Louie B. Nunn Center for Oral History

Interview with Pete Kuykendall, January 24, 2006

Louie B. Nunn Center for Oral History, University of Kentucky Libraries

 

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00:00:00 - Childhood interest in music--Part I

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Partial Transcript: 'Kay, um, we're here, um, today with Pete Kuykendall, uh, at his home in Marshall, Virginia.

Segment Synopsis: Pete Kuykendall is introduced. He talks about his mother and grandmother's musical abilities and the progression of his interest in music from an early age. He talks about his desire to play the banjo and tells the story of how he first came to play the guitar instead.

Keywords: 5-string banjos; Arlington (Va.); Buses; Classical music; Classical piano; Concerts; Country music; Family; Fathers; Five-string banjos; Grandmothers; Guitars; Hillbilly music; Mothers; Pawn shops; Resonators; Teachers; The Hillbillies (Artist); Washington, D.C.; Youth

Subjects: Arlington County (Va.); Childhood; Musical ability.; Musical families; Musical instruments.; Washington (D.C.)

GPS: Arlington County (Va.)
Map Coordinates: 38.88665, -77.09315
00:09:31 - Introduction to bluegrass music

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Partial Transcript: Um, do you remember where you first heard what later came to be called Bluegrass?

Segment Synopsis: Kuykendall talks about his early introduction to what became Bluegrass music, which at the time was called Hillbilly music. He talks about the local radio stations and the types of artists that they played. He talks about seeing live shows including the National Championship of Country Music, and the band he was a member of during high school.

Keywords: 1947; Arnold, Eddie (Artist); Artists; Bill Monroe (Artist); Chubby Wise (Artist); Connie B. Gay; Country music; DJs; Dean, Jimmy (Artist); Deejays; Disc jockeys; Don Owens; Don Reno (Artist); Eddie Arnold (Artist); Gay, Connie B.; Guitars; High schools; Hillbilly music; I'm Using My Bible for a Roadmap (Song); Irwin, Smitty (Artist); Jimmy Dean (Artist); Live music; Monroe, Bill (Artist); Musicians; National Championship of Country Music; Owens, Don; Radio shows; Records; Red Smiley (Artist); Reno & Smiley (Artist); Reno and Smiley (Artist); Reno, Don (Artist); Smiley, Red (Artist); Smitty Irwin (Artist); Stroud, Toby (Artist); Television; Toby Stroud (Artist); Wise, Chubby (Artist)

Subjects: Bands (Music); Bluegrass music.; Bluegrass musicians; Music--Performance.; Musical groups.; Musical performance; Radio programs.; Radio stations.

GPS: Washington (D.C.)
Map Coordinates: 38.904722, -77.016389
00:20:08 - Desire to be a "hillbilly disc jockey" / Warren Beatty

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Partial Transcript: Well if we could jump ahead a little bit, I mean you've mentioned these--at least in the--(coughs)--Washington/Baltimore/D.C. area--(coughs)--

Segment Synopsis: Kuykendall talks about his dream in high school of becoming a disc jockey and playing Hillbilly music. He talks about a presentation on Hillbilly music he did for class which Warren Beatty was also a student in, which he speculates may have influenced Beatty to later include "Foggy Mountain Breakdown" on the soundtrack to his film "Bonnie and Clyde." He talks about beginning to work for a radio station soon after, transcribing Dodgers baseball games for announcer Nat Albright, and eventually becoming a hillbilly disc jockey.

Keywords: 1955; Albright, Nat; Announcers; Arlington (Va.); Audio recording; Baseball games; Beatty, Warren (Actor); Bonnie and Clyde (Motion picture); Broadcasts; Brooklyn Dodgers; Combo man; Country music; DJs; Deejays; Disc jockeys; Flatt and Scruggs & the Foggy Mountain Boys (Artist); Flatt and Scruggs (Artist); Flatt and Scruggs and the Foggy Mountain Boys (Artist); Foggy Mountain Boys (Artist); Foggy Mountain Breakdown (Song); High schools; Lonesome Pine Fiddlers (Artist); Music recording; Nat Albright; Pain in my Heart (Song); Radio engineering; Radio station managers; Record collections; Transcription; Voice; WEAM (Radio station); WFCR (Radio station); WPIK (Radio station); Warren Beatty (Actor)

Subjects: Bands (Music); Bluegrass music.; Bluegrass musicians; Musical groups.; Radio programs.; Radio stations.; Records.; Sound recordings.; Sound--Recording and reproducing

GPS: Washington (D.C.)
Map Coordinates: 38.904722, -77.016389
00:35:31 - Early bands he played with--Part I / Bluegrass in the Washington, D.C. area

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Partial Transcript: But I had gotten in a band at the time and, and it was a Bluegrass band.

Segment Synopsis: Kuykendall talks about the band he was a member of during high school at Washington & Lee. He talks about other members of the band and their musical abilities. He talks about why Bluegrass and Hillbilly music became so popular in Washington, D.C., and mentions some of the ways he was exposed to the music.

Keywords: Bryant, Donnie (Artist); Car accidents; Connections; Connie B. Gay; Donnie Bryant (Artist); Earl Scruggs (Artist); Ernest V. "Pop" Stoneman (Artist); Flatt, Lester (Artist); Gay, Connie B.; Genres; Hillbilly music; Lahey, Larry (Artist); Larry Lahey (Artist); Lawn parties; Lester Flatt (Artist); Live music; Mac Wiseman (Artist); Migration; Morgan, Tom (Artist); Replacements; Scruggs, Earl (Artist); Stoneman, Ernest V. "Pop" (Artist); Tom Morgan (Artist); WARL (Radio station); WEAM (Radio station); Washington & Lee High School; Washington and Lee High School; Washington, D.C.; Wiseman, Mac (Artist)

Subjects: Bands (Music); Bluegrass music.; Bluegrass musicians; Music--Performance.; Musical groups.; Musical performance; Radio programs.; Radio stations.; Washington (D.C.)

GPS: Washington (D.C.)
Map Coordinates: 38.904722, -77.016389
00:44:06 - Early bands he played with--Part II / radio engineering school

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Partial Transcript: Well, I know that, that you were involved in, you know, playing with lots of bands over your career, professionally.

Segment Synopsis: Kuykendall talks more about the band he played with in high school and talks about some of their early shows. He talks about choosing Pete Roberts as his pseudonym. He talks about attending Capitol Radio Engineering Institute, taking time off to work as a disc jockey in Maryland, and then returning to school.

Keywords: 1955; Banjo players; Banjos; Capitol Radio Engineering Institute; Charlie Waller (Artist); Connections; DJs; Deejays; Disc jockeys; Fiddle players; Fiddles; High schools; Mandolin players; Mandolins; Morgan, Tom (Artist); Names; Paid; Payment; Pete Roberts (Artist); Pseudonyms; Radio schools; Radio shows; Rawhide (Song); Roberts, Pete (Artist); Shows; Southern Maryland; Square dances; Tom Morgan (Artist); WKIK (Radio station); Waller, Charlie (Artist); Washington & Lee High School; Washington and Lee High School; Washington, D.C.

Subjects: Acoustical engineering.; Bands (Music); Bluegrass music.; Bluegrass musicians; Music--Performance.; Musical groups.; Musical performance; Radio engineers; Radio programs.; Radio stations.; Sound engineers

GPS: Washington (D.C.)
Map Coordinates: 38.904722, -77.016389
00:53:23 - Switching to playing banjo

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Partial Transcript: And, uh, at the time, I had become acquainted with Benny and Vallie Cain.

Segment Synopsis: Kuykendall talks about why he switched from playing fiddle to banjo.

Keywords: Band members; Banjo players; Banjos; Benny & Vallie Cain (Artist); Benny and Vallie Cain (Artist); Bluegrass bands; Fiddle players; Fiddles; Shows; Switching

Subjects: Bands (Music); Bluegrass music.; Bluegrass musicians; Music--Performance.; Musical groups.; Musical instruments.; Musical performance

00:58:11 - Washington, D.C. area radio stations

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Partial Transcript: Now, when you finished school and, and were playing on the side, were you getting--in, in what way were you getting into, you know, radio?

Segment Synopsis: Kuykendall talks about the various ways he was involved with country, hillbilly, and bluegrass music in southern Maryland. He talks about bands that played locally. He describes the relationships between several radio stations in the Washington, D.C. area.

Keywords: Band members; Busby, Buzz (Artist); Buzz Busby (Artist); Charlie Waller (Artist); Country music; Hutchins, Sam "Porky" (Artist); Maryland; Pete Pike (Artist); Pike, Pete (Artist); Radio shows; Sam "Porky" Hutchins (Artist); Slot machines; WFAM (Radio station); WINX (Radio station); WOOK (Radio station); Waller, Charlie (Artist)

Subjects: Bands (Music); Bluegrass music.; Bluegrass musicians; Music--Performance.; Musical groups.; Musical performance; Radio programs.; Radio stations.

GPS: Washington (D.C.)
Map Coordinates: 38.904722, -77.016389
01:02:36 - Childhood interest in music--Part II / music as a universal language

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Partial Transcript: You know, when you describe--[interruption in taping]

Segment Synopsis: Kuykendall talks more about his family's musical abilities and names some of the songs his grandmother used to play. He talks about how he became interested in Big Boy Crudup and other African American musicians, and discusses how music transcends race, language, and other differences.

Keywords: African American neighborhoods; Arthur William "Big Boy" Crudup (Artist); Attitudes; Baseball; Bean Blossom Festival, Indiana; Classical music; Crudup, Arthur William "Big Boy" (Artist); Elvis Presley (Artist); Family; Grandfathers; Grandmothers; Hollywood Record Shop; I'll Be All Smiles Tonight (Song); I'm Gonna Dig Myself A Hole (Album); Indiana; Mothers; Nashville (Ind.); Parents; Prejudice; Presley, Elvis (Artist); Race music; Radio shows; Record stores; Rhythm & Blues (R&B); Robin Redbreast (Song); Russians; Songs; Universal language; WOOK (Radio station); Washington, D.C.

Subjects: African American musicians.; Childhood; Music--Social aspects.; Musical ability.; Musical families; Race relations; Racism; Radio programs.; Radio stations.; Records.; Sound recordings.; Sound--Recording and reproducing; Washington (D.C.)

GPS: Washington (D.C.)
Map Coordinates: 38.904722, -77.016389
01:16:41 - Working for the Library of Congress recording laboratory

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Partial Transcript: Um, let's sort of bring it forward, um, here.

Segment Synopsis: Kuykendall talks about how he came to work for the Library of Congress' recording laboratory and describes in detail his work transferring glass-based recordings made during World War II to new formats like tape. He talks about the physical differences between RCA and Columbia records. He talks about having access to excellent quality records on excellent speakers, and tells a story about listening to bluegrass while recording the Budapest String Quartet.

Keywords: 33 1/3; 45s; 78s; Access; Acetate records; Alan Lomax (Artist); Archive of Folksong; Audio recording; Audio tapes; Banjo players; Banjos; Bill Monroe and his Blue Grass Boys (Artist); Bill Monroe and the Blue Grass Boys (Artist); Bill Monroe's Blue Grass Boys (Artist); Bluegrass Stomp (Song); Bosses; Budapest String Quartet (Artist); Capitol Radio Engineering Institute; Classical music; Columbia Records; Concerts; Copyright; Country Gentlemen, the (Artist); Disc cutters; Electronics; Folk music; Fragile; Glass-based recordings; Huddie William "Lead Belly" Ledbetter (Artist); Influences; Jobs; John Lomax (Artist); Ledbetter, Huddie William "Lead Belly" (Artist); Library of Congress Recording Laboratory; Lomax, Alan (Artist); Lomax, John (Artist); Media; Music recording; Playing music; Quality; RCA Records; Record companies; Recording engineers; Recording studios; Singles; Speakers; The Country Gentlemen (Artist); Transcriptions; Transferring; Voice of the Theater; World War II

Subjects: Acoustical engineering.; Bands (Music); Bluegrass music.; Library of Congress. Recording Laboratory; Music--Performance.; Musical groups.; Musical performance; Records.; Sound engineers; Sound recordings.; Sound--Recording and reproducing

GPS: Washington (D.C.)
Map Coordinates: 38.904722, -77.016389
01:41:57 - Recording the Country Gentlemen--Part I

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Partial Transcript: So, uh, at the time--my sequence is, is probably wrong, but Mike Seeger, whom I had met at one of these, uh, hillbilly shows up in Maryland...

Segment Synopsis: Kuykendall talks about the complex reasons for the Country Gentlemen recording for both Starday Records and Folkways Records. He talks about Mike Seeger's involvement in recording the Country Gentlemen and how Kuykendall himself also became involved. He mentions playing fiddle in the Country Gentlemen.

Keywords: Adelman, Ben; Audio recording; Banjo players; Banjos; Ben Adelman; Bill Emerson (Artist); Capitol Transcriptions; Charlie Waller (Artist); Country Gentlemen, the (Artist); Don Pierce; Duffey, John (Artist); Emerson, Bill (Artist); Fiddle players; Fiddles; Folkways Records; Hillbilly music; John Duffey (Artist); Mike Seeger (Artist); Music recording; Pierce, Don; Record companies; Recording engineers; Recording sessions; Recording studios; Seeger, Mike (Artist); Singles; Songs; Starday Records; The Country Gentlemen (Artist); Tips; Waller, Charlie (Artist)

Subjects: Acoustical engineering.; Bands (Music); Bluegrass music.; Bluegrass musicians; Music--Performance.; Musical groups.; Musical performance; Records.; Sound engineers; Sound recordings.; Sound--Recording and reproducing

01:49:34 - Bootleg recordings

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Partial Transcript: Well at this--just to go back to Mike Seeger for--just continuity here.

Segment Synopsis: Kuykendall tells the story of how he came to own a rare recording of Don Reno and Earl Scruggs playing a live show together. He talks about other bootleg recordings which were lost over the years. He talks about how bootleg recordings were passed around on the underground market and laments about how some were eventually made into records by Rebel of Canada without the permission of the original artists. He talks about how attitudes in the music industry have changed over time in regard to Bluegrass music.

Keywords: American Banjo Scruggs Style (Album); Attitudes; Audio recording; Banjo contests; Bill Monroe and his Blue Grass Boys (Artist); Bill Monroe and the Blue Grass Boys (Artist); Bill Monroe's Blue Grass Boys (Artist); Bluegrass Unlimited (Magazine); Bootleg recordings; Connie B. Gay; Copies; Country Music Foundation; Country Music Hall of Fame; County Sales; DJs; Deejays; Dick Spottswood; Disc cutters; Disc jockeys; Don Reno (Artist); Earl Scruggs (Artist); Flatt and Scruggs & the Foggy Mountain Boys (Artist); Flatt and Scruggs (Artist); Flatt and Scruggs and the Foggy Mountain Boys (Artist); Foggy Mountain Boys (Artist); Gay, Connie B.; Glass-based recordings; Grammy Awards; Grammy winners; Home recordings; Hurt, Mississippi John (Artist); Lance Leroy; Larry Perkins (Artist); Leaked; Leroy, Lance; Library of Congress; Lost; Louise Scruggs (Artist); Mississippi John Hurt (Artist); Music industry; Music recording; O Brother, Where Art Thou? (Album); Perkins, Larry (Artist); Rebel of Canada; Recording engineers; Recording sessions; Red Smiley (Artist); Rele

Subjects: Acoustical engineering.; Bands (Music); Bluegrass music.; Bluegrass musicians; Music business; Music--Performance.; Musical groups.; Musical performance; Radio stations.; Records.; Sound engineers; Sound recordings.; Sound--Recording and reproducing

02:17:09 - Recording the Country Gentlemen--Part II

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Partial Transcript: Um, I'd like to get back though to, like, we were talking a few minutes ago about your involvement in actually recording.

Segment Synopsis: Kuykendall talks about being hired to record the Country Gentlemen's albums. He talks about some of the other recordings that he made, including a song that was included on the soundtrack of "O Brother, Where Art Thou?" He talks about how he pitched songs to the Country Gentlemen's John Duffey.

Keywords: Albums; Ampex recorders; Audio recording; Capitol Transcriptions; Country Gentlemen, the (Artist); Country music; Duffey, John (Artist); Folkways Records; Jobs; John Duffey (Artist); Material; Mike Seeger (Artist); Music recording; O Brother, Where Art Thou? (Album); Recording engineers; Recording sessions; Seeger, Mike (Artist); Singles; Songs; Starday Records; Styles; The Country Gentlemen (Artist)

Subjects: Acoustical engineering.; Bands (Music); Bluegrass music.; Bluegrass musicians; Music--Performance.; Musical groups.; Musical performance; Records.; Sound engineers; Sound recordings.; Sound--Recording and reproducing

02:23:02 - Record producing versus engineering

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Partial Transcript: Well that raises also a, a thing I want to--uh, an issue I want to ask about--or a clarification, more accurately.

Segment Synopsis: Kuykendall discusses the differences between music producing and engineering and how the roles have changed over time.

Keywords: A&R (artist and repertoire); Adelman, Ben; Adelman, Kay (Songwriter); Audio recording; Ben Adelman; Changes; Cindy Davis (Songwriter); Clement, Jack (Artist); Connections; Contacts; Davis, Cindy (Songwriter); Don Pierce; Jack Clement (Artist); Kay Adelman (Songwriter); Material; Music producers; Music recording; Phillips, Sam; Pierce, Don; Pressings; Quality; Record producers; Recording engineers; Recording sessions; Records, kinds of: vinyl; Roles; Songs; Songwriters; Starday Records; Sun Records Sam Phillips

Subjects: Acoustical engineering.; Bands (Music); Bluegrass music.; Bluegrass musicians; Music--Performance.; Musical groups.; Musical performance; Records.; Sound engineers; Sound recording executives and producers.; Sound recordings.; Sound--Recording and reproducing

02:32:06 - Interest in Blues and Mississippi John Hurt

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Partial Transcript: I'd like to sort of carry a, um--pick up a thread that you mentioned.

Segment Synopsis: Kuykendall discusses his interest not only in Bluegrass but other traditional types of music, including Blues. He talks about the process by which he, Dick Spottswood, and Harry Smith learned of and later found Mississippi John Hurt. He talks about Spottswood's radio show "The Obsolete Music Hour," other people who were interested in these genres, and ways of obtaining copies of this music.

Keywords: 1920s; Albums; American Folk Music (Album); Appreciation; Artists; Audio recording; Avalon (Miss.); Bluegrass columns; Blues; Carter Family (Artist); Commercial recordings; Dick Spottswood; Folk music; Folk songs; Folkways Records; Genres; Guitars; Harry Smith; Hoskins, Tom; Hurt, Mississippi John (Artist); Jazz; John Edwards Memorial Foundation; Mississippi John Hurt (Artist); Music recording; National Hillbilly Record Exchange; Obsolete Music Hour (Radio program); Old time music; Publications; Record collectors; Recording engineers; Recording sessions; Reissues; Smith, Harry; Spottswood, Dick; Stanley Brothers and the Clinch Mountain Boys, the (Artist); The Stanley Brothers and the Clinch Mountain Boys (Artist); Tom Hoskins; Traditional music; Washington, D.C.

Subjects: Acoustical engineering.; Bands (Music); Bluegrass music.; Bluegrass musicians; Music--Performance.; Musical groups.; Musical performance; Records.; Sound engineers; Sound recordings.; Sound--Recording and reproducing; Washington (D.C.)

GPS: Avalon (Miss.)
Map Coordinates: 33.655, -90.085556
03:00:03 - Beginning of Bluegrass Unlimited magazine

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Partial Transcript: It's a, a very interesting interval in, in your life.

Segment Synopsis: Kuykendall describes how the magazine Bluegrass Unlimited came into existence, in part because of the closing of slot machines in southern Maryland which led to an increase in Bluegrass shows, which led to a need for a publication of a list of local shows. He describes the early days of the magazine's publication, including how the pages were stenciled and copied, their mailing lists, and the people involved in the process.

Keywords: 1960s; Baltimore (Md.); Bill Monroe and his Blue Grass Boys (Artist); Bill Monroe and the Blue Grass Boys (Artist); Bill Monroe's Blue Grass Boys (Artist); Bluegrass Unlimited (Magazine); Bluegrass bands; Clubs; Concerts; Connections; Copies; Country Gentlemen, the (Artist); Diane Simms; Dick Freeland; Dick Spottswood; Entertainment; Establishments; Flatt and Scruggs & the Foggy Mountain Boys (Artist); Flatt and Scruggs (Artist); Flatt and Scruggs and the Foggy Mountain Boys (Artist); Foggy Mountain Boys (Artist); Freeland, Dick; Gary Henderson; Gene Krauss; Genres; Gigs; Henderson, Gary; Illegal; Krauss, Gene; Mailing lists; Mimeographs; Names; Newgrass; Newsletters; Printing presses; Progress; Promotion; Purpose; Radio programs; Radio shows; Shows; Simms, Diane; Slot machines; Southern Maryland; Spottswood, Dick; Stanley Brothers and the Clinch Mountain Boys, the (Artist); State legislation; Stencils; Subscriptions; The Country Gentlemen (Artist); The Stanley Brothers and the Clinch Mountain Boys (Artist); Venues; WDON (Radio station); Waldorf (Md.); Writin

Subjects: Bands (Music); Bluegrass music.; Bluegrass musicians; Music--Performance.; Musical groups.; Musical performance; Periodicals.; Printing industry.; Printing--Periodicals.; Publishers and publishing.

GPS: Baltimore (Md.)
Map Coordinates: 39.283333, -76.616667
03:20:17 - Growth of Bluegrass Unlimited--Part I

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Partial Transcript: Um, eventually, uh, as I remember, w--there came a, a, a time when the, the sort of legal-size newsletter format was changed into a small magazine form--

Segment Synopsis: Kuykendall talks about how Bluegrass Unlimited began growing and transitioned from a newsletter to an actual magazine. He talks about the people involved in the hard work of producing the magazine.

Keywords: Addressing; Alice Gerrard (Artist); Bluegrass Unlimited (Magazine); Clark, Jim; Diane Simms; Dickens, Hazel (Artist); Expansion; Formats; George McCeney; Gerrard, Alice (Artist); Growth; Hazel Dickens (Artist); Jim Clark; Magazines; Mailing; McCeney, George; Newsletters; Progress; Simms, Diane; Success; Typing; Volunteers; Work

Subjects: Bluegrass music.; Periodicals.; Printing industry.; Printing--Periodicals.; Publishers and publishing.

03:29:01 - Bluegrass festivals--Part I

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Partial Transcript: Well, I was somewhat doing the, the--I was working I guess at the time at Channel 26...

Segment Synopsis: Kuykendall describes the beginning of multi-day Bluegrass festivals and the competition between Carlton Haney and other festival producers.

Keywords: Bill Clifton (Artist); Bill Monroe and his Blue Grass Boys (Artist); Bill Monroe and the Blue Grass Boys (Artist); Bill Monroe's Blue Grass Boys (Artist); Carlton Haney; Clifton, Bill (Artist); Concerts; Gigs; Growth; Haney, Carlton; Jim & Jesse (Artist); Jobs; Multi-day festivals; Newport Folk Festival; Ralph Rinzler (Artist); Reno & Smiley (Artist); Rinzler, Ralph (Artist); Shows; Stanley Brothers and the Clinch Mountain Boys, the (Artist); Television broadcasting; The Stanley Brothers and the Clinch Mountain Boys (Artist); Watermelon Park (Berryville, Va.)

Subjects: Bands (Music); Bluegrass festivals; Bluegrass music.; Bluegrass musicians; Music festival programs.; Music festivals.; Music--Performance.; Musical groups.; Musical performance; Outdoor concert facilities

03:37:11 - Growth of Bluegrass Unlimited--Part II

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Partial Transcript: Well, it seems to me that, that--to get back to the, to the whole business of the magazine's, um, genesis...

Segment Synopsis: Kuykendall talks about how Bluegrass Unlimited began to grow which led to the need to work on it full time. He talks more about the people involved in the production of the magazine. He discusses an interview in the magazine with the Osborne Brothers which was not complimentary of Bill Monroe, and how this article was connected to Carlton Haney beginning his own publication, Muleskinner News.

Keywords: Alice Gerrard (Artist); Bill Emerson (Artist); Bill Monroe (Artist); Bluegrass Unlimited (Magazine); Carlton Haney; Competition; Concerts; Controversy; Diane Simms; Dick Spottswood; Emerson, Bill (Artist); Fincastle Bluegrass Festival; Full time; Gerrard, Alice (Artist); Gigs; Gray, Sally; Gray, Tom (Artist); Growth; Haney, Carlton; Interviews; Magazines; Management; Monroe, Bill (Artist); Muleskinner News; Osborne Brothers (Artist); Personnel; Progress; Record stores; Recording; Sally Gray; Show dates; Shows; Simms, Diane; Spottswood, Dick; Taping; Telephones; Tom Gray (Artist); Venues; Watermelon Park (Berryville, Va.)

Subjects: Bands (Music); Bluegrass music.; Bluegrass musicians; Music--Performance.; Musical groups.; Musical performance; Periodicals.; Printing industry.; Printing--Periodicals.; Publishers and publishing.

GPS: Berryville (Va.)
Map Coordinates: 39.151111, -77.9825
03:47:37 - Music publishing companies and Bluegrass Unlimited becoming incorporated

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Partial Transcript: So, um, so at the--when does the, you know, when does--do we get to the point where you and Marian actually, you know, formalize this, this corporation that--

Segment Synopsis: Kuykendall talks about Bluegrass Unlimited's beginnings as a non-profit corporation. He describes the complicated relationship between publishing companies and rights to songs, and his role in the creation of the publishing company Wynwood Music. He talks about how Wynwood Music's rights to Skip James' song "I'm So Glad" led to the incorporation of Bluegrass Unlimited as a for-profit company after the song was covered by Eric Clapton and Cream.

Keywords: 501c3; Agencies; American Society of Composers, Authors and Publishers (ASCAP); Audio recording; Bill Clifton & the Dixie Mountain Boys (Artist); Bill Clifton (Artist); Bill Emerson (Artist); Bluegrass Unlimited (Magazine); Bluegrass Unlimited Show; Blues; Broadcast Music, Inc. (BMI); Busby, Buzz (Artist); Buzz Busby (Artist); Carl Goldstein; Charlie Waller (Artist); Children; Clapton, Eric (Artist); Clifton, Bill (Artist); Copyright laws; Corporations; Country Gentlemen, the (Artist); Country music; Cream (Artist); Dick Spottswood; Dixie (Song); Dixie Look Away (Song); Duffey, John (Artist); Duffey, Marion; Emerson, Bill (Artist); England; Eric Clapton (Artist); Folkways Records; Full time; Goldstein, Carl; Gray, Sally; Growth; Hillbilly music; I'm So Glad (Song); James, Nehemiah Curtis "Skip" (Artist); John Duffey (Artist); Kuykendall, Marion; Licenses; Marion Duffey; Marion Kuykendall; Material; Mechanical-Copyright Protection Society (MCPS); Music recording; Nehemiah Curtis "Skip" James (Artist); Non-profit organizations; Orange Blossom Special (Song

Subjects: Bands (Music); Bluegrass music.; Bluegrass musicians; Musical groups.; Periodicals.; Printing industry.; Printing--Periodicals.; Publishers and publishing.; Radio stations.; Records.; Sound recordings.; Sound--Recording and reproducing

04:19:54 - Bluegrass festivals--Part II

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Partial Transcript: I--you know, I--when I was thinking about, you know, the, the fortieth anniversary of Bluegrass Unlimited is coming up this year...

Segment Synopsis: Kuykendall discusses how Carlton Haney's Bluegrass festivals and his publication, Mule Skinner, led to Bluegrass Unlimited becoming involved in festivals and the creation of the Indian Springs Bluegrass Festival.

Keywords: Bean Blossom Festival, Indiana; Bill Monroe (Artist); Bluegrass Unlimited (Magazine); Bluegrass acts; Carlton Haney; Clark, Jim; Dates; Don Reno (Artist); Haney, Carlton; Indian Springs Bluegrass Festival; Jim Clark; Lake Whippoorwill; Local politics; Locations; Magazines; Money; Monroe, Bill (Artist); Muleskinner News; Organizations; Payment; Producers; Programs; Promoters; Ralph Stanley (Artist); Red Smiley (Artist); Reno, Don (Artist); Salary; Schedules; Smiley, Red (Artist); Stanley, Ralph (Artist); Wages; Weekends

Subjects: Bands (Music); Bluegrass festivals; Bluegrass music.; Bluegrass musicians; Music festival programs.; Music festivals.; Music--Performance.; Musical groups.; Musical performance; Outdoor concert facilities

GPS: Indian Springs Bluegrass Festival, Hagerstown (Md.)
Map Coordinates: 39.642778, -77.72
04:38:43 - 40th anniversary of Bluegrass Unlimited

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Partial Transcript: Um, let me j--sort of jump ahead here in terms of the magazine's--is um, I suggested earlier that this is coming up on the fortieth anniversary...

Segment Synopsis: Kuykendall talks about looking back on the history of Bluegrass and of Bluegrass Unlimited. He talks about why he believes the magazine has continued to survive despite the Internet and other sources of information being available.

Keywords: Access; Anniversaries; Availability; Bluegrass Unlimited (Magazine); Changes; Circulation; Columns; Competition; Information; Internet; Legacy; Neil Rosenberg; Niche; Progress; Records; Rosenberg, Neil; Survival; Thirty Years Ago (Column)

Subjects: Bluegrass music.; Periodicals.; Printing industry.; Printing--Periodicals.; Publishers and publishing.

04:47:29 - Complications with awards shows that led to the International Bluegrass Music Association (IBMA)

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Partial Transcript: Well let me get to some o--I mean, you seem to--I mean, you're a guy that, that finds himself on the ground floor of, of a lot of things.

Segment Synopsis: Kuykendall discusses the history of Bluegrass awards shows and how they were influenced by country music awards. He talks about some of the problems inherent in awards shows, as well as specific problems that occurred during Bluegrass awards shows. He talks about how these complications influenced the creation of the International Bluegrass Music Association (IBMA).

Keywords: Awards; Awards shows; Bluegrass Alliance (Album); Bluegrass Unlimited (Magazine); Bus tours; Carlton Haney; Chuck Steerman; Complications; Country Music Association awards (CMA awards); Country music; Festivals; Haney, Carlton; Honors; IInd Generation (Artist); International Bluegrass Music Association (IBMA); International Bluegrass Music Awards; Lake of the Ozarks; Lance Leroy; Leroy, Lance; Midwest Awards; Missouri; Muleskinner News; Nashville (Tenn.); New Grass Revival (Artist); Newsletters; Problems; Promotion; Publications; Reactions; Readers polls; Second Generation (Artist); Society for the Preservation of Bluegrass Music of America Special Consensus (SPBGMA); Songs; Steerman, Chuck; The Night They Drove Old Dixie Down (Song); Trade associations; Votes; Voting; Winners

Subjects: Bands (Music); Bluegrass music.; Bluegrass musicians; Music business; Music--Awards.; Musical groups.

GPS: Nashville (Tenn.)
Map Coordinates: 36.166667, -86.783333
05:07:50 - Beginning IBMA as a trade association

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Partial Transcript: So let me just backtrack for a second.

Segment Synopsis: Kuykendall discusses his desire to create the IBMA not simply as an awards show, but as a trade organization. He talks about early influences on the structure of IBMA, touches on the choice to locate IBMA in Owensboro, Kentucky, and discusses the types of people involved in the organization.

Keywords: Artists; Awards shows; Bill Monroe (Artist); Bluegrass Unlimited (Magazine); Booking agents; Broadcast Music, Inc. (BMI); Bylaws; Clubs; Committees; Country Gentlemen, the (Artist); Country Music Association (CMA); DJs; Deejays; Disc jockeys; Fans; Genres; Harrington, Larry; Hilton, Randall; International Bluegrass Music Association (IBMA); International Bluegrass Music Awards; Lance Leroy; Larry Harrington; Leroy, lance; Locations; Managers; Meetings; Money; Monroe, Bill (Artist); Music industry; Nashville (Tenn.); Osborne Brothers (Artist); Owensboro (Ky.); Producers; Publishers; Purpose; Randall Hilton; Record companies; Society for the Preservation of Bluegrass Music of America Special Consensus (SPBGMA); Songwriters; Structure; Terry Woodward; The Country Gentlemen (Artist); Trade associations; Trade shows; Woodward, Terry

Subjects: Bands (Music); Bluegrass music.; Bluegrass musicians; Music business; Music--Awards.; Musical groups.

GPS: Owensboro (Ky.)
Map Coordinates: 37.757748, -87.11839
05:29:36 - Reasons for locating IBMA in Owensboro, Kentucky

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Partial Transcript: And, um, um, I'd like to sort of jump really forward...

Segment Synopsis: Kuykendall talks more specifically about the thought process behind locating IBMA in Owensboro, Kentucky.

Keywords: Bluegrass Music Hall of Fame and Museum; Coal industry; Concert halls; Downtown; Executive Inn; Hotels; International Bluegrass Music Association (IBMA); Ohio River; Redevelopment; Taxes; Terry Woodward; Tourism commissions; Tourist commissions; Woodward, Terry

Subjects: Bluegrass music.; Music business; Music--Awards.; Owensboro (Ky.)

GPS: Owensboro (Ky.)
Map Coordinates: 37.757748, -87.11839
05:36:16 - Effect of popular music on the commercial music industry

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Partial Transcript: Let me, let me ask you this.

Segment Synopsis: Kuykendall talks about how popular music, specifically Elvis Presley and his contemporaries, affected other genres of music and the commercial music industry as a whole.

Keywords: African American musicians; Attitudes; Black music; Black sheep; Bluegrass Music Hall of Fame and Museum; Changes; Commercial music industry; Country Music Association (CMA); Country music; Cross pollination; Elvis Presley (Artist); Exposure; Genres; Hillbilly music; Impact; Integration; Music industry; Nashville (Tenn.); Popular music; Presley, Elvis (Artist); Vision

Subjects: Bands (Music); Music audiences; Music business; Music fans.; Music--Social aspects.; Musical groups.; Records.; Sound recordings.

05:44:24 - Attempts to get young people interested in Bluegrass

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Partial Transcript: Well I was just thinking, you know, in those initial meetings, um, about the museum, about what it was going to be...

Segment Synopsis: Kuykendall talks about one of the purposes of the Bluegrass Music Hall of Fame and Museum: to expose young people to Bluegrass in order to carry on the tradition.

Keywords: Age; Bluegrass Music Hall of Fame and Museum; Bluegrass industry; Evolving; Exposure; Generations; Interest; International Bluegrass Music Association (IBMA); Participatory; Plans; Promotion; Purpose; Schools; Young people

Subjects: Bands (Music); Music audiences; Music business; Music fans.; Music--Social aspects.; Musical groups.; Records.; Sound recordings.

05:48:38 - Kuykendall's legacy

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Partial Transcript: I think you've made, you know, you know, a really important point here is that, that many of the things that we've talked about through this day has to do with participation.

Segment Synopsis: Kuykendall discusses what he believes his legacy will be, and says that he would like to be credited with helping keep Bluegrass alive and a viable career option for musicians. Interviewer George McCeney talks about Kuykendall's role as a trustee of Bluegrass. The interview is concluded.

Keywords: Accomplishments; Alive; Bluegrass Unlimited (Magazine); Bluegrass festivals; Bluegrass industry; Careers; Concerts; Credit; Gigs; Involvement; Legacy; Music festivals; Musicians; Shows; Trustees

Subjects: Bluegrass music.; Music business