Give Me the Banjo Page #17

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"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

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