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Partial Transcript: Well, it's Sunday the 14th of March, 2004.
Segment Synopsis: Scruggs introduces his son, who plays electric bass and guitar in his band. He also gives a description of Flint Hill (N.C.), where he grew up. Scruggs then talks about his father, who was a farmer and died when Scruggs was young. He then discusses his mother, who was a homemaker and farmer, as well as his birth. Scruggs also talks about his family members’ musical abilities, and discusses what inspired him to start playing music at a young age.
Keywords: Akeman, David “Stringbean” (Artist); Autoharps; Banjos; Beulah Mae Scruggs; Birth; Blind musicians; Boring Creek (N.C.); Brothers; Children; Churches; Claw hammer style; Country Music Hall of Fame & Museum, Nashville (Tenn.); Cripple Creek (Song); David Harrison “Uncle Dave” Macon (Artist); David “Stringbean” Akeman (Artist); Death; Education; Electric bass; Estates; Families; Farmers; Farms; Fiddles; Flint Hill (N.C.); Gary Scruggs (Artist); Grandfathers; Guitars; Home Sweet Home (Song); Homemakers; Horace Scruggs; Instruments; International Bluegrass Music Associations Hall of Honor; Jimmy Scruggs; Jones, Louis Marshall “Grandpa Jones” (Artist); Louis Marshall “Grandpa Jones” Jones (Artist); Mack Woolbright; Macon, David Harrison “Uncle Dave” (Artist); Mothers; Music; Nashville (Tenn.); One-room schoolhouses; Organs; Physicians; Ruby Scruggs; Schools; Scruggs, Beulah Mae; Scruggs, Gary (Artist); Scruggs, Horace; Scruggs, Jimmy; Scruggs, Ruby; Siblings; Sons; Sound--Recording and reproducing; South Carolina; Uncles; Woolbright, Mack
Subjects: Banjos; Bass guitar; Birth; Blind musicians; Bluegrass Music Hall of Fame and Museum; Bluegrass music--History and criticism.; Bluegrass music.; Bluegrass musicians; Brothers; Children; Church; Country Music Hall of Fame & Museum (Nashville, Tenn.); Death; Education; Families; Farmers; Farms; Fiddlers; Grandfathers; Guitar; Homemakers; Instruments; Jones, Grandpa, 1913-1998; Macon, Uncle Dave, 1870-1952.; Mothers; Music; Music--History and criticism.; Nashville (Tenn.); Organs; Physicians; Schools; Scruggs, Gary; Siblings; Sons; Sound--Recording and reproducing; South Carolina; Uncles; Woolbright, Mack
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Partial Transcript: When did the three-finger roll that we associate with your style of picking come into prominence?
Segment Synopsis: Scruggs talks about his “three-finger roll” style of banjo playing, which he began using when he was ten years old. He then discusses various musicians who use the same technique. He then discusses how he earned the money to buy the banjos he learned to play on by picking cotton.
Keywords: Banjo music (Bluegrass); Banjos; Dewitt “Snuffy” Jenkins (Artist); Fathers; Hammond Smith (Artist); Index fingers; Instruments; J. E. Mainer (Artist); J. E. Mainer’s Mountaineers (Artist); Jenkins, Dewitt “Snuffy” (Artist); Jenkins, Verle (Artist); Mainer, J.E. (Artist); Musical ability in children; Musical families; Picking; Poplar wood; Practicing (Music); Ruby (Song); Scruggs-style banjo; Smith, Hammond (Artist); Technique; Three finger roll; Thumbs; Verle Jenkins (Artist)
Subjects: Banjo music (Bluegrass); Banjos; Bluegrass music--History and criticism.; Bluegrass music.; Bluegrass musicians; Fathers; Instruments; J. E. Mainer's Mountaineers; Jenkins, Snuffy, 1908-1990; Mainer, J. E. (Joseph E.), 1898-1971; Music--History and criticism.; Musical ability in children; Musical families; Poplar.; Practicing (Music); Smith, Hammond; Technique; Thumb
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Partial Transcript: Want to talk to you about, uh, this is fast-forwarding a little bit, but, uh, your first time you played on the radio.
Segment Synopsis: Scruggs talks about his early experience playing at the radio station WSPA in Spartanburg (S.C.). He also talks about obtaining his high school education, a privilege few in his community were afforded. Scruggs then talks about his early career as a professional musician, which he balanced with a day job at a mill in Shelby (N.C.). Scruggs also discusses how a gig on a radio program led him to be offered a job by Boss John Miller, and talks about being courted for Bill Monroe’s Blue Grass Boys by fiddler Jim Shumate. Next, he talks about his first experience at the Grand Ole Opry in Nashville (Tenn.).
Keywords: Akeman, David “Stringbean” (Artist); Asheville (N.C.); Bands (music); Banjo music (Bluegrass); Bill Monroe (Artist); Bill Monroe and the Blue Grass Boys (Artist); Blanchard, Lowell; Bryant, T. W.; Cliff “Farmer Gray” Gray; Cripple Creek (Song); David “Stringbean” Akeman (Artist); Dear Old Dixie (Song); Dry cleaning; Education; Fiddlers; George Morris; Grady Wilkins (Artist); Gramophones; Grand Ole Opry, Nashville (Tenn.); Gray, Cliff “Farmer Gray”; Guitars; Hailwood, Dave; High schools; Jim Schumate (Artist); John “Boss” Miller (Artist); Knoxville (Tenn.); Lily Mills; Lowell Blanchard; Miller, John “Boss” (Artist); Model T Ford; Monroe, Bill (Artist); Morris Brothers, the (Artist); Morris, George; Morris, Robert; Morris, Steven; Morris, Wiley; Morris, Zeke; Mothers; Music--Performance.; Music-halls.; Nashville (Tenn.); Pay; Police officers; Radio programs.; Radio stations.; Record cutters; Records; Records--acetate; Robert Morris; Ruby (Song); Salaries; Sally Goodin (Song); Saturday Night Barn Dance (Radio program); Shelby (N.C.); Shumate
Subjects: Asheville (N.C.); Bands (music); Banjo music (Bluegrass); Blanchard, Lowell, 1910-1968; Bluegrass music--History and criticism.; Bluegrass music.; Bluegrass musicians; Dry cleaning; Education; Fiddlers; Ford automobiles; Gray, Clifford, 1887-1941; Guitars; High schools; Knoxville (Tenn.); Miller, John; Monroe, Bill; Monroe, Bill, 1911-1996; Morris Brothers; Morris, George; Morris, Robert; Morris, Steven; Morris, Wiley, 1919-1990; Morris, Zeke, 1916-1999; Mothers; Music--History and criticism.; Music--Performance.; Music-halls.; Nashville (Tenn.); Police officers; Radio programs; Radio stations; Records; Salaries; Shelby (N.C.); Shumate, Jim; Sisters; Sound--Recording and reproducing--Equipment and supplies; Spartanburg (S.C.); WNOX (Radio station : Knoxville, Tenn.)
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Partial Transcript: Now you sang, with the--Bill, and the quartet and, and trios.
Segment Synopsis: Scruggs discusses his first experience commercially recording with Bill Monroe and the Blue Grass Boys at Columbia Records. He then talks about performing with Bill Monroe in his tent shows, and discusses Monroe’s baseball team. Scruggs also discusses traveling and performing with Bill Monroe and the Blue Grass Boys.
Keywords: Acuff, Roy (Artist); Arthur Edward “Art” Satherley; Baritones (singers); Baseball teams; Bill Monroe (Artist); Bill Monroe and the Blue Grass Boys (Artist); Birch Monroe (Artist); Car accidents; Chevrolet automobiles; Chicago (Ill.); Columbia Records; Dade County Fair, Miami (Fla.); David Harrison “Uncle Dave” Macon (Artist); Driving; Father Alone (Song); Flatt, Lester (Artist); Gastonia (N.C.); Grand Ole Opry, Nashville (Tenn.); Howard “Cedric Rainwater” Watts (Artist); I’ll Fly Away (Song); Jim Schumate (Artist); Lester Flatt (Artist); Macon, David Harrison “Uncle Dave” (Artist); Miami (Fla.); Monroe, Bill (Artist); Monroe, Birch (Artist); Mt. Pleasant (Tenn.); Munn, Robert (Artist); Music--Performance; Producers; Recording; Recording studios; Roads; Robert Munn (Artist); Robert Russell “Chubby” Wise (Artist); Roy Acuff (Artist); Satherley, Arthur Edward “Art”; Shumate, Jim (Artist); Sound recordings.; Sound studios; Sound--Recording and reproducing; Sunset Park, Chester County (Pa.); Tent shows; Touring; Travel; Vocalists (s
Subjects: Acuff, Roy; Baritones (Singers); Baseball; Bluegrass music--1951-1960.; Bluegrass music--History and criticism.; Bluegrass music.; Bluegrass musicians; Chevrolet automobiles; Chicago (Ill.); Columbia Records, Inc.; Flatt, Lester; Gastonia (N.C.); Grand ole opry (Radio program); Macon, Uncle Dave, 1870-1952.; Miami (Fla.); Monroe, Bill; Monroe, Bill, 1911-1996; Monroe, Birch, 1901-1982; Munn, Robert; Music--History and criticism.; Music--Performance; Recording; Roads; Satherley, Art; Shumate, Jim; Sound recordings.; Sound studios; Sound--Recording and reproducing; Tents; Travel; Watts, Howard; Wise, Chubby
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Partial Transcript: Well, you and Lester went out on your own in the spring of forty-eight.
Segment Synopsis: Scruggs talks about touring with guitar player Lester Flatt, and auditioning at radio station WCYB in Bristol (Tenn.). He then talks about how a lucky break led him to sign as a solo artist with Mercury Records. Next, Scruggs talks about recording his seminal song, "Foggy Mountain Breakdown." He also talks about recording songs such as "Earl’s Breakdown" and "Foggy Mountain Chimes" led him to become Columbia Records' number two selling recording artist, behind Johnny Cash.
Keywords: Ames, Jim (Artist); Arthur Edward “Art” Satherley; Banjo music (Bluegrass); Bristol (Tenn.); Cash, Johnny (Artist); Clyde Moody (Artist); Columbia Records; Danville (Va.); Don Law; Earl’s Breakdown (Song); Farewell Blues (Song); Flatt & Scruggs and The Foggy Mountain Boys (Artist); Flatt, Lester (Artist); Flint Hill Special (Song); Foggy Mountain Breakdown (Song); Foggy Mountain Chimes (Song); Grand Ole Opry, Nashville (Tenn.); Hickory (N.C.); Jim Ames (Artist); Jim Shumate (Artist); Johnny Cash (Artist); Knoxville (Tenn.); Larry Nash; Law, Don; Lester Flatt (Artist); Mac Wiseman (Artist); Martha White Flour; Mercury Records; Moody, Clyde (Artist); Nash, Larry; Radio programs; Radio stations; Radio stations); Raleigh (N.C.); Satherley, Arthur Edward “Art”; Shumate, Jim (Artist); Songs; Sound recordings.; Sound--Recording and reproducing; Sponsors; Studebaker automobiles; Touring; Travel; Tuners; Versailles (Ky.); WCYB (Radio station); Wiseman, Mac (Artist)
Subjects: Ames, Jim; Banjo music (Bluegrass); Bluegrass music--1951-1960.; Bluegrass music--History and criticism.; Bluegrass music.; Bluegrass musicians; Bristol (Tenn.); Cash, Johnny; Columbia Records, Inc.; Danville (Va.); Flatt, Lester; Grand ole opry (radio programs); Hickory (N.C.); Knoxville (Tenn.); Law, Donald; Martha White Foods.; Moody, Clyde, 1915-1989; Music--History and criticism.; Nash, Larry; Radio programs; Radio stations; Raleigh (N.C.); Satherley, Art; Shumate, Jim; Songs; Sound recordings.; Sound--Recording and reproducing; Sponsors; Travel; Versailles (Ky.); WCYB (Radio station : Bristol, Tenn.); Wiseman, Mac
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Partial Transcript: Nineteen fifty-three was a big turning point for the show because Martha White Flour became your sponsor.
Segment Synopsis: Scruggs discusses his sponsorship by Martha White Flour, which began his television career. He also talks about the difficulties of recording music live for television. Scruggs then talks about appearing on the "Beverley Hillbillies" television show. Scruggs’ son, Gary, also discusses what having a father who appeared on television was like.
Keywords: Beverly Hillbillies (Television program); Broadway shows; Burton, Everett; California; Cohen E. Williams; Columbia Broadcasting Company (CBS); Everett Burton; Fathers; Flatt & Scruggs and The Foggy Mountain Boys; Flatt and Scruggs Show (Television program); Henning, Paul; High schools; Jamestown (Tenn.); Jimmy Scruggs; Martha White Flour; Microphones, boom; Radio stations; Scruggs, Jimmy; Sons; Sound recordings.; Sound--Recording and reproducing; Sponsors; Television; Television theme songs; WSM-TV (Television station); Williams, Cohen E.
Subjects: Beverly hillbillies (Television program); Bluegrass music--1961-1970.; Bluegrass music--History and criticism.; Bluegrass music.; Bluegrass musicians; California; Columbia Broadcasting System, inc.; Fathers; Flatt and Scruggs grand ole opry (Television program); Flatt and Scruggs show (Television program); Henning, Paul, 1911-2005; Martha White Foods; Music--History and criticism.; Sons; Sound recordings.; Sound--Recording and reproducing; Sponsors; Television; WSM-TV (Television station : Nashville, Tenn.)
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Partial Transcript: The, uh, Carnegie Hall album, Live at Carnegie Hall album was certainly a landmark in, in your career, and was one of the first live albums ever done, period, in, in country music.
Segment Synopsis: Scruggs talks about recording the album Flatt & Scruggs--At Carnegie Hall!, one of the first live albums in country music. He also talks about how a near-fatal car accident led him to purchase a tour bus for his band.
Keywords: Academy Awards; Airplanes; Bonnie and Clyde (Motion picture); Buses; Car accidents; Carnegie Hall (New York, N.Y.); Drunk driving; Flatt & Scruggs and The Foggy Mountain Boys; Flatt & Scruggs--At Carnegie Hall! (Album); Flying; Foggy Mountain Breakdown (Song); Gary Scruggs; Knoxville (Tenn.); Mothers; North Carolina; Randy Scruggs; Scruggs, Gary; Scruggs, Randy; Stroke patients; Strokes; Touring; Travel; Vanderbilt University
Subjects: Academy Awards (Motion pictures); Airplanes; Bluegrass music--History and criticism.; Bluegrass music.; Bluegrass musicians; Bonnie and Clyde (Motion picture); Buses; Carnegie Hall (New York, N.Y.); Drunk driving; Knoxville (Tenn.); Mothers; Music--History and criticism.; North Carolina; Scruggs, Gary; Scruggs, Randy; Stroke; Stroke patients; Travel; Vanderbilt University
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Partial Transcript: You and Lester went your separate ways in nineteen sixty-nine.
Segment Synopsis: Scruggs talks about parting ways with Lester Flatt and forming The Earl Scruggs Revue with his sons. Gary Scruggs then discusses how this band introduced his father to a new generation of fans. Earl Scruggs also talks about encouraging his sons to pursue their education before becoming professional musicians.
Keywords: Acoustic guitars; Amplification; Banjo music (Bluegrass); Bluegrass festivals; Bluegrass music; Bluegrass music--1971-1980.; Columbia Records; Country music; Dillard, Rodney (Artist); Dillards, the (Artist); Drums; Earl Scruggs Revue, the (Artist); Education; Electric banjos; Electric guitars; Flatt, Lester (Artist); Gary Scruggs; Georgetown (Washington, D.C.); Guitar music (Bluegrass); Lady Madonna (Song); Lester Flatt (Artist); Music--Performance; Musical families; Nashville (Tenn.); Nashville Skyline (Song); Randy Scruggs; Rock festivals; Rock music; Rodney Dillard (Artist); Scruggs, Gary; Scruggs, Randy; Scruggs, Steve; Sons; Steve Scruggs; The Dillards (Artist); The Earl Scruggs Review (Artist); Vanderbilt University
Subjects: Amplifiers (Electronics); Banjo music (Bluegrass); Bluegrass festivals; Bluegrass music; Bluegrass music--1961-1970.; Bluegrass music--1971-1980.; Bluegrass music--History and criticism.; Bluegrass music.; Bluegrass musicians; Columbia Records, Inc.; Country music; Dillard, Rodney; Drums; Earl Scruggs Revue; Education; Electric guitar.; Flatt, Lester; Georgetown (Washington, D.C.); Guitar music (Bluegrass); Guitars; Music--History and criticism.; Music--Performance; Nashville (Tenn.); Rock festivals; Rock music; Scruggs, Gary; Scruggs, Randy; Scruggs, Steven John Hardin; Sons; Vanderbilt University
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Partial Transcript: The album you did with Tom T. Hall was, uh, another high point, I know, for you.
Segment Synopsis: Scruggs discusses recording the album "The Storyteller and the Banjo Man" with Tom T. Hall. He then talks about how back problems and heart trouble led him to briefly retire. Scruggs also talks about recording a new version of "Foggy Mountain Breakdown," which won him a second Grammy award. Next, he discusses recording the album "Earl Scruggs and Friends," which paired him with popular recording artists such as Sting and Elton John. Next,
Scruggs talks about recording the album "The Three Pickers" with Doc Watson and Ricky Skaggs.
Keywords: Albums; Arthel Lane “Doc” Watson; Atlanta (Ga.); Back injuries; Backs; Depression; Dwight, Reginald Kenneth “Elton John” (Artist); Earl Scruggs and Friends (Album); Foggy Mountain Breakdown (Song); Gill, Vincent Grant “Vince” (Artist); Gordon Matthew Thomas “Sting” Sumner (Artist); Grammy Awards; Hall, Tom T. (Artist); Heart attacks; Hip replacements; Hollywood (Calif.); Hollywood Walk of Fame; Hollywood stars; MCA Records; Martin, Steven (Artist); Marty Stewart (Artist); Olive Hill (Ky.); Paul Shaffer (Artist); Piano music (Bluegrass); Record labels; Reginald Kenneth “Elton John” Dwight (Artist); Retirement; Ricky Skaggs (Artist); Shaffer, Paul (Artist); Skaggs, Ricky (Artist); Sound recordings.; Sound--Recording and reproducing; Steven Martin (Artist); Stewart, Marty (Artist); Storyteller and the Banjo Man, the (Album); Sumner, Gordon Matthew Thomas “Sting” (Artist); Three Pickers, the (Album); Tom T. Hall (Artist); Tonight Show, the (Television program); Vincent Grant “Vince” Gill (Artist); Watson, Arthel Lane “Doc
Subjects: Albums; Atlanta (Ga.); Back.; Bluegrass music--1981-1990.; Bluegrass music--1991-2000.; Bluegrass music--History and criticism.; Bluegrass music.; Bluegrass musicians; Depression, Mental.; Gill, Vince; Grammy Awards; Hall, Tom T.; Hollywood (Calif.); Hollywood stars (Los Angeles, Calif.); John, Elton; MCA Records, Inc.; Martin, Steven; Martin, Steven, 1962-; Music--History and criticism.; Olive Hill (Ky.); Record labels; Retirement; Shaffer, Paul; Shaffer, Paul, 1949-; Skaggs, Ricky; Sound recordings.; Sound--Recording and reproducing; Stewart, Marty; Sting (Musician); Tonight show (Television program); Watson, Doc.; Winston Salem (N.C.)
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Partial Transcript: What, uh--one of the things I want to ask you about, and you referred to Louise a number of times.
Segment Synopsis: Scruggs talks about his wife, Louise, saving his career by becoming his booking agent and manager.
Keywords: Bill Monroe (Artist); Booking; Curly King & Tennessee Hilltoppers (Artist); Flatts, Lester (Artist); Hickory (N.C.); Howard “Cedric Rainwater” Watts (Artist); Jim Law; Jim Shumate (Artist); Law, Jim; Lester Flatts (Artist); Lily Mill; Louise Scruggs; Mac Wiseman (Artist); Management; Monroe, Bill (Artist); Music business; Music publishing companies; Music--Performance; Public relations; Radio programs; Radio stations; Scruggs, Louise; Shelby (N.C.); Shumate, Jim (Artist); Sponsors; Stanley Brothers, the (Artist); The Stanley Brothers (Artist); Watts, Howard “Cedric Rainwater” (Artist); Wiseman, Mac (Artist); Wives
Subjects: Bluegrass music--History and criticism.; Bluegrass music.; Bluegrass musicians; Booking; Flatts, Lester; Hickory (N.C.); Law, Jim; Management.; Monroe, Bill; Monroe, Bill, 1911-1996; Music business; Music--History and criticism.; Music--Performance; Music-Publishing Company; Public relations; Radio programs; Radio stations; Scruggs, Louise, 1927-2006; Shelby (N.C.); Shumate, Jim; Sponsors; Stanley Brothers; Watts, Howard; Wiseman, Mac; Wives
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Partial Transcript: One of the other things that, uh, uh, was very important to the banjo, was the instruction book that you put out, along with the, uh, long-play record, too.
Segment Synopsis: Scruggs talks about writing a banjo-playing manual, "Earl Scruggs and the 5-String Banjo." He also talks about what is in store for him in the future.
Keywords: Banjo music (Bluegrass); Bluegrass festivals; Canada; Earl Scruggs and the 5-String Banjo (Book); Instruction booklets; Music festivals; Music--Awards; Music--Performance; Music-Practice; Records, long-playing; Touring; Travel
Subjects: Banjo music (Bluegrass); Bluegrass festivals; Bluegrass music--History and criticism.; Bluegrass music.; Bluegrass musicians; Canada; Folk music festivals; Music--Awards; Music--History and criticism.; Music--Performance; Music--Practice; Travel
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Partial Transcript: One thing that I've always wanted to see you do, it's just--it's self-serving, but I'm, I'm a fan, is I'd love to see you do a guitar album.
Segment Synopsis: Scruggs talks about playing the guitar, which he learned alongside the banjo. He then talks about recording an album with Mother Maybelle Carter. Next, Scruggs talks about working with the Nitty Gritty Dirt Band.
Keywords: Arthel Lane “Doc” Watson; Bill McEuen; Boulder (Colo.); Carter Family (Artist); Carter Family, the (Artist); Carter, Maybelle “Mother” (Artist); Flatt & Scruggs and The Foggy Mountain Boys (Artist); Guitar music (Bluegrass); Guitars; John McEuen (Artist); Marty Stuart (Artist); Maybelle “Mother” Carter (Artist); McEuen, Bill; McEuen, John (Artist); Merle Travis (Artist); Music icons; Music--Performance; Musical families; Nashville (Tenn.); Nitty Gritty Dirt Band (Artist); Songs of the Famous Carter Family (Album); Stuart, Marty (Artist); Television programs; Touring; Travis, Merle (Artist); Watson, Arthel Lane “Doc”; Will the Circle be Unbroken (Album); Women bluegrass musicians
Subjects: Bluegrass music--History and criticism.; Bluegrass music.; Bluegrass musicians; Boulder (Colo.); Carter Family (Musical group); Carter, Maybelle, 1909-1978; Guitar; Guitar music (Bluegrass); McEuen, John; McEuen, William E.; Music icons; Music--History and criticism.; Music--Performance; Musical families; Nashville (Tenn.); Nitty Gritty Dirt Band; Stuart, Marty.; Television programs.; Travis, Merle; Watson, Doc.; Women bluegrass musicians
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Partial Transcript: I have to ask you about the banjo you've played all these years.
Segment Synopsis: Scruggs talks about his 1925 Gibson Granada banjo, which he has played since trading for it with Bill Monroe. He also talks about how a lack of a mandolin player led him to focus on the guitar.
Keywords: Banjos; Banjos, Gibson Granada; Bill Monroe (Artist); Bill Monroe and the Blue Grass Boys (Artist); Bristol (Tenn.); Carter, Maybelle “Mother”; Don Reno (Artist); Gary Scruggs (Artist); Gibson Mastertone Granada banjos; Gospel music; Guitar music (Bluegrass); Guitars, Martin D-18; Jim Shumate (Artist); Mac Wiseman (Artist); Mandolin music (Bluegrass); Maybelle “Mother” Carter; Merle Travis; Monroe, Bill (Artist); Musical instrument makers; Reno, Don (Artist); Scruggs, Gary; Shumate, Jim (Artist); Travis, Merle; Wiseman, Mac (Artist)
Subjects: Banjos; Bluegrass music--History and criticism.; Bluegrass music.; Bluegrass musicians; Bristol (Tenn.); Carter, Maybelle, 1909-1978; Gibson guitars; Gospel music; Guitar music (Bluegrass); Mandolin music (Bluegrass); Monroe, Bill; Monroe, Bill, 1911-1996; Music--History and criticism.; Musical instrument makers; Reno, Don; Reno, Don Wayne, 1963-; Scruggs, Gary; Shumate, Jim; Travis, Merle; Wiseman, Mac