Give Me the Banjo Page #3

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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.

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