL AROUND THIS WHOLE WIDE WORLD" "¶ I'D SAIL ALL AROUND THIS WHOLE WIDE WORLD TO THE GIRL I LOVE" "THIS WHOLE WIDE WORLD TO THE GIRL I LOVE THE BEST ¶" "TO THE GIRL I LOVE THE BEST ¶ [ YODELING ]" "Martin:" "NOTSATISFIEDWITH LEARNING FROM THE DISEMBODIED VOICES ON THE RECORDINGS," "LEARNING FROM THE DISEMBODIED VOICES ON THE RECORDINGS, THEY WANTED TO TRACK DOWN" "VOICES ON THE RECORDINGS, THEY WANTED TO TRACK DOWN THE SOURCES." "THEY WANTED TO TRACK DOWN THE SOURCES." "IN1959,SHORTLYAFTER" "THE SOURCES." "IN1959,SHORTLYAFTER THE NEW LOST CITY RAMBLERS" "IN1959,SHORTLYAFTER THE NEW LOST CITY RAMBLERS STARTED, WE WERE DOING A PROJECT" "THE NEW LOST CITY RAMBLERS STARTED, WE WERE DOING A PROJECT ABOUT SONGS FROM" "STARTED, WE WERE DOING A PROJECT ABOUT SONGS FROM THE DEPRESSION, AND I THOUGHT" "ABOUT SONGS FROM THE DEPRESSION, AND I THOUGHT IT WOULD BE GOOD FOR ME TO" "THE DEPRESSION, AND I THOUGHT IT WOULD BE GOOD FOR ME TO EXPERIENCE ONE IN PERSON," "IT WOULD BE GOOD FOR ME TO EXPERIENCE ONE IN PERSON, IF I COULD, AND MAYBE FIND" "EXPERIENCE ONE IN PERSON, IF I COULD, AND MAYBE FIND SOME OLD SONGS." "IF I COULD, AND MAYBE FIND SOME OLD SONGS." "SO I WENT TO EASTERN KENTUCKY." "SOME OLD SONGS." "SO I WENT TO EASTERN KENTUCKY." "Martin:" "JOHNCOHENSPENT" "SO I WENT TO EASTERN KENTUCKY." "Martin:" "JOHNCOHENSPENT SIX WEEKS ONE SUMMER IN" "Martin:" "JOHNCOHENSPENT SIX WEEKS ONE SUMMER IN PERRY COUNTY, KENTUCKY, LOOKING" "SIX WEEKS ONE SUMMER IN PERRY COUNTY, KENTUCKY, LOOKING FOR BANJO PLAYERS." "PERRY COUNTY, KENTUCKY, LOOKING FOR BANJO PLAYERS." "AT THE END OF A HOT," "FOR BANJO PLAYERS." "AT THE END OF A HOT, DISCOURAGING DAY, ON A WHIM," "AT THE END OF A HOT, DISCOURAGING DAY, ON A WHIM, HE TURNED ONTO A DIRT ROAD TO" "DISCOURAGING DAY, ON A WHIM, HE TURNED ONTO A DIRT ROAD TO SEE WHERE IT MIGHT LEAD." "HE TURNED ONTO A DIRT ROAD TO SEE WHERE IT MIGHT LEAD." "HESTARTSTO PLAYAND SING" "SEE WHERE IT MIGHT LEAD." "HESTARTSTO PLAYAND SING AND, OOH, MY HAIR STOOD ON EDGE." "HESTARTSTO PLAYAND SING AND, OOH, MY HAIR STOOD ON EDGE." "IT WAS JUST THIS INCREDIBLE" "AND, OOH, MY HAIR STOOD ON EDGE." "IT WAS JUST THIS INCREDIBLE SOUND." "IT WAS JUST THIS INCREDIBLE SOUND." "THAT WAS ROSCOE HOLCOMB." "SOUND." "THAT WAS ROSCOE HOLCOMB." "IT WAS ONE OF THE WONDERFUL" "THAT WAS ROSCOE HOLCOMB." "IT WAS ONE OF THE WONDERFUL MOMENTS OF MY LIFE." "¶WHENIWAS SINGLE" "I'D GO TO STORE AND BUY ¶" "¶ NOW, I'M A MARRIED GIRL" "I ROCK THE CRADLE AND CRY ¶" "¶ LORDY, WISH I WAS" "A SINGLE GIRL AGAIN... ¶" "I'LLWAITFORYOU TOLEAD ." "I KNOW THE FIDDLE'S SUPPOSED TO LEAD." "IGOTA$ 25S.S.STEWART BANJO AND STARTED PLAYING LIKE THE PEOPLE I WANTED TO LEARN" "BANJO AND STARTED PLAYING LIKE THE PEOPLE I WANTED TO LEARN FROM." "THE PEOPLE I WANTED TO LEARN FROM." "WHICH INCLUDED MY BROTHER PETE" "FROM." "WHICH INCLUDED MY BROTHER PETE AND WADE WARD AND" "WHICH INCLUDED MY BROTHER PETE AND WADE WARD AND BASCOM LUNSFORD." "AND WADE WARD AND BASCOM LUNSFORD." "AND THAT WAS ABOUT THE TIME I" "BASCOM LUNSFORD." "AND THAT WAS ABOUT THE TIME I WAS GOING TO COLLEGE" "AND THAT WAS ABOUT THE TIME I WAS GOING TO COLLEGE AND I FLUNKED OUT OF COLLEGE" "WAS GOING TO COLLEGE AND I FLUNKED OUT OF COLLEGE AND PLAYED THE BANJO." "AND I FLUNKED OUT OF COLLEGE AND PLAYED THE BANJO." "Martin:" "COHEN'SBANDMATE" "AND PLAYED THE BANJO." "Martin:" "COHEN'SBANDMATE MIKE SEEGER HAD ALREADY MADE" "Martin:" "COHEN'SBANDMATE MIKE SEEGER HAD ALREADY MADE A NAME FOR HIMSELF AS" "MIKE SEEGER HAD ALREADY MADE A NAME FOR HIMSELF AS A MULTI-INSTRUMENTALIST AND" "A NAME FOR HIMSELF AS A MULTI-INSTRUMENTALIST AND FIELD RECORDIST FOR SOUTHERN" "A MULTI-INSTRUMENTALIST AND FIELD RECORDIST FOR SOUTHERN FOLK MUSICIANS." "FIELD RECORDIST FOR SOUTHERN FOLK MUSICIANS." "ITENDTO BE INTERESTEDIN" "FOLK MUSICIANS." "ITENDTO BE INTERESTEDIN THE MUSIC THAT'S MADE AT" "ITENDTO BE INTERESTEDIN THE MUSIC THAT'S MADE AT THE GRASSROOTS AND NOT" "THE MUSIC THAT'S MADE AT THE GRASSROOTS AND NOT SO MUCH FOR STAGE." "THE GRASSROOTS AND NOT SO MUCH FOR STAGE." "I FOCUSED IN MOSTLY ON MUSIC OF" "SO MUCH FOR STAGE." "I FOCUSED IN MOSTLY ON MUSIC OF THE BANJO PLAYERS THAT I CAN" "I FOCUSED IN MOSTLY ON MUSIC OF THE BANJO PLAYERS THAT I CAN ACTUALLY MEET." "THE BANJO PLAYERS THAT I CAN ACTUALLY MEET." "[ PLAYING "DOWN SOUTH BLUES" ]" "ACTUALLY MEET." "[ PLAYING "DOWN SOUTH BLUES" ] Martin:" "INTHELAST1920s," "[ PLAYING "DOWN SOUTH BLUES" ] Martin:" "INTHELAST1920s, A VIRGINIA COAL MINER" "Martin:" "INTHELAST1920s, A VIRGINIA COAL MINER AND MOONSHINER NAMED DOCK BOGGS" "A VIRGINIA COAL MINER AND MOONSHINER NAMED DOCK BOGGS RECORDED 12 SIDES OF HAUNTING" "AND MOONSHINER NAMED DOCK BOGGS RECORDED 12 SIDES OF HAUNTING COUNTRY BLUES." "RECORDED 12 SIDES OF HAUNTING COUNTRY BLUES." "HE THEN RETURNED HOME, SOLD HIS" "COUNTRY BLUES." "HE THEN RETURNED HOME, SOLD HIS BANJO, AND WORKED IN THE MINES" "HE THEN RETURNED HOME, SOLD HIS BANJO, AND WORKED IN THE MINES FOR 30 MORE YEARS UNTIL" "BANJO, AND WORKED IN THE MINES FOR 30 MORE YEARS UNTIL MIKE SEEGER SEARCHED HIM OUT." "FOR 30 MORE YEARS UNTIL MIKE SEEGER SEARCHED HIM OUT." "WHATFIRSTCAUGHTMEABOUT" "MIKE SEEGER SEARCHED HIM OUT." "WHATFIRSTCAUGHTMEABOUT DOCK WAS THE ORIGINAL RECORDINGS" "WHATFIRSTCAUGHTMEABOUT DOCK WAS THE ORIGINAL RECORDINGS THAT HE MADE IN 1927." "DOCK WAS THE ORIGINAL RECORDINGS THAT HE MADE IN 1927." "DOCK'S SOUND WAS SO RAW AND" "THAT HE MADE IN 1927." "DOCK'S SOUND WAS SO RAW AND ELEMENTAL THAT I JUST WANTED" "DOCK'S SOUND WAS SO RAW AND ELEMENTAL THAT I JUST WANTED TO FIND HIM." "ELEMENTAL THAT I JUST WANTED TO FIND HIM." "I'VEBEENPLAYING." "TO FIND HIM." "I'VEBEENPLAYING." "SOME PEOPLE LIKE TO HEAR" "I'VEBEENPLAYING." "SOME PEOPLE LIKE TO HEAR THE WAY I PLAY" "SOME PEOPLE LIKE TO HEAR THE WAY I PLAY AND SOME DOESN'T SO MUCH." "WELL, YOU CAN'T EXPECT EVERYBODY" "TO LIKE IT, BUT I'M GOING TO" "PLAY YOU A LITTLE BIT OF" ""PRETTY POLLY" THE WAY I PUT IT" "ON RECORD YEARS AGO." "WHENWEFIRSTMET ,WEWERE  BOTH INCREDULOUS." "HE DIDN'T BELIEVE THAT ANYBODY" "BOTH INCREDULOUS." "HE DIDN'T BELIEVE THAT ANYBODY WOULD REMEMBER THOSE OLD" "HE DIDN'T BELIEVE THAT ANYBODY WOULD REMEMBER THOSE OLD RECORDS." "WOULD REMEMBER THOSE OLD RECORDS." "AND I COULDN'T BELIEVE THAT" "RECORDS." "AND I COULDN'T BELIEVE THAT THE PERSON WHO MADE THOSE" "AND I COULDN'T BELIEVE THAT THE PERSON WHO MADE THOSE RECORDS WAS SITTING" "THE PERSON WHO MADE THOSE RECORDS WAS SITTING IN FRONT OF ME." "RECORDS WAS SITTING IN FRONT OF ME." "¶ PRETTY POLLY" "IN FRONT OF ME." "¶ PRETTY POLLY SUCH BEAUTY'S NEVER BEEN FOUND ¶" "¶ PRETTY POLLY SUCH BEAUTY'S NEVER BEEN FOUND ¶ ¶ PRETTY POLLY, PRETTY POLLY" "SUCH BEAUTY'S NEVER BEEN FOUND ¶ ¶ PRETTY POLLY, PRETTY POLLY OH, YONDER SHE STANDS ¶" "¶ PRETTY POLLY, PRETTY POLLY OH, YONDER SHE STANDS ¶ ¶ PRETTY POLLY, PRETTY POLLY" "OH, YONDER SHE STANDS ¶ ¶ PRETTY POLLY, PRETTY POLLY OH, YONDER SHE STANDS ¶" "¶ PRETTY POLLY, PRETTY POLLY OH, YONDER SHE STANDS ¶ ¶ A GOLD RING ON HER FINGER" "OH, YONDER SHE STANDS ¶ ¶ A GOLD RING ON HER FINGER AND LILY-WHITE HAIR ¶" "¶ A GOLD RING ON HER FINGER AND LILY-WHITE HAIR ¶ ¶ PRETTY POLLY, PRETTY POLLY" "AND LILY-WHITE HAIR ¶ ¶ PRETTY POLLY, PRETTY POLLY COME TAKE A WALK WITH ME ¶" "¶ PRETTY POLLY, PRETTY POLLY COME TAKE A WALK WITH ME ¶ ¶ PRETTY POLLY, PRETTY POLLY" "COME TAKE A WALK WITH ME ¶ ¶ PRETTY POLLY, PRETTY POLLY COME TAKE A WALK WITH ME ¶" "¶ PRETTY POLLY, PRETTY POLLY COME TAKE A WALK WITH ME ¶ ¶ OH, WHEN WE GET MARRIED" "COME TAKE A WALK WITH ME ¶ ¶ OH, WHEN WE GET MARRIED SOME PLEASURE TO SEE ¶" "¶ OH, WHEN WE GET MARRIED SOME PLEASURE TO SEE ¶ Martin:" "BOGGSANDHOLCOMBFIT" "SOME PLEASURE TO SEE ¶ Martin:" "BOGGSANDHOLCOMBFIT THE REVIVALIST PROFILE OF" "Martin:" "BOGGSANDHOLCOMBFIT THE REVIVALIST PROFILE OF VISIONARY FOLK MUSICIANS," "THE REVIVALIST PROFILE OF VISIONARY FOLK MUSICIANS, REPRESENTING A VANISHING BREED," "VISIONARY FOLK MUSICIANS, REPRESENTING A VANISHING BREED, WHO HELD ON TO THEIR TRADITIONS" "REPRESENTING A VANISHING BREED, WHO HELD ON TO THEIR TRADITIONS DESPITE MASS CULTURE." "WHO HELD ON TO THEIR TRADITIONS DESPITE MASS CULTURE." "THISMUSICEXISTSTO" "DESPITE MASS CULTURE." "THISMUSICEXISTSTO ENTERTAIN A FEW FRIENDS" "THISMUSICEXISTSTO ENTERTAIN A FEW FRIENDS AND NOT FOR PERFORMANCE." "ENTERTAIN A FEW FRIENDS AND NOT FOR PERFORMANCE." "AND IT CAN HAPPEN ANY TIME," "AND NOT FOR PERFORMANCE." "AND IT CAN HAPPEN ANY TIME, ANYWHERE," "AND IT CAN HAPPEN ANY TIME, ANYWHERE, AND I THINK IT'S WONDERFUL" "ANYWHERE, AND I THINK IT'S WONDERFUL FOR THAT REASON." "WHATELSEYOUGOT" "IN MIND, BABY?" "HOWABOUT"THEOLD 97. "" "OKAY," THEOLD97 ."" "Martin:" "INPLACESLIKE SURRY COUNTY, NORTH CAROLINA, NEIGHBORS KEEP ALIVE" "SURRY COUNTY, NORTH CAROLINA, NEIGHBORS KEEP ALIVE THE OLD-TIME TRADITIONS ADMIRED" "NEIGHBORS KEEP ALIVE THE OLD-TIME TRADITIONS ADMIRED BY THE REVIVALISTS." "THE OLD-TIME TRADITIONS ADMIRED BY THE REVIVALISTS." "AS ONE PLAYER ASKED," "BY THE REVIVALISTS." "AS ONE PLAYER ASKED, "WHAT FOLK REVIVAL?" "AS ONE PLAYER ASKED, "WHAT FOLK REVIVAL?" "WE'RE STILL PLAYING THE SAME" ""WHAT FOLK REVIVAL?" "WE'RE STILL PLAYING THE SAME MUSIC WE'VE ALWAYS PLAYED."" "WE'RE STILL PLAYING THE SAME MUSIC WE'VE ALWAYS PLAYED." PEOPLEAREPLAYINGMUSICIN" "MUSIC WE'VE ALWAYS PLAYED." PEOPLEAREPLAYINGMUSICIN THIS REGION SOMEWHERE ALMOST" "PEOPLEAREPLAYINGMUSICIN THIS REGION SOMEWHERE ALMOST EVERY NIGHT OF THE WEEK." "THIS REGION SOMEWHERE ALMOST EVERY NIGHT OF THE WEEK." "THE TRADITION OF MUSIC MEANS" "EVERY NIGHT OF THE WEEK." "THE TRADITION OF MUSIC MEANS A LOT TO THE PEOPLE WHO" "THE TRADITION OF MUSIC MEANS A LOT TO THE PEOPLE WHO LIVE HERE." "A LOT TO THE PEOPLE WHO LIVE HERE." "YOU KNOW, TO BE ABLE" "TO GIVE BACK TO OLD-TIME MUSIC" "BY HELPING, YOU KNOW, PASS IT" "ON TO OTHERS." "MOUNTAINMUSICIANSTUNE BETTER AND LONGER THAN ANYBODY ELSE." "BETTER AND LONGER THAN ANYBODY ELSE." "[ CHUCKLES ]" "Martin:" "AFTERAHALFCENTURY OF SEARCHING OUT AND PERFORMING THE MUSIC OF SOUTHERN RURAL" "OF SEARCHING OUT AND PERFORMING THE MUSIC OF SOUTHERN RURAL MASTERS, THE STUDENT HAS BECOME" "THE MUSIC OF SOUTHERN RURAL MASTERS, THE STUDENT HAS BECOME THE MENTOR AND A SOURCE THAT" "MASTERS, THE STUDENT HAS BECOME THE MENTOR AND A SOURCE THAT OTHERS NOW SEEK OUT." "THE MENTOR AND A SOURCE THAT OTHERS NOW SEEK OUT." "¶I 'MASPRETTYALITTLEBIRD" "OTHERS NOW SEEK OUT." "¶I 'MASPRETTYALITTLEBIRD AS I CAN BE ¶" "¶I 'MASPRETTYALITTLEBIRD AS I CAN BE ¶ ¶ I'M AS PRETTY A LITTLE BIRD" "AS I CAN BE ¶ ¶ I'M AS PRETTY A LITTLE BIRD AS I CAN BE ¶" "¶ I'M AS PRETTY A LITTLE BIRD AS I CAN BE ¶ ¶ I SIT IN THE HILLS" "AS I CAN BE ¶ ¶ I SIT IN THE HILLS AND I SING ALL THE DAY ¶" "¶ I SIT IN THE HILLS AND I SING ALL THE DAY ¶ ¶ NO ONE EVER BOTHERS ME" "AND I SING ALL THE DAY ¶ ¶ NO ONE EVER BOTHERS ME ¶ OH, IF I WAS A LITTLE BIRD" "¶ NO ONE EVER BOTHERS ME ¶ OH, IF I WAS A LITTLE BIRD I WOULD NOT BUILD MY NEST" "¶ OH, IF I WAS A LITTLE BIRD I WOULD NOT BUILD MY NEST ON THE GROUND ¶" "I WOULD NOT BUILD MY NEST ON THE GROUND ¶ ¶ I WOULD BUILD MY NEST" "ON THE GROUND ¶ ¶ I WOULD BUILD MY NEST IN THE HIGHEST OAK TREE ¶" "¶ I WOULD BUILD MY NEST IN THE HIGHEST OAK TREE ¶ ¶ WHERE THE BAD BOYS" "IN THE HIGHEST OAK TREE ¶ ¶ WHERE THE BAD BOYS COULDN'T TEAR IT DOWN ¶" "¶ WHERE THE BAD BOYS COULDN'T TEAR IT DOWN ¶ ¶ I'M AS PRETTY A LITTLE BIRD" "COULDN'T TEAR IT DOWN ¶ ¶ I'M AS PRETTY A LITTLE BIRD AS I CAN BE, I CAN BE ¶" "¶ I'M AS PRETTY A LITTLE BIRD AS I CAN BE, I CAN BE ¶ ¶ I'M AS PRETTY A LITTLE BIRD" "AS I CAN BE, I CAN BE ¶ ¶ I'M AS PRETTY A LITTLE BIRD AS I CAN BE ¶" "¶ I'M AS PRETTY A LITTLE BIRD AS I CAN BE ¶ ¶ I SIT IN THE HILLS" "AS I CAN BE ¶ ¶ I SIT IN THE HILLS AND I SING ALL THE DAY" "¶ I SIT IN THE HILLS AND I SING ALL THE DAY NO ONE EVER BOTHERS ME ¶" "FIRSTSTRING,SECONDFRET." "THAT'S THE C CHORD." "WE'RE GONNA DO THAT TWICE." "AND THEN WE'RE GOING TO GO BACK" "TO THE OPEN STRING AGAIN." "YOUHEARABOUT" "EASTERN KENTUCKY WITH POVERTY" "AND YOU HEAR ABOUT EASTERN" "KENTUCKY WITH COAL MINING" "DISASTERS, BUT TO BE ABLE TO" "HAVE PEOPLE COME HERE BECAUSE OF" "THIS WONDERFUL MUSIC SCHOOL," "IT HAS KIND OF STARTED OPENING" "PEOPLE'S EYES THAT, HEY," "YOU KNOW, WE HAVE" "SOMETHING HERE." "WE HAVE SOMETHING THAT" "NOBODY ELSE HAS." "THIS IS SOMETHING THAT CAN'T BE HAULED OFF IN TRUCKS." "WESAWTHETRADITION" "HAULED OFF IN TRUCKS." "WESAWTHETRADITION WAS DYING OUT" "AND WE THOUGHT THAT WAS SAD," "AND IT SEEMED LIKE A GREAT" "OPPORTUNITY FOR GETTING" "THE MUSIC BACK IN" "THE FOREFRONT." "TOME,IT 'STHEGOSPEL," "YOU KNOW." "THINGS THAT ARE LOWLY GET" "BROUGHT UP AND HIGHLIGHTED, AND" "I THINK THAT'S WHERE THE REAL" "MOVEMENT OF THE SPIRIT IS." "THESE STRINGS REALLY BIND US" "TOGETHER IN REALLY UNIQUE WAYS" "AND BINDS PEOPLE TOGETHER." "RIGHT HERE IN THIS LITTLE" "CORNER OF THE WORLD, WE'RE" "REALLY CONNECTED TO" "THE WHOLE WORLD." "OURMOUNTAINMUSICISTOTRY" "TO BRING BACK TO THEM SOMETHING" "OF THE PAST, SOMETHING OF A LIFE" "THAT WE USED TO HAVE THAT WE'VE" "LOST AND TO JUST GIVE US" "A LITTLE HOPE MAYBE." "MYBROTHERANDIAREWATCHING TELEVISION IN QUEENS, BETWEEN 5 AND 7 YEARS OLD." "TELEVISION IN QUEENS, BETWEEN 5 AND 7 YEARS OLD." "AND "THE BEVERLY HILLBILLIES"" "BETWEEN 5 AND 7 YEARS OLD." "AND "THE BEVERLY HILLBILLIES" COMES ON, AND IT'S LIKE..." "[ PLAYING THEME SONG ]" "ANDI 'MLIKETRANSFIXED." "I'VE NEVER HEARD ANYTHING LIKE THIS, AND ALL THESE NEURONS" "I'VE NEVER HEARD ANYTHING LIKE THIS, AND ALL THESE NEURONS ARE FIRING IN MY BRAIN," "LIKE THIS, AND ALL THESE NEURONS ARE FIRING IN MY BRAIN, AND IT'S LIKE MERCURY NOTES." "ARE FIRING IN MY BRAIN, AND IT'S LIKE MERCURY NOTES." "EVERY NOTE IS LIKE METAL." "AND IT'S LIKE MERCURY NOTES." "EVERY NOTE IS LIKE METAL." "JUST PERFECT AND STUNNING" "EVERY NOTE IS LIKE METAL." "JUST PERFECT AND STUNNING AND THAT'S WHAT MADE ME WANT" "JUST PERFECT AND STUNNING AND THAT'S WHAT MADE ME WANT TO PLAY THE BANJO." "Martin:" "DESPITELINGERING CULTURAL STEREOTYPES ABOUT THE BANJO, INNOVATORS LIKE" "CULTURAL STEREOTYPES ABOUT THE BANJO, INNOVATORS LIKE BELA FLECK HAVE BEEN ABLE TO" "THE BANJO, INNOVATORS LIKE BELA FLECK HAVE BEEN ABLE TO EXPAND DRAMATICALLY ON THE" "BELA FLECK HAVE BEEN ABLE TO EXPAND DRAMATICALLY ON THE MUSICAL FOUNDATION PROVIDED" "EXPAND DRAMATICALLY ON THE MUSICAL FOUNDATION PROVIDED BY EARL SCRUGGS." "MUSICAL FOUNDATION PROVIDED BY EARL SCRUGGS." "ITHINKOF MYSELFALOTMORE" "BY EARL SCRUGGS." "ITHINKOF MYSELFALOTMORE IN TERMS OF THE WORLD COMMUNITY" "ITHINKOF MYSELFALOTMORE IN TERMS OF THE WORLD COMMUNITY OF MUSICIANS THAN I THINK OF" "IN TERMS OF THE WORLD COMMUNITY OF MUSICIANS THAN I THINK OF MYSELF IN TERMS OF THE COMMUNITY" "OF MUSICIANS THAN I THINK OF MYSELF IN TERMS OF THE COMMUNITY OF BANJO PLAYERS." "MYSELF IN TERMS OF THE COMMUNITY OF BANJO PLAYERS." "IN TERMS OF WHAT I'M TRYING TO" "OF BANJO PLAYERS." "IN TERMS OF WHAT I'M TRYING TO LEARN AND GROW AS A MUSICIAN," "IN TERMS OF WHAT I'M TRYING TO LEARN AND GROW AS A MUSICIAN, I WANT TO KNOW HOW I FIT IN." "LEARN AND GROW AS A MUSICIAN, I WANT TO KNOW HOW I FIT IN." "WHAT DO PEOPLE PLAY JAZZ LIKE," "I WANT TO KNOW HOW I FIT IN." "WHAT DO PEOPLE PLAY JAZZ LIKE, WHAT DO PEOPLE PLAY" "WHAT DO PEOPLE PLAY JAZZ LIKE, WHAT DO PEOPLE PLAY CLASSICAL LIKE?" "WHAT DO PEOPLE PLAY CLASSICAL LIKE?" "WHAT IS THE LEVEL OF" "CLASSICAL LIKE?" "WHAT IS THE LEVEL OF MUSICIANSHIP THAT THE GREAT" "WHAT IS THE LEVEL OF MUSICIANSHIP THAT THE GREAT MUSICIANS HAVE?" "SOMETIMES I FIND PEOPLE WHO ARE HARD CORE ABOUT WHAT YOU SHOULD AND SHOULDN'T DO, AND YOU'RE" "HARD CORE ABOUT WHAT YOU SHOULD AND SHOULDN'T DO, AND YOU'RE BASING IT ON WHAT SOMEBODY DID" "AND SHOULDN'T DO, AND YOU'RE BASING IT ON WHAT SOMEBODY DID IN THE 1940s." "BASING IT ON WHAT SOMEBODY DID IN THE 1940s." "I CAN'T GO WITH THAT." "IN THE 1940s." "I CAN'T GO WITH THAT." "BESIDES, TOO MANY PEOPLE WHOSE" "I CAN'T GO WITH THAT." "BESIDES, TOO MANY PEOPLE WHOSE MUSIC I LOVE DON'T PLAY THAT" "BESIDES, TOO MANY PEOPLE WHOSE MUSIC I LOVE DON'T PLAY THAT WAY." "MUSIC I LOVE DON'T PLAY THAT WAY." "BILL KEITH WHEN HE FIRST CAME IN" "WAY." "BILL KEITH WHEN HE FIRST CAME IN WAS SUCH A SHOCK TO THE SYSTEM" "BILL KEITH WHEN HE FIRST CAME IN WAS SUCH A SHOCK TO THE SYSTEM FOR THE BLUEGRASS COMMUNITY THAT" "WAS SUCH A SHOCK TO THE SYSTEM FOR THE BLUEGRASS COMMUNITY THAT SOMEONE WAS PLAYING THAT WAY." "FOR THE BLUEGRASS COMMUNITY THAT SOMEONE WAS PLAYING THAT WAY." "Martin:" "BILLKEITHGREWUP" "SOMEONE WAS PLAYING THAT WAY." "Martin:" "BILLKEITHGREWUP IN BOSTON IN THE LATE 1940s" "Martin:" "BILLKEITHGREWUP IN BOSTON IN THE LATE 1940s AND FIRST LEARNED TO PLAY" "IN BOSTON IN THE LATE 1940s AND FIRST LEARNED TO PLAY THE FIVE-STRING USING" "AND FIRST LEARNED TO PLAY THE FIVE-STRING USING PETE SEEGER'S MANUAL." "THE FIVE-STRING USING PETE SEEGER'S MANUAL." "IN 1963, HE BECAME THE FIRST" "PETE SEEGER'S MANUAL." "IN 1963, HE BECAME THE FIRST NORTHERN BANJO PLAYER THAT" "IN 1963, HE BECAME THE FIRST NORTHERN BANJO PLAYER THAT BILL MONROE ASKED TO JOIN" "NORTHERN BANJO PLAYER THAT BILL MONROE ASKED TO JOIN THE BLUEGRASS BOYS." "IWORKEDWITHBILLMONROE" "FOR A LITTLE LESS THAN A YEAR," "AND I LEARNED SOMETHING" "EVERY DAY." "PEOPLE SEEMED TO LIKE WHAT I DID." "I MEAN, I'D HEAR ABOUT" "I DID." "I MEAN, I'D HEAR ABOUT "THAT YANKEE," BUT IT WAS NOT" "I MEAN, I'D HEAR ABOUT "THAT YANKEE," BUT IT WAS NOT WITH THE "DAMN"" ""THAT YANKEE," BUT IT WAS NOT WITH THE "DAMN" IN FRONT OF IT." "WITH THE "DAMN" IN FRONT OF IT." "[ LAUGHS ]" "Martin:" "THEEUREKAMOMENT FOR KEITH CAME IN 1958 WHEN HE HEARD A FIDDLE PLAYER FROM" "FOR KEITH CAME IN 1958 WHEN HE HEARD A FIDDLE PLAYER FROM NOVA SCOTIA PLAYING THE SONG" "HEARD A FIDDLE PLAYER FROM NOVA SCOTIA PLAYING THE SONG "DEVIL'S DREAM."" "NOVA SCOTIA PLAYING THE SONG "DEVIL'S DREAM." HE IMMEDIATELY GRASPED HOW HE" ""DEVIL'S DREAM." HE IMMEDIATELY GRASPED HOW HE COULD PUT THE FIDDLE'S MELODIC" "HE IMMEDIATELY GRASPED HOW HE COULD PUT THE FIDDLE'S MELODIC LINE ON THE BANJO WITH MATCHING" "COULD PUT THE FIDDLE'S MELODIC LINE ON THE BANJO WITH MATCHING SPEED AND FLUIDITY." "LINE ON THE BANJO WITH MATCHING SPEED AND FLUIDITY." "OTHERS WERE ALREADY DEVELOPING" "SPEED AND FLUIDITY." "OTHERS WERE ALREADY DEVELOPING A SIMILAR TECHNIQUE, BUT KEITH'S" "OTHERS WERE ALREADY DEVELOPING A SIMILAR TECHNIQUE, BUT KEITH'S SHOWCASE WITH MONROE ESTABLISHED" "A SIMILAR TECHNIQUE, BUT KEITH'S SHOWCASE WITH MONROE ESTABLISHED THE MELODIC STYLE FOR THE BANJO." "SOTHISBLEWDOWNTHEBARN" "DOORS OF WHAT YOU COULD DO ON" "THE BANJO." "UP TILL THEN, PEOPLE ARE PLAYING" "SCRUGGS STYLE OR THEY WERE" "PLAYING SINGLE-STRING STYLE." "NO ONE HAD REALLY THOUGHT," "AT LEAST IN A MASS WAY," "TO PLAY THE SO-CALLED MELODIC OR" "FIDDLE-TUNE STYLE." "1,2 ,3 ..." "Martin:" "SYRACUSENATIVE TONY TRISCHKA CAME OF AGE IN THE 1960s AND BELIEVED THERE" "TONY TRISCHKA CAME OF AGE IN THE 1960s AND BELIEVED THERE WERE NO LIMITS TO WHAT KIND OF" "IN THE 1960s AND BELIEVED THERE WERE NO LIMITS TO WHAT KIND OF MUSIC THE BANJO COULD PLAY." "WERE NO LIMITS TO WHAT KIND OF MUSIC THE BANJO COULD PLAY." "TRISCHKA POINTS TO THE BEATLES," "MUSIC THE BANJO COULD PLAY." "TRISCHKA POINTS TO THE BEATLES, MILES DAVIS, AND AARON COPLAND" "TRISCHKA POINTS TO THE BEATLES, MILES DAVIS, AND AARON COPLAND AS FORMATIVE INFLUENCES." "MILES DAVIS, AND AARON COPLAND AS FORMATIVE INFLUENCES." "ITHINKTHEMAINTHINGTHAT" "AS FORMATIVE INFLUENCES." "ITHINKTHEMAINTHINGTHAT INFORMED MY SENSIBILITY WAS JUST" "ITHINKTHEMAINTHINGTHAT INFORMED MY SENSIBILITY WAS JUST THIS ATTITUDE THAT WAS PREVALENT" "INFORMED MY SENSIBILITY WAS JUST THIS ATTITUDE THAT WAS PREVALENT IN THE LATER '60s " "THIS ATTITUDE THAT WAS PREVALENT IN THE LATER '60s -- YOU KNOW, LET'S BREAK DOWN" "IN THE LATER '60s -- YOU KNOW, LET'S BREAK DOWN BARRIERS." "YOU KNOW, LET'S BREAK DOWN BARRIERS." "ANYTHING CAN BE DONE." "BARRIERS." "ANYTHING CAN BE DONE." "YOU KNOW, IF I WANT TO THROW" "ANYTHING CAN BE DONE." "YOU KNOW, IF I WANT TO THROW A SAXOPHONE ON THIS TUNE," "YOU KNOW, IF I WANT TO THROW A SAXOPHONE ON THIS TUNE, I CAN DO THAT." "A SAXOPHONE ON THIS TUNE, I CAN DO THAT." "IF I WANT TO HAVE A SYNTHESIZER," "I CAN DO THAT." "IF I WANT TO HAVE A SYNTHESIZER, IF I WANT TO HAVE CRAZY CHORDS," "IF I WANT TO HAVE A SYNTHESIZER, IF I WANT TO HAVE CRAZY CHORDS, WHATEVER IT WAS, LET'S TAKE" "IF I WANT TO HAVE CRAZY CHORDS, WHATEVER IT WAS, LET'S TAKE SOME CHANCES." "WHATEVER IT WAS, LET'S TAKE SOME CHANCES." "AND WITH BLUEGRASS, THAT WAS" "SOME CHANCES." "AND WITH BLUEGRASS, THAT WAS EASY TO DO BECAUSE EVEN THOUGH" "AND WITH BLUEGRASS, THAT WAS EASY TO DO BECAUSE EVEN THOUGH A LOT HAD BEEN DONE, THERE WAS" "EASY TO DO BECAUSE EVEN THOUGH A LOT HAD BEEN DONE, THERE WAS STILL SO MUCH THAT COULD BE" "A LOT HAD BEEN DONE, THERE WAS STILL SO MUCH THAT COULD BE DONE WITH IT." "ITHINKAT ALLTIMESI'M" "AWARE OF HOW LUCKY I AM TO GET" "TO BE PLAYING WITH TONY." "HE'S SUCH AN ADVENTUROUS PLAYER" "THAT, BEING ON STAGE WITH HIM," "I FIND MYSELF MAYBE APPROACHING" "THE INSTRUMENT KIND OF WITH" "MORE OF HIS SPIRIT, WHICH IS" "MAYBE JUST THIS " "HE'S JUST FEARLESS." "[ APPLSE ] THANKYOU." "Martin:" "IT'SBEENSAIDTHAT  THE DEEPER YOU DIG INTO ANY LOCAL TRADITION, THE MORE YOU" "THE DEEPER YOU DIG INTO ANY LOCAL TRADITION, THE MORE YOU FIND SOMETHING GLOBAL." "THE SPARROW QUARTET IS A STRING CHAMBER ENSEMBLE, BUILT AROUND THE TWIN BANJOS OF" "A STRING CHAMBER ENSEMBLE, BUILT AROUND THE TWIN BANJOS OF ABIGAIL WASHBURN" "BUILT AROUND THE TWIN BANJOS OF ABIGAIL WASHBURN AND BELA FLECK." "ABIGAIL WASHBURN AND BELA FLECK." "IT WAS WASHBURN'S EXPERIENCE IN" "AND BELA FLECK." "IT WAS WASHBURN'S EXPERIENCE IN CHINA THAT LED HER TO TAKE UP" "IT WAS WASHBURN'S EXPERIENCE IN CHINA THAT LED HER TO TAKE UP AMERICA'S QUINTESSENTIAL" "CHINA THAT LED HER TO TAKE UP AMERICA'S QUINTESSENTIAL INSTRUMENT." "AMERICA'S QUINTESSENTIAL INSTRUMENT." "[ SINGING IN CHINESE LANGUAGE ]" "BECAUSEI LEARNEDABOUT" "THE BANJO AS A RESULT OF BEING" "A FOREIGNER IN CHINA AND WANTING" "SOMETHING ABOUT AMERICAN CULTURE" "THAT I COULD LOVE SO MUCH," "I THINK WHEN I STARTED PLAYING" "THE BANJO, IT WAS REALLY FOR" "THE PURPOSE OF SOOTHING MY SOUL" "AND MAKING ME FEEL MORE" "AMERICAN." "Martin:" "INTHEIRHANDS, THE BANJO CONTINUES ITS LONG HISTORY AS A PLACE FOR" "THE BANJO CONTINUES ITS LONG HISTORY AS A PLACE FOR EXCHANGES," "HISTORY AS A PLACE FOR EXCHANGES, FINDING COMMON GROUND ACROSS" "EXCHANGES, FINDING COMMON GROUND ACROSS COMMUNITIES, CULTURES, REGIONS," "FINDING COMMON GROUND ACROSS COMMUNITIES, CULTURES, REGIONS, AND EVEN ERAS." "COMMUNITIES, CULTURES, REGIONS, AND EVEN ERAS." "[ SINGING IN CHINESE LANGUAGE ]" "BLUEGRASSMAGAZINESARE CALLING ME HOLLYWOOD'S AMBASSADOR OF THE BANJO." "CALLING ME HOLLYWOOD'S AMBASSADOR OF THE BANJO." "[ APPLAUSE ]" "AMBASSADOR OF THE BANJO." "[ APPLAUSE ] THAT'S RIGHT, IT WAS..." "[ APPLAUSE ] THAT'S RIGHT, IT WAS..." "IT WAS BETWEEN ME" "THAT'S RIGHT, IT WAS..." "IT WAS BETWEEN ME AND ARNOLD SCHWARZENEGGER." "1, 2, 3, 4..." "Martin:" "I ALWAYSFELTTHAT THE SOUND OF THE BANJO SEEMS TO BE IN MANY AMERICANS' DNA." "THE SOUND OF THE BANJO SEEMS TO BE IN MANY AMERICANS' DNA." "THAT IT WAS SOMEHOW PART OF" "TO BE IN MANY AMERICANS' DNA." "THAT IT WAS SOMEHOW PART OF OUR HISTORY, OUR GENETIC" "THAT IT WAS SOMEHOW PART OF OUR HISTORY, OUR GENETIC HISTORY." "OUR HISTORY, OUR GENETIC HISTORY." "WE HEAR IT AND IT'S LIKE WE'VE" "HISTORY." "WE HEAR IT AND IT'S LIKE WE'VE HEARD IT BEFORE." "FOR ME, IT CAN BE SIMULTANEOUSLY JOYFUL AND MELANCHOLY." "I COULD JUST HEAR THE SOUND" "JOYFUL AND MELANCHOLY." "I COULD JUST HEAR THE SOUND OF IT AND IT COULD MOVE ME." "I ACTUALLY CAN'T IMAGINE WHAT MY LIFE WOULD BE LIKE WITHOUT HAVING LEARNED THE BANJO." "THE SOUTHERN HUMANITIES MEDIA FUND." "507 INDIVIDUAL DONORS ON KICKSTARTER." "INNOVATIVE FILMS, INC." "THE TIDES FOUNDATION." "MASSACHUSETTS HUMANITIES..." "AND OTHERS." "A COMPLETE LIST IS AVAILABLE FROM PBS." "DISCOVERTHEDIFFERENCES" "BETWEEN 4" " AND 5-STRING BANJOS." "TAKE A TOUR OF RALPH STANLEY'S" "MUSEUM AND SEE EXCLUSIVE" "PERFORMANCES." "VISIT THE PROGRAM" "WEB SITE AT..." "I HOPE YOU'VE ENJOYED "GIVE ME THE BANJO,"" "BUT STAY TUNED," "I'LL BE RIGHT BACK WITH RODNEY CROWELL" "AND WE'LL TALK ABOUT WHAT THIS MUSIC MEANS TO US."