Give Me the Banjo Page #12

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"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

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