Give Me the Banjo Page #10

---

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.

Rate this script:0.0 / 0 votes