AMERICAN FOLK MUSIC,
BLUE GRASS AND COUNTRY
PROUDLY CALL
THE BLUE RIDGE MOUNTAINS HOME.
NOT ONLY A SPOT ON THE MAP, BU AN EMOTIONAL TERRAIN AS WELL.
YOU MAY WONDER WHY ME,
AND WHY THE BANJO.
I'M NOT A BANJO PLAYER MYSELF,
BUT THE INSTRUMEN 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 LO 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 ]
TO OPEN THE SHOW TONIGHT,
WE WOULD LIKE
TO PLAY OUR FIRST SONG.
[ LAUGHTER ]
SO, LET'S KICK IT OFF.
1, 2, 3, 4!
I THINK PEOPLE
ARE CONTINUALLY TRANSFIXED
BY THE FIVE-STRING BANJO,
IN SOME MYSTERIOUS WAY.
THE BANJO REALLY HAS A
COMPLICATED AND CHECKERED PAST.
THE BANJO HAS ALWAYS
COMPLICATED AND CHECKERED PAST.
THE BANJO HAS ALWAYS
SYMBOLIZED SOMETHING OTHER
THE BANJO HAS ALWAYS
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.
THE BANJO'S BEEN
AND EVEN CLOWNISH.
THE BANJO'S BEEN
AN EMBLEM OF AMERICAN CULTURE.
THE BANJO'S BEEN
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.
IT WAS AN AFRICAN INSTRUMEN FROM ITS BEGINNING HERE.
IT WAS AN AFRICAN INSTRUMEN WHEN IT CAME HERE.
IT WAS AN AFRICAN INSTRUMEN 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.
ONE OF THE GREAT DARK SECRETS
BY THE EUROPEAN-AMERICANS.
ONE OF THE GREAT DARK SECRETS
OF THE BANJO IS THA ONE OF THE GREAT DARK SECRETS
OF THE BANJO IS THA IT REALLY IS
OF THE BANJO IS THA 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!"
[ CHEERING AND APPLAUSE ]
[ BANJO PLAYING ]
WE'RE GONNA PLAY FOR 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."
IT WAS GOOD BEING HERE,
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 THE RUN
GOIN' UP T' CRIPPLE CREEK
HAVE A LITTLE FUN
YOU KNOW,
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 THE RUN
GOIN' UP T' CRIPPLE CREEK
HAVE A LITTLE FUN
Martin: AMERICANS HAVE BEEN
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: ALL THESE MUSICIANS
ARE ALL HERE DOING THIS CONCER BECAUSE THEY BELIEVE
IN THE MISSION,
GETTING PEOPLE TO KNOW MORE
ABOUT WHERE THIS INSTRUMEN COMES FROM, 'CAUSE THEY AIN' HERE FOR THE MONEY.
THEY AIN'T HERE FOR THE GLORY.
IS THAT BETTER?
OH, PLAY IT!
Giddens: THERE'S SO MUCH
HISTORY IN THIS MUSIC THAT IS
Giddens: THERE'S SO 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'T GET TROUBLE
ENRICHED BY IT.
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
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...
[ WINDING SPRING ]
YOU CAN'T TALK ABOU 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.
[ ORCHESTRA PLAYS ]
Male chorus: IN THE EVENING
BY THE MOONLIGHT...
THE MINSTREL STAGE WAS
LIKE GOING TO THE MOVIES TODAY.
I MEAN, IT WAS THE MOST POPULAR
FORM OF ENTERTAINMEN FROM ROUGHLY 1830 UNTIL
THE END OF THE CENTURY
THAN ANY OTHER ENTERTAINMEN IN THE WORLD.
BECAUSE IT WAS SO POPULAR,
ALL OF THAT WAS A PAR OF THIS CARICATURE
ALL OF THAT WAS A PAR 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 INSTRUMEN THE AFRICAN-AMERICAN COMMUNITY.
THE BANJO BECAME THE INSTRUMEN THAT WAS THE IMAGE
THE BANJO BECAME THE INSTRUMEN THAT WAS THE IMAGE
OF SLAVE LIFE.
IF YOU TAKE AN
AFRICAN-AMERICAN INSTRUMENT,
WITH ITS AFRICAN ROOTS,
AFRICAN-AMERICAN INSTRUMENT,
WITH ITS AFRICAN ROOTS,
AND YOU ADD TO I WITH ITS AFRICAN ROOTS,
AND YOU ADD TO I THE CELTIC MUSICAL TRADITIONS
AND YOU ADD TO I 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: JOEL WALKER SWEENEY
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'S THE FIRST BIG 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: NEW YORK AUDIENCES
AND SO HE FELL RIGHT INTO THAT.
Martin: NEW YORK AUDIENCES
WERE ALREADY WELL-ACQUAINTED
Martin: NEW YORK AUDIENCES
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 ENTERTAINMEN THEY DEBUTED A NEW FORM
OF POPULAR ENTERTAINMEN THAT WOULD DOMINATE
OF POPULAR ENTERTAINMEN 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.
BECAUSE THE BANJO COMES
BLACK-FACE MINSTREL SHOW.
BECAUSE THE BANJO COMES
INTO AMERICAN POPULAR MUSIC
BECAUSE THE BANJO COMES
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 EMMET WITH PLAYERS LIKE
DANIEL DECATUR EMMET AND JOEL WALKER SWEENEY,
DANIEL DECATUR EMMET 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 EMMET 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.
THE MINSTREL SHOW WAS
THE FIRST REAL STATEMENT ABOU 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: BY 1844,
IDENTIFY US.
Martin: BY 1844,
OVER TWO DOZEN MINSTREL
Martin: BY 1844,
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 INSTRUMEN THE BANJO
FROM A BLACK FOLK INSTRUMEN INTO THE NEW MUST-HAVE ICON
FROM A BLACK FOLK INSTRUMEN INTO THE NEW MUST-HAVE ICON
OF POP CULTURE.
INTO THE NEW MUST-HAVE ICON
OF POP CULTURE.
Wunderlich: BY THE 1840s,
OF POP CULTURE.
Wunderlich: BY THE 1840s,
WE'RE BEGINNING TO SEE
Wunderlich: BY THE 1840s,
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 INSTRUMEN FROM A PURELY CRAFT,
HANDMADE INSTRUMEN BEING MADE BY THE PERFORMER,
HANDMADE INSTRUMEN 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 GE AND VERY QUICK.
IT ALMOST SEEMS, AS YOU GE TOWARDS THE CIVIL WAR,
IT ALMOST SEEMS, AS YOU GE 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: THE BITTER AND BLOODY
TO MEET THE NEED.
Martin: THE BITTER AND BLOODY
CIVIL WAR HAS BEEN CALLED
Martin: THE BITTER AND 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. STEWAR BANJO MAKERS LIKE A.C. FAIRBANKS
AND S.S. STEWAR DESIGNED ORNATE INSTRUMENTS
AND S.S. STEWAR 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 INSTRUMEN NEW PATENTS IN CONSTRUCTION
TURNED THE FOLK INSTRUMEN INTO AN INDUSTRIAL MARVEL.
TURNED THE FOLK INSTRUMEN INTO AN INDUSTRIAL MARVEL.
BUT REINVENTING THE INSTRUMEN INTO AN INDUSTRIAL MARVEL.
BUT REINVENTING THE INSTRUMEN WASN'T ENOUGH.
BUT REINVENTING THE INSTRUMEN 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: AND SO THEY WANTED
THEY CALLED IT "CLASSIC."
Carlin: AND SO THEY WANTED
TO SEPARATE OU Carlin: AND SO THEY WANTED
TO SEPARATE OU THIS INSTRUMENT FROM
TO SEPARATE OU 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.
MEMPHIS IS A REALLY
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'M GOIN' DOWN TO MEMPHIS
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: GUS CANNON WAS
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.
HE WAS COMING FROM
HILL COUNTRY.
HE WAS COMING FROM
A PLACE IN WHICH YOU HAD
HE WAS COMING FROM
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: EVERY SPRING, FROM
WHEN HE WAS 12.
Martin: EVERY SPRING, FROM
THE TIME HE WAS 13 YEARS OLD,
Martin: EVERY SPRING, 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.
GUS CANNON WAS AMAZING
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.
BUT I GUESS I'LL HAVE TO
CATCH A FRISCO OU IN THIS LAN'
CATCH A FRISCO OUT
Martin: THE ASPIRING SONGSTER
ALSO HAD TO KEEP UP WITH
THE LATEST POPULAR TUNES.
"COON SONGS," AS THEY WERE
COMMONLY CALLED, SWEP 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: HIS PERFORMANCE
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: FROM 1914 UNTIL
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.
SO JUST THE WHOLE IDEA OF
PROBABLY THE MUSIC ITSELF.
SO JUST THE WHOLE IDEA OF
THE MEDICINE SHOWS BEING
SO JUST THE WHOLE IDEA OF
THE MEDICINE SHOWS BEING
AN ENTERTAINMENT MELTING PO THE MEDICINE SHOWS BEING
AN ENTERTAINMENT MELTING PO SORT OF APPEALS TO ME.
AN ENTERTAINMENT MELTING PO 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: WHEN HE WASN' 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 "TEAR IT DOWN" ]
Martin: JUG BANDS BECAME
FIXTURES OF THE BUSTLING MUSIC
SCENE ON BEALE STREE FIXTURES OF THE BUSTLING MUSIC
SCENE ON BEALE STREE IN MEMPHIS.
SCENE ON BEALE STREE 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 FI THE HOMEMADE AND THE RUSTIC.
THE BRASHNESS OF THE BANJO FI WELL WITH THE SCRAPE OF
THE BRASHNESS OF THE BANJO FI 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: THESE INSTRUMENTS,
ANTICS OF A JUG BAND.
Wilson: THESE INSTRUMENTS,
THE STEREOTYPE IS,
Wilson: THESE INSTRUMENTS,
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' INVENTIVE?
NO. IT'S NOT ABOUT THEY COULDN' AFFORD SOMETHING.
NO. IT'S NOT ABOUT THEY COULDN' 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.
I WENT TO AN OLD LADY'S HOUSE
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 GE SOMETHING OR OTHER ON IT.
WALK RIGHT IN
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' STAY A LITTLE WHILE
'CAUSE, DADDY, YOU CAN' STAY TOO LONG
'CAUSE, DADDY, YOU CAN' STAY TOO LONG
Martin: IN 1929, CANNON
STAY TOO LONG
Martin: IN 1929, CANNON
AND HIS JUG STOMPERS RECORDED
Martin: IN 1929, 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.
WALK RIGHT IN
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: IN 1963,
DADDY, LET YOUR MIND ROLL ON
Martin: IN 1963,
BANJOIST ERIC DARLING, WHO HAD
Martin: IN 1963,
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.
WALK RIGHT IN
MOVED ON.
WALK RIGHT IN
SIT RIGHT DOWN
WALK RIGHT IN
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 ]
FOR ME,
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 OU FELT THAT WAY.
IF WE CAN GET ANYTHING OU OF IT, WE SHOULD ALL TRY TO
IF WE CAN GET ANYTHING OU OF IT, WE SHOULD ALL TRY TO
EMBRACE EVERYTHING THAT I OF IT, WE SHOULD ALL TRY TO
EMBRACE EVERYTHING THAT I STANDS FOR.
EMBRACE EVERYTHING THAT I STANDS FOR.
WE COULD LEARN A LOT FROM IT.
STANDS FOR.
WE COULD LEARN A LOT FROM IT.
[ SINGING "MAMSELLE JOSEPHINE" ]
WELL, CHARLIE, OLD BOY,
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'S TRY A FEW OF THOSE OLD
Charlie: YES, IT HAS, BOY.
LET'S TRY A FEW OF THOSE OLD
SOUTHERN MELODIES FOR THE BOYS.
LET'S TRY A FEW OF THOSE OLD
SOUTHERN MELODIES FOR THE BOYS.
Charlie: OH, IT DOES ME GOOD
SOUTHERN MELODIES FOR THE BOYS.
Charlie: OH, IT DOES ME GOOD
TO HEAR YOU SAY THAT.
Charlie: OH, IT DOES ME GOOD
TO HEAR YOU SAY THAT.
LET'S GO.
TO HEAR YOU SAY THAT.
LET'S GO.
Charlie: GOOD.
LET'S GO.
Charlie: GOOD.
STEP ON IT!
Sapoznik: WE CAN'T EXPLAIN
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.
BUY ME A HORSE
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
AS A KID, MY FATHER AND
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.
IDA RED,
I HEARD CHARLIE POOLE STORIES.
IDA RED,
SHE'S A DARNED OLD FOOL
IDA RED,
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
WE CAME UP HERE
ON A HUMPBACK MULE
WE CAME UP HERE
TO FIND HIS GRAVE.
WE CAME UP 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.
HE RAMBLED TILL
LIVED WHAT HE SANG.
HE RAMBLED TILL
THE BUTCHERS CUT HIM DOWN
HE RAMBLED TILL
THE BUTCHERS CUT HIM DOWN
Martin: BORN IN 1892 IN
THE BUTCHERS CUT HIM DOWN
Martin: BORN IN 1892 IN
RANDOLPH COUNTY, NORTH CAROLINA,
Martin: BORN IN 1892 IN
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: THIS AREA OF NORTH
LOCAL MUSIC SCENE.
Rorrer: THIS AREA OF NORTH
CENTRAL NORTH CAROLINA AND
Rorrer: THIS AREA OF NORTH
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 ABOU BANJO PLAYERS AND FIDDLERS PER
SQUARE FOOT THAN ABOU ANY PLACE IN THE COUNTRY.
SQUARE FOOT THAN ABOU ANY PLACE IN THE COUNTRY.
ANY PLACE IN THE COUNTRY.
Rorrer: MILLS, I THINK,
Rorrer: MILLS, I THINK,
INADVERTENTLY, WITHOU Rorrer: MILLS, I THINK,
INADVERTENTLY, WITHOU REALIZING IT, HELPED THIS MUSIC
INADVERTENTLY, WITHOU 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.
[ OLD BANJO RECORDING PLAYS ]
Rorrer: THEY HAD THESE, WHA 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: BANJO TEACHERS
THROUGHOUT THE SOUTH TAUGH THE CLASSIC GUITAR STYLE
THROUGHOUT THE SOUTH TAUGH 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: CHARLIE HAD HAD
A FEW DRINKS,
AND HE BET A GUY 50 CENTS THA 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.
MAY I SLEEP
IN YOUR BARN TONIGHT, MISTER?
IT'S TOO COLD LYING OU IN YOUR BARN TONIGHT, MISTER?
IT'S TOO COLD LYING OU ON THE GROUND
IT'S TOO COLD LYING OU ON THE GROUND
Martin: RAMBLING WAS IN
ON THE GROUND
Martin: RAMBLING WAS IN
HIS BLOOD AND ESSENTIAL TO
Martin: RAMBLING WAS IN
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.
WHEN YOU HEAR THEM PLAY
ON THE FIDDLE.
WHEN YOU HEAR THEM PLAY
TOGETHER, THAT'S FROM YEARS OF
WHEN YOU HEAR THEM PLAY
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 JUS WAS DOING
AND THE RESULT WAS IT JUS DOVETAILED BEAUTIFULLY, BLENDED
AND THE RESULT WAS IT JUS DOVETAILED BEAUTIFULLY, BLENDED
BEAUTIFULLY.
Martin: LINKED BY 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 BU OF SPRAY.
SHE SUFFERED HIS WANDERLUST BU REPEATEDLY BAILED HIM OUT OF
SHE SUFFERED HIS WANDERLUST BU 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'RE GONNA DO YOU A SONG
EXCUSE TO ESCAPE.
WE'RE GONNA DO YOU A SONG
THAT CHARLIE POOLE DID.
WE'RE GONNA DO YOU A SONG
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 HI FROM 1925.
IT'S CALLED "DON'T LE YOUR DEAL GO DOWN."
BEEN ALL AROUND
THIS WHOLE WIDE WORLD
DOWN TO MEMPHIS, TENNESSEE
THIS WHOLE WIDE WORLD
DOWN TO MEMPHIS, TENNESSEE
Rorrer: ONE DAY IN 1925,
DOWN TO MEMPHIS, TENNESSEE
Rorrer: ONE DAY IN 1925,
CHARLIE AND POSEY CAME IN TO
Rorrer: ONE DAY IN 1925,
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 TICKE AT MAKING RECORDS.
HIS BANJO WAS HIS TICKE OUT OF THE MILLS.
HIS BANJO WAS HIS TICKE OUT OF THE MILLS.
Martin: WHEN HE FINALLY GO OUT OF THE MILLS.
Martin: WHEN HE FINALLY GO TO THE COLUMBIA OFFICES
Martin: WHEN HE FINALLY GO 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 LE IN NEW YORK, ALL IT TOOK WERE
A FEW BARS OF "DON'T LE YOUR DEAL GO DOWN" AND HE HAD
A FEW BARS OF "DON'T LE YOUR DEAL GO DOWN" AND HE HAD
A RECORDING CONTRACT.
YOUR DEAL GO DOWN" AND HE HAD
A RECORDING CONTRACT.
Rorrer: THAT FIRST RECORD
A RECORDING CONTRACT.
Rorrer: THAT FIRST RECORD
SOLD 102,000 COPIES.
Rorrer: THAT FIRST RECORD
SOLD 102,000 COPIES.
IT WAS RELEASED IN SEPTEMBER
SOLD 102,000 COPIES.
IT WAS RELEASED IN SEPTEMBER
IT WAS RELEASED IN SEPTEMBER
NOW, WHAT YOU'VE GOT TO REMEMBER
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 THA FROM SPRAY, NORTH CAROLINA, TO
COME IN AND RECORD A RECORD THA SOLD 102,000 COPIES
COME IN AND RECORD A RECORD THA SOLD 102,000 COPIES
WAS PHENOMENAL.
SOLD 102,000 COPIES
WAS PHENOMENAL.
HE BECAME UNBELIEVABLY
WAS PHENOMENAL.
HE BECAME UNBELIEVABLY
POPULAR BECAUSE OF HIS ABILITY
HE BECAME UNBELIEVABLY
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: THE NORTH CAROLINA
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 FEE TO THE SOUND, THE METRONOME
YOU COULD PAT YOUR FEE 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, WHAT YOU ENDED UP WITH
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'S NEW
A KIND OF LITTLE CHAMBER TRIO.
Martin: CHARLIE'S NEW
CONTRACT WITH COLUMBIA GAVE HIM
Martin: CHARLIE'S NEW
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 RES SHARE OF THE MONEY, CHARLIE
APPARENTLY DRANK UP THE RES OF THEIR ROYALTY PAYMENTS.
APPARENTLY DRANK UP THE RES 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 EFFEC BY 1930, THE DEPRESSION WAS
HAVING A DEVASTATING EFFEC ON THE RURAL SOUTH.
HAVING A DEVASTATING EFFEC 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.
SO CHARLIE'S CAREER SEEMED TO
RAMBLERS FROM ITS ROSTER.
SO CHARLIE'S CAREER SEEMED TO
BE KIND OF A DEAD END.
SO CHARLIE'S CAREER SEEMED TO
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: WITH THE COMING OF
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: IN FEBRUARY OF 1931,
HE GOT A LETTER FROM A MOVIE
Rorrer: IN FEBRUARY OF 1931,
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: ONCE AGAIN, CHARLIE'S
IN A MOVIE.
Martin: ONCE AGAIN, CHARLIE'S
MUSIC BECAME HIS TICKET OU Martin: ONCE AGAIN, CHARLIE'S
MUSIC BECAME HIS TICKET OU OF THE MILLS, SO HE CELEBRATED
MUSIC BECAME HIS TICKET OU 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: WHEN THEY GOT 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 THA POSEY'S IMMEDIATE REACTION WAS,
"IT'S A SHAME A MAN LIKE THA WOULD DRINK HIMSELF TO DEATH."
FIVE YEARS LATER, POSEY HAD DONE
THE SAME THING, HE DRANK HIMSELF
TO DEATH.
Sapoznik: WE NOW CAN 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.
POOLE ACHIEVED NEAR LEGENDARY
FOR ALL THIS FUTURE PLAYING.
POOLE ACHIEVED NEAR LEGENDARY
STATUS AS THE HARD-LIVING,
POOLE ACHIEVED NEAR LEGENDARY
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."
MY STORY AS A COLLECTOR
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 SOR OF CHARACTERIZE VICTORIAN
INSTRUMENTS, I THINK THEY SOR 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 WHA WERE SO BEAUTIFUL ESTHETICALLY
THAT I DECIDED THAT THAT'S WHA I WANTED TO DO WITH MY LIFE,
THAT I DECIDED THAT THAT'S WHA 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, HAD I A GOLDEN THREAD
AND NEEDLE SO FINE
I'D WEAVE A MAGIC STRAND
OF RAINBOW DESIGN
THIS BANJO CAN DO THINGS
OF RAINBOW DESIGN
THIS BANJO CAN DO THINGS
WHICH A GUITAR CAN'T DO.
THIS BANJO CAN DO THINGS
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, TALL YANKEE
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: IN THE SUMMER OF
BYE-BYE, MY WOMAN, I'M GONE
Martin: IN THE SUMMER OF
1936, PETE SEEGER SAW
Martin: IN THE SUMMER OF
1936, PETE SEEGER SAW
THE FIVE-STRING BANJO PLAYED
1936, PETE SEEGER SAW
THE FIVE-STRING BANJO PLAYED
FOR THE FIRST TIME A THE FIVE-STRING BANJO PLAYED
FOR THE FIRST TIME A THE NINTH ANNUAL FOLK SONG AND
FOR THE FIRST TIME A 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.
HE HAD A GREAT BIG STAGE
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."
BASCOM LAMAR LUNSFORD WAS
YOU START PLAYING."
BASCOM LAMAR LUNSFORD WAS
A VERY SAVVY CHARACTER AND WAS
BASCOM LAMAR LUNSFORD WAS
A VERY SAVVY CHARACTER AND WAS
COMMODIFYING THE CULTURE
FOR EASY CONSUMPTION, AND THA MADE IT VERY SIMPLE FOR
PETE SEEGER TO COME DOWN AND
FEEL THAT HE HAD PLUGGED
INTO THIS.
Martin: PETE TRANSFORMED
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.
IT WAS AN ASTOUNDING TIME OF
YOUNG URBAN AUDIENCES.
IT WAS AN ASTOUNDING TIME OF
SELF-INVENTION.
IT WAS AN ASTOUNDING TIME OF
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.
HELLO THERE, PETER.
HOWDY.
MIGHTY NICE MUSIC
YOU'RE MAKING, PETE.
OH, I'M JUST WARMING UP.
WHAT'S THAT FUNNY-LOOKING
GUITAR YOU'RE PLAYING?
OH, THIS ISN'T A GUITAR.
THIS IS A BANJO.
TELL ME,
IS THE BANJO SOMETHING NEW?
NEW? ABOUT AS NEW
AS AMERICA IS.
Martin: IN PETE'S HANDS,
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 A PLIGHT OF THE UNDERDOG.
PETE'S BANJO RANG OUT A UNION RALLIES AND LEFT-WING
PETE'S BANJO RANG OUT A 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.
I DON'T WAN THE ALMANAC SINGERS.
I DON'T WAN YOUR MILLIONS, MISTER
I DON'T WAN YOUR MILLIONS, MISTER
I DON'T WAN YOUR MILLIONS, MISTER
I DON'T WAN YOUR DIAMOND RING
I DON'T WAN YOUR DIAMOND RING
ALL I WAN YOUR DIAMOND RING
ALL I WAN IS THE RIGHT TO LIVE, MISTER
ALL I WAN 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: AT A BENEFIT FOR
MY JOB AGAIN
Martin: AT A BENEFIT FOR
FARM WORKERS, PETE ME Martin: AT A BENEFIT FOR
FARM WORKERS, PETE ME AN INSPIRATIONAL HILLBILLY
FARM WORKERS, PETE ME 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 ABOU FOR WAS WORTH SINGING ABOUT.
IT WAS A VALUABLE LESSON ABOU THE PURPOSE AND POWER OF
IT WAS A VALUABLE LESSON ABOU THE PURPOSE AND POWER OF
FOLK SONGS.
I DIDN'T REALLY KNOW HOW
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 OU WHAT HE WAS DOING.
AND THAT'S WHEN I FOUND OU ABOUT FRAILING.
Martin: FOR THE MINSTREL WITH
A MISSION, FOLK MUSIC WAS NO JUST ABOUT COLLECTING OLD SONGS,
BUT CREATING AND SPREADING
NEW ONES BY EVERY AVAILABLE
MEANS.
FIRST I'LL ASSUME THAT YOU
KNOW HOW TO TUNE A BANJO.
[ TUNING ]
KNOW HOW TO TUNE A BANJO.
[ TUNING ]
Martin: IN 1948, HE WROTE
[ TUNING ]
Martin: IN 1948, HE WROTE
A PIONEERING BANJO MANUAL.
Martin: IN 1948, HE WROTE
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, PLACE THE FINGERS OF
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 GE AN EXTRA NOTE WITH YOUR
LEFT HAND.
I CALLED IT "HAMMERING ON."
DID YOU INVENT THAT TERM?
I INVENTED THAT WORD.
DID YOU INVENT THAT TERM?
I INVENTED THAT WORD.
IT'S USED THROUGHOUT THE ENTIRE
I INVENTED THAT WORD.
IT'S USED THROUGHOUT THE ENTIRE
IT'S USED THROUGHOUT THE ENTIRE
BY GUITAR PICKERS NOW.
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 I THAT'S WHAT VIOLINISTS CALL IT.
I SAID, "EH, I CALL I 'PULLING OFF.'"
I SAID, "EH, I CALL I 'PULLING OFF.'"
Martin: FOR A GENERATION
'PULLING OFF.'"
Martin: FOR A GENERATION
GROWING UP IN THE '50s,
Martin: FOR A GENERATION
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?
GUESS WHO BOUGHT ONE 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 GE NAMED DAVE GUARD.
AND A YEAR LATER, I GE A LETTER.
AND A YEAR LATER, I GE A LETTER.
"PETE, I'VE BEEN PUTTING THA A LETTER.
"PETE, I'VE BEEN PUTTING THA BOOK TO HARD USE.
"PETE, I'VE BEEN PUTTING THA 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."
ONE FOR THE
WE CALL THE KINGSTON TRIO."
ONE FOR THE
LITTLE-BITTY BABY
ONE FOR THE
LITTLE-BITTY BABY
SO, LIKE IT OR NOT, YOU'VE
LITTLE-BITTY BABY
SO, LIKE IT OR NOT, YOU'VE
INFLUENCED A WHOLE GENERATION
SO, LIKE IT 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.
IT WAS THE MOST IMPORTAN I GUESS.
IT WAS THE MOST IMPORTAN THING I'D EVER DID IN MY LIFE,
IT WAS THE MOST IMPORTAN 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 BUCKE WAS WHAT I DID IN THE '50s.
I COULD HAVE KICKED THE BUCKE IN 1960, AND MY MAIN WORK ON
I COULD HAVE KICKED THE BUCKE 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, IF YOU HAD PATIENCE
THIS WORLD HAD BEEN DONE.
NOW, IF YOU HAD PATIENCE
TO SIT THROUGH 25 MINUTES OF
NOW, IF YOU HAD 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: BETWEEN 1950 AND
IN THE CITY SQUARE?
Martin: BETWEEN 1950 AND
1952, PETE SEEGER AND HIS
Martin: BETWEEN 1950 AND
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 TRIUMPHAN "KISSES SWEETER THAN WINE."
IT SHOULD HAVE BEEN A TRIUMPHAN TIME FOR THEM.
IT SHOULD HAVE BEEN A TRIUMPHAN 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 PAS INTEREST IN FOLK MUSIC, THEIR
POLITICAL CAUSES AND PAS ASSOCIATIONS DREW THE ATTENTION
POLITICAL CAUSES AND PAS 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.
WE FIND IN SOME OF OUR
ACTIVITIES COMMITTEE.
WE FIND IN SOME OF OUR
LONG-PLAYING ALBUMS
WE FIND IN SOME OF OUR
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 COMMUNIS AS HAVING BEEN IDENTIFIED AS
MEMBERS OF THE COMMUNIS CONSPIRACY.
MEMBERS OF THE COMMUNIS CONSPIRACY.
AND NOW WE ARE CONCERNED THA CONSPIRACY.
AND NOW WE ARE CONCERNED THA THE COMMUNISTS ARE MOVING INTO
AND NOW WE ARE CONCERNED THA 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 ENTERTAINMEN GOING TO PERVERT THIS WONDERFUL
FORM OF ENTERTAINMEN SO IT WILL SATISFY
FORM OF ENTERTAINMEN SO IT WILL SATISFY
THEIR OWN NEEDS.
SO IT WILL SATISFY
THEIR OWN NEEDS.
Martin: THE FBI'S CAMPAIGN TO
THEIR OWN NEEDS.
Martin: THE FBI'S CAMPAIGN TO
BLACKLIST THE WEAVERS CAUSED
Martin: THE FBI'S CAMPAIGN TO
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.
ALL DURING THE '50s, I WAS
TO BE CANCELED.
ALL DURING THE '50s, I WAS
BLACKLISTED FROM COMMERCIAL
ALL DURING THE '50s, I WAS
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."
RAILROAD BILL
HEAR ON THE RADIO."
RAILROAD BILL
RAILROAD BILL
RAILROAD BILL
RAILROAD BILL
HE NEVER WORKED
RAILROAD BILL
HE NEVER WORKED
AND HE NEVER EVER WILL
HE NEVER WORKED
AND HE NEVER EVER WILL
Martin: FOR YEARS AFTER
AND HE NEVER EVER WILL
Martin: FOR YEARS AFTER
THE BLACKLIST, THE NETWORKS
Martin: FOR YEARS AFTER
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: WOODY WENT THROUGH
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 ]
FINE LITTLE DARLIN'.
THANK YOU SO MUCH.
FINE LITTLE DARLIN'.
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?
BACK WHEN EARL FIRS 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.
WHEN EARL GOT IN THERE,
THAT TURNED IT ALTOGETHER
AROUND, JUST LIKE DAYLIGH AND NIGHT WITH THE MUSIC.
IT JUST MADE IT A DIFFEREN SOUND T-TOTALLY.
AND GOODNESS GRACIOUS,
IT'S GOOD.
Martin: BORN IN 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'S A PICTURE OF
AN ACTIVE PART OF THE CULTURE.
THERE'S A PICTURE OF
HORACE AND EARL WHEN THEY WERE
THERE'S A PICTURE OF
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 PU PERFECT TIME, THAT WAS GREAT.
IF THEY WEREN'T, THEY'D PU THEIR BACKS TO EACH OTHER AGAIN
IF THEY WEREN'T, THEY'D PU 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.
DO YOU READ MUSIC?
NO, I DON'T.
WELL, HOW DO YOU DEVELOP
SOMETHING SO COMPLICATED?
WELL, I STARTED PLAYING
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: THE STYLE THA 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.
I WAS SITTING IN THAT ROOM,
ARGUMENT.
I WAS SITTING IN THAT ROOM,
JUST BY MYSELF ONE DAY, PLAYING
I WAS SITTING IN THAT 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 THA SUITED ME JUST RIGHT.
AND THEN ALL OF THE SUDDEN,
I STARTED USING THA MIDDLE FINGER.
Martin: EARL RECALLED SEVERAL
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 PATEN 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.
WHY DON'T WE GIVE RENO
OWN RIGHT.
WHY DON'T WE GIVE RENO
THE CREDIT?
WHY DON'T WE GIVE RENO
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.
HERE AND NOW, 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: IN 1945, 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 SPEN HIS BAND, THE BLUEGRASS BOYS.
BILL MONROE HAD ALREADY SPEN THE BETTER PART OF A DECADE
BILL MONROE HAD ALREADY SPEN 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.
WHEN BLUEGRASS MUSIC
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."
YOU CAN'T TALK ABOU THE BANJO."
YOU CAN'T TALK ABOU BLUEGRASS MUSIC WITHOUT TALKING
YOU CAN'T TALK ABOU BLUEGRASS MUSIC WITHOUT TALKING
ABOUT EARL SCRUGGS AND WITHOU BLUEGRASS MUSIC WITHOUT TALKING
ABOUT EARL SCRUGGS AND WITHOU TALKING ABOUT THE BANJO,
ABOUT EARL SCRUGGS AND WITHOU 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 THA THAT DIFFERENTIATES IT, AND
THAT'S THE MAIN THING THA MADE IT EXCITING.
THAT'S THE MAIN THING THA MADE IT EXCITING.
Martin: BUT THE CLASSIC
MADE IT EXCITING.
Martin: BUT THE CLASSIC
BLUEGRASS BOYS' LINEUP LASTED
Martin: BUT THE CLASSIC
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.
OF COURSE, WHEN SCRUGGS TOLD
TOOK ITS TOLL.
OF COURSE, WHEN SCRUGGS TOLD
MONROE THAT HE WAS LEAVING,
HE SAID, "YOU'LL NEVER AMOUN TO ANYTHING WITHOUT ME."
WELL, HE WAS FAR 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, MOVING AT TOP VOLUME,
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 FLAT OF BLUEGRASS --
TENNESSEE-BORN LESTER FLAT AND BANJO VIRTUOSO EARL SCRUGGS.
TENNESSEE-BORN LESTER FLAT AND BANJO VIRTUOSO EARL SCRUGGS.
Martin: WHEN EARL SCRUGGS
AND BANJO VIRTUOSO EARL SCRUGGS.
Martin: WHEN EARL SCRUGGS
QUIT MONROE, HE WAS PLANNING TO
Martin: WHEN EARL SCRUGGS
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 THA IN THE MILL.
BUT FLATS SUGGESTED THA THEY FORM THEIR OWN BAND AND
BUT FLATS SUGGESTED THA 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.
OF COURSE, WE ALL HAVE
OUR MENTORS.
WE ALL HAVE FOLLOWED PEOPLE THA 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 ABOU 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 YE THAT'S WHERE IT IS.
I HAVEN'T HEARD A BAND YE THAT COULD BEAT HIM.
I WAS AN EARL SCRUGGS
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 ]
NOW WE'D LIKE TO INTRODUCE
[ APPLAUSE ]
NOW WE'D LIKE TO INTRODUCE
A GENTLEMAN THAT'S BEEN ON
NOW WE'D LIKE TO INTRODUCE
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 ABOU THE GRAND OLE OPRY A LONG TIME
AND STARTED WITH ME ABOU 22 YEARS AGO HERE.
AND STARTED WITH ME ABOU 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: FLATT & SCRUGGS
WHAT DO YOU SAY?
Martin: FLATT & SCRUGGS
FINALLY SPLIT UP IN 1969 BECAUSE
Martin: FLATT & SCRUGGS
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.
THIS NINE POUND HAMMER
AND THE NEW MUSIC OF THE ERA.
THIS NINE POUND HAMMER
IS A LITTLE TOO HEAVY
THIS NINE POUND HAMMER
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?
MY BOYS, GARY AND RANDY
PLAYED THEIR STEELS, JUS GETTING TOO GOOD TO NOT GO
PLAYED THEIR STEELS, JUS 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: THE EARL SCRUGGS
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 NO AND CONNECT WITH NEW AUDIENCES.
THE BANJO, HE SAID, WAS NO AN INSTRUMENT THAT HAD TO BE
THE BANJO, HE SAID, WAS NO 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, ROLL ON, BUDDY
TYPE OF MUSIC.
NOW, ROLL ON, BUDDY
ROLL ON, BUDDY
NOW, ROLL ON, 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'S PRETTY COOL, MAN.
SO HE CHANGED THE HEAD?
I'VE GOT TONS OF STUDENTS.
AND I TRY TO TELL THEM ALL THA IT'S AN ART THAT'S NOT ABOU WHO'S BETTER THAN WHO.
IT'S AN ART THAT'S NOT ABOU WHO'S BETTER THAN WHO.
IT'S AN ART ABOUT MAKING IT WHA WHO'S BETTER THAN WHO.
IT'S AN ART ABOUT MAKING IT WHA YOU WANT TO MAKE OF IT.
IT'S AN ART ABOUT MAKING IT WHA 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, WE ARE IN
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: IT HAD ALWAYS BEEN
MUSIC MADE BY NEIGHBORS
FOR THEIR NEIGHBORS.
MUSIC MADE BY NEIGHBORS
FOR THEIR NEIGHBORS.
MIKE SEEGER AND THE NEW LOS FOR THEIR NEIGHBORS.
MIKE SEEGER AND THE NEW LOS CITY RAMBLERS CAME TOGETHER TO
MIKE SEEGER AND THE NEW LOS 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.
SOMEBODY SAID, "THE NEW
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.
WE REALIZED THE DEPTH AND
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' I WANT TO TELL
IN THE NORTH.
SOMETHIN' I WANT TO TELL
TELL HER NOT TO BE
SOMETHIN' I WANT TO TELL
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: NOT SATISFIED WITH
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.
IN 1959, SHORTLY AFTER
THE SOURCES.
IN 1959, SHORTLY AFTER
THE NEW LOST CITY RAMBLERS
IN 1959, SHORTLY AFTER
THE NEW LOST CITY RAMBLERS
STARTED, WE WERE DOING A PROJEC THE NEW LOST CITY RAMBLERS
STARTED, WE WERE DOING A PROJEC ABOUT SONGS FROM
STARTED, WE WERE DOING A PROJEC ABOUT SONGS FROM
THE DEPRESSION, AND I THOUGH ABOUT SONGS FROM
THE DEPRESSION, AND I THOUGH IT WOULD BE GOOD FOR ME TO
THE DEPRESSION, AND I THOUGH 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: JOHN COHEN SPEN SO I WENT TO EASTERN KENTUCKY.
Martin: JOHN COHEN SPEN SIX WEEKS ONE SUMMER IN
Martin: JOHN COHEN SPEN 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.
HE STARTS TO PLAY AND SING
SEE WHERE IT MIGHT LEAD.
HE STARTS TO PLAY AND SING
AND, OOH, MY HAIR STOOD ON EDGE.
HE STARTS TO PLAY AND 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.
WHEN I WAS 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'LL WAIT FOR YOU TO LEAD.
I KNOW THE FIDDLE'S
SUPPOSED TO LEAD.
I GOT A $25 S.S. STEWAR 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'S BANDMATE
AND PLAYED THE BANJO.
Martin: COHEN'S BANDMATE
MIKE SEEGER HAD ALREADY MADE
Martin: COHEN'S BANDMATE
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.
I TEND TO BE INTERESTED IN
FOLK MUSICIANS.
I TEND TO BE INTERESTED IN
THE MUSIC THAT'S MADE A I TEND TO BE INTERESTED IN
THE MUSIC THAT'S MADE A THE GRASSROOTS AND NO THE MUSIC THAT'S MADE A THE GRASSROOTS AND NO SO MUCH FOR STAGE.
THE GRASSROOTS AND NO 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: IN THE LAST 1920s,
[ PLAYING "DOWN SOUTH BLUES" ]
Martin: IN THE LAST 1920s,
A VIRGINIA COAL MINER
Martin: IN THE LAST 1920s,
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.
WHAT FIRST CAUGHT ME ABOU MIKE SEEGER SEARCHED HIM OUT.
WHAT FIRST CAUGHT ME ABOU DOCK WAS THE ORIGINAL RECORDINGS
WHAT FIRST CAUGHT ME ABOU 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'VE BEEN PLAYING.
TO FIND HIM.
I'VE BEEN PLAYING.
SOME PEOPLE LIKE TO HEAR
I'VE BEEN PLAYING.
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 I ON RECORD YEARS AGO.
WHEN WE FIRST MET, WE WERE
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 THA RECORDS.
AND I COULDN'T BELIEVE THA THE PERSON WHO MADE THOSE
AND I COULDN'T BELIEVE THA 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: BOGGS AND HOLCOMB FI SOME PLEASURE TO SEE
Martin: BOGGS AND HOLCOMB FI THE REVIVALIST PROFILE OF
Martin: BOGGS AND HOLCOMB FI 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.
THIS MUSIC EXISTS TO
DESPITE MASS CULTURE.
THIS MUSIC EXISTS TO
ENTERTAIN A FEW FRIENDS
THIS MUSIC EXISTS TO
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.
WHAT ELSE YOU GO IN MIND, BABY?
HOW ABOUT "THE OLD 97."
OKAY, "THE OLD 97."
Martin: IN PLACES LIKE
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."
PEOPLE ARE PLAYING MUSIC IN
MUSIC WE'VE ALWAYS PLAYED."
PEOPLE ARE PLAYING MUSIC IN
THIS REGION SOMEWHERE ALMOS PEOPLE ARE PLAYING MUSIC IN
THIS REGION SOMEWHERE ALMOS EVERY NIGHT OF THE WEEK.
THIS REGION SOMEWHERE ALMOS 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 I ON TO OTHERS.
MOUNTAIN MUSICIANS TUNE
BETTER AND LONGER
THAN ANYBODY ELSE.
BETTER AND LONGER
THAN ANYBODY ELSE.
[ CHUCKLES ]
Martin: AFTER A HALF CENTURY
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 THA MASTERS, THE STUDENT HAS BECOME
THE MENTOR AND A SOURCE THA OTHERS NOW SEEK OUT.
THE MENTOR AND A SOURCE THA OTHERS NOW SEEK OUT.
I'M AS PRETTY A LITTLE BIRD
OTHERS NOW SEEK OUT.
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'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 NES OH, IF I WAS A LITTLE BIRD
I WOULD NOT BUILD MY NES ON THE GROUND
I WOULD NOT BUILD MY NES ON THE GROUND
I WOULD BUILD MY NES ON THE GROUND
I WOULD BUILD MY NES IN THE HIGHEST OAK TREE
I WOULD BUILD MY NES 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
FIRST STRING, SECOND FRET.
THAT'S THE C CHORD.
WE'RE GONNA DO THAT TWICE.
AND THEN WE'RE GOING TO GO BACK
TO THE OPEN STRING AGAIN.
YOU HEAR ABOU 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 THA NOBODY ELSE HAS.
THIS IS SOMETHING THAT CAN'T BE
HAULED OFF IN TRUCKS.
WE SAW THE TRADITION
HAULED OFF IN TRUCKS.
WE SAW THE TRADITION
WAS DYING OU AND WE THOUGHT THAT WAS SAD,
AND IT SEEMED LIKE A GREA OPPORTUNITY FOR GETTING
THE MUSIC BACK IN
THE FOREFRONT.
TO ME, IT'S THE GOSPEL,
YOU KNOW.
THINGS THAT ARE LOWLY GE 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.
OUR MOUNTAIN MUSIC IS TO TRY
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.
MY BROTHER AND I ARE WATCHING
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 ]
AND I'M LIKE TRANSFIXED.
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 WAN JUST PERFECT AND STUNNING
AND THAT'S WHAT MADE ME WAN TO PLAY THE BANJO.
Martin: DESPITE LINGERING
CULTURAL STEREOTYPES ABOU THE BANJO, INNOVATORS LIKE
CULTURAL STEREOTYPES ABOU 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.
I THINK OF MYSELF A LOT MORE
BY EARL SCRUGGS.
I THINK OF MYSELF A LOT MORE
IN TERMS OF THE WORLD COMMUNITY
I THINK OF MYSELF A LOT MORE
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 GREA WHAT IS THE LEVEL OF
MUSICIANSHIP THAT THE GREA 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 THA BESIDES, TOO MANY PEOPLE WHOSE
MUSIC I LOVE DON'T PLAY THA WAY.
MUSIC I LOVE DON'T PLAY THA 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 THA WAS SUCH A SHOCK TO THE SYSTEM
FOR THE BLUEGRASS COMMUNITY THA SOMEONE WAS PLAYING THAT WAY.
FOR THE BLUEGRASS COMMUNITY THA SOMEONE WAS PLAYING THAT WAY.
Martin: BILL KEITH GREW UP
SOMEONE WAS PLAYING THAT WAY.
Martin: BILL KEITH GREW UP
IN BOSTON IN THE LATE 1940s
Martin: BILL KEITH GREW UP
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 FIRS PETE SEEGER'S MANUAL.
IN 1963, HE BECAME THE FIRS NORTHERN BANJO PLAYER THA IN 1963, HE BECAME THE FIRS NORTHERN BANJO PLAYER THA BILL MONROE ASKED TO JOIN
NORTHERN BANJO PLAYER THA BILL MONROE ASKED TO JOIN
THE BLUEGRASS BOYS.
I WORKED WITH BILL MONROE
FOR A LITTLE LESS THAN A YEAR,
AND I LEARNED SOMETHING
EVERY DAY.
PEOPLE SEEMED TO LIKE WHA I DID.
I MEAN, I'D HEAR ABOU I DID.
I MEAN, I'D HEAR ABOU "THAT YANKEE," BUT IT WAS NO I MEAN, I'D HEAR ABOU "THAT YANKEE," BUT IT WAS NO WITH THE "DAMN"
"THAT YANKEE," BUT IT WAS NO WITH THE "DAMN"
IN FRONT OF IT.
WITH THE "DAMN"
IN FRONT OF IT.
[ LAUGHS ]
Martin: THE EUREKA MOMEN 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.
SO THIS BLEW DOWN THE BARN
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: SYRACUSE NATIVE
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.
I THINK THE MAIN THING THA AS FORMATIVE INFLUENCES.
I THINK THE MAIN THING THA INFORMED MY SENSIBILITY WAS JUS I THINK THE MAIN THING THA INFORMED MY SENSIBILITY WAS JUS THIS ATTITUDE THAT WAS PREVALEN INFORMED MY SENSIBILITY WAS JUS THIS ATTITUDE THAT WAS PREVALEN IN THE LATER '60s --
THIS ATTITUDE THAT WAS PREVALEN 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.
I THINK AT ALL TIMES I'M
AWARE OF HOW LUCKY I AM TO GE 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 ]
THANK YOU.
Martin: IT'S BEEN SAID THA 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 ]
BECAUSE I LEARNED ABOU 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: IN THEIR HANDS,
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 ]
BLUEGRASS MAGAZINES ARE
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 ALWAYS FELT THA 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 WHA MY LIFE WOULD BE LIKE WITHOU 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.
DISCOVER THE DIFFERENCES
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 ABOU WHAT THIS MUSIC MEANS TO US.