Reflections on Bill Monroe T/Te Mhenian Staff
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National Historic Landmark Nomination Ryman Auditorium
NATIONAL HISTORIC LANDMARK NOMINATION NPS Form 10-9 USDI/NPS NRHP Registration Form (Rev. 8-S OMBNo. 1024-0018 RYMAN AUDITORIUM Page 1 United States Department of the Interior, National Park Service National Register of Historic Places Registration Form 1. NAME OF PROPERTY Historic Name: Ryman Auditorium Other Name/Site Number: Union Gospel Tabernacle 2. LOCATION Street & Number: 116 Fifth Avenue North Not for publication:__ City/Town: Nashville Vicinity:__ State: TN County: Davidson Code: 037 Zip Code: 37219 3. CLASSIFICATION Ownership of Property Category of Property Private: X Building(s): X Public-Local: _ District: __ Public-State: _ Site: __ Public-Federal: Structure: __ Object: __ Number of Resources within Property Contributing Noncontributing 1 ___ buildings ___ sites ___ structures ___ objects 1 Total Number of Contributing Resources Previously Listed in the National Register: 1 Name of related multiple property listing: NPS Form 10-9 USDI/NPS NRHP Registration Form (Rev. 8-S OMBNo. 1024-0018 RYMAN AUDITORIUM Page 2 United States Department of the Interior, National Park Service National Register of Historic Places Registration Form 4. STATE/FEDERAL AGENCY CERTIFICATION As the designated authority under the National Historic Preservation Act of 1966, as amended, I hereby certify that this ___ nomination ___ request for determination of eligibility meets the documentation standards for registering properties in the National Register of Historic Places and meets the procedural and professional requirements set forth in 36 CFR Part 60. In my opinion, the property ___ meets ___ does not meet the National Register Criteria. Signature of Certifying Official Date State or Federal Agency and Bureau In my opinion, the property ___ meets ___ does not meet the National Register criteria. -
Country Update
Country Update BILLBOARD.COM/NEWSLETTERS NOVEMBER 23, 2020 | PAGE 1 OF 18 INSIDE BILLBOARD COUNTRY UPDATE [email protected] Stapleton, Wallen Country By The Glass: The Genre’s Songwriters Reign Page 4 Grapple With Alcohol’s Abundance Bluegrass Turns 75 Country fans might not see all the world through “Whis- so long. Ironically, drinking is one of them.” Page 10 key Glasses,” but they’re definitely hearing it through Getting drunk is such a stereotypical activity in the genre that alcoholic earbuds. it was listed among the elements of the “perfect country and The 2019 Morgan Wallen hit “Whiskey Glasses” brought western song” in David Allan Coe’s “You Never Even Called Me songwriter Ben Burgess the BMI country song of the year title by My Name,” but alcohol has not always been prominent. When Rhett, Underwood on Nov. 9, and the Country Airplay chart dated Nov. 24 reveals Randy Travis reenergized traditional country in the mid-1980s Make Xmas Special a format that remains whiskey bent, if not hellbound. Seven of while mostly avoiding adult beverages as a topic, the thirst for Page 11 the songs on that list liquor dwindled. The — including HAR- trend turned around DY’s “One Beer” so strongly that three (No. 5), Lady A’s hits in the late-1990s FGL’s Next Album Is “Champagne Night” — Collin Raye’s ‘Wrapped’ (No. 12) and Kelsea “Little Rock,” Dia- Page 11 Ballerini’s “Hole in mond Rio’s “You’re the Bottle” (No. 14) Gone” and Kenny — posit an alcohol Chesney’s “That’s Makin’ Tracks: reference boldly in Why I’m Here” — took ‘Hung Up’ On the title. -
2020 Winter BMAM Newsletter
Bluegrass Music Association of Maine Winter 2020 75TH ANNIVERSARY OF BLUEGRASS BOOKS ABOUT BLUEGRASS MUSIC by Stan Keach I can think of three reasons why writing a short article covering books about bluegrass music might be a good idea for the winter newsletter: 1. There’s just not much current “news” about bluegrass music — not here in Maine, and not anywhere. Bands are mostly pretty inactive; there are no jams. 2. Some people have more time to read than usual, because there are no live concerts right now, no festivals, no jams. And, though I think a lot of bluegrass fans don’t realize this, there are many excellent books available about our fa- vorite subject. 3. If we can get this edition of The Bluegrass Express out early enough, it may spur a few Bill Monroe and Earl Scruggs on the Grand Ole Opry, Dec. 8, 1945 people to buy a book or 2 for their favorite blue- grass music fans for a holiday gift. Seventy-five years ago, on December 8th, 1945, Bill Monroe and the So . here are seven of my favorite books Bluegrass Boys appeared on the Grand Ole Opry with a new line-up that related to bluegrass music. Most of these books, included 21-year-old Earl Scruggs playing a style of syncopated 3-finger though not brand new, are readily available from picking on the banjo that had never been heard before, and it absolutely booksellers of all kinds. And even if your local electrified the audience. Scruggs’ fiery banjo picking, Monroe’s frantic library doesn’t have one of these books, it can mandolin picking, and Chubby Wise’s bluesy fiddling, all done at a blis- likely get it through interlibrary loan; ask your tering pace; the bass thumping on the down beat, Monroe’s chop on the off librarian about that. -
Jim Shumate and the Development of Bluegrass Fiddling
JIM SHUMATE AND THE DEVELOPMENT OF BLUEGRASS FIDDLING A Thesis by NATALYA WEINSTEIN MILLER Submitted to the Graduate School Appalachian State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2018 Center for Appalachian Studies JIM SHUMATE AND THE DEVELOPMENT OF BLUEGRASS FIDDLING A Thesis by NATALYA WEINSTEIN MILLER May 2018 APPROVED BY: Sandra L. Ballard Chairperson, Thesis Committee Gary R. Boye Member, Thesis Committee David H. Wood Member, Thesis Committee William R. Schumann Director, Center for Appalachian Studies Max C. Poole, Ph.D. Dean, Cratis D. Williams School of Graduate Studies Copyright by Natalya Weinstein Miller 2018 All Rights Reserved Abstract JIM SHUMATE AND THE DEVELOPMENT OF BLUEGRASS FIDDLING Natalya Weinstein Miller, B.A., University of Massachusetts M.A., Appalachian State University Chairperson: Sandra L. Ballard Born and raised on Chestnut Mountain in Wilkes County, North Carolina, James “Jim” Shumate (1921-2013) was a pioneering bluegrass fiddler. His position at the inception of bluegrass places him as a significant yet understudied musician. Shumate was a stylistic co-creator of bluegrass fiddling, synthesizing a variety of existing styles into the developing genre during his time performing with some of the top names in bluegrass in the 1940s, including Bill Monroe in 1945 and Lester Flatt & Earl Scruggs in 1948. While the "big bang" of bluegrass is considered to be in 1946, many elements of the bluegrass fiddle style were present in Bill Monroe's Blue Grass Boys prior to 1945. Jim Shumate’s innovative playing demonstrated characteristics of this emerging style, such as sliding double-stops (fingering notes on two strings at once) and syncopated, bluesy runs. -
Collection 674 Robert & Laurie Gentry Collection Inventory Box Folder
Collection 674 Robert & Laurie Gentry Collection Inventory Box Folder Description ----------------------------------------------------------------------------------------------------------------------- Box 1 1 General information about Robert Gentry 2 Interview of Horace Logan at home in Seadrift, TX (4 tapes & transcription) 3 Johnny Horton song book (copy) 4 Claude King information 5 German Battleship Bismark information 6 Skyline Club 7 Johnny Horton album covers 8 Charlie “Cat” Canfield 9 Interview with Billy Walker 10 Researched list of Hank Williams show dates 11 Country Song Roundup magazine – March 1976 12 Johnnie & Jack booklet from CD album 13 Screen shots from Johnny Horton Johnny Reb promotion video 14 Photos of Hank Williams posters and list of Hank Williams publications 15 Photos of Hank Williams items on display at the Tennessee Performing Arts Center 16 Photo of Robert Gentry, Glen Sutton and Merle Kilgore at Tillman Franks book signing 17 Photos (copies) of Johnny Horton fishing trip in Florida 18 Photo of Jay Chevallier speaking at Long seminar 19 Photos of a group that toured Municipal Auditorium 1 Collection 674 Robert & Laurie Gentry Collection Inventory Box Folder Description ----------------------------------------------------------------------------------------------------------------------- 20 Photos of Tillman Franks book signing 21 Photos of Johnny Horton Ed Sullivan ad, album covers, Austin Skyline Club memento, Cormac record, red vinyl record (CD) 22 Photocopy of How to Write & Sell Songs by Hank Williams -
Northern Kentucky Bluegrass Music Association 2016 Keeping Bluegrass Music Alive in the Northern Kentucky Area
Summer August Edition 2016 Jerry Schrepfer Editor Summer August Edition Northern Kentucky Bluegrass Music Association 2016 Keeping Bluegrass Music Alive in the Northern Kentucky Area In This Edition International Bluegrass Music Museum! Owensboro, KY featuring First Generation musicians including Bill Monroe, Lester Flatt and Earl Scruggs. The Classic Band display tells the story of how Bill Monroe, Earl Scruggs, Lester Flatt, Chubby Wise and Howard Watts changed the Page 1 - 2 musical world defining the instruments in International today’s Bluegrass band. On display are Bluegrass historically significant instruments such as Music Museum the fiddle played by James Pendleton Page 3 Vandiver, an uncle of Bill Monroe’s Crossroads News Owensboro, KY. Just a short drive from immortalized in the tune Uncle Pen. And Festival Info Northern KY. If you haven’t visited the The Timeline of Bluegrass Music is a International Bluegrass Music Museum special display filling a long hallway. It Page 4-5 located in Owensboro, you are missing a outlines the history of Bluegrass music from Just A Reminder treasure chest of Bluegrass related the Scots-Irish string bands to camp meetings experiences. Located in the newly renovated and gospel quartets, through the era of Page 5-6 business district, just one block from the Ohio fiddling conventions, bluegrass during the Parmley, Goins Obits River and adjacent to the new waterfront jazz era, and the influences of the folk music Rabbit Hash Update park, it is within walking distance of great revival on up to modern day bluegrass. hotels and conveniences. As their slogan goes In March of 2013, the Museum opened to Page 7 ‘Discover the Richness and the Excitement the public its database of digital images of Grey Fox Update of Bluegrass Music’. -
"A" - You're Adorable (The Alphabet Song) 1948 Buddy Kaye Fred Wise Sidney Lippman 1 Piano Solo | Twelfth 12Th Street Rag 1914 Euday L
Box Title Year Lyricist if known Composer if known Creator3 Notes # "A" - You're Adorable (The Alphabet Song) 1948 Buddy Kaye Fred Wise Sidney Lippman 1 piano solo | Twelfth 12th Street Rag 1914 Euday L. Bowman Street Rag 1 3rd Man Theme, The (The Harry Lime piano solo | The Theme) 1949 Anton Karas Third Man 1 A, E, I, O, U: The Dance Step Language Song 1937 Louis Vecchio 1 Aba Daba Honeymoon, The 1914 Arthur Fields Walter Donovan 1 Abide With Me 1901 John Wiegand 1 Abilene 1963 John D. Loudermilk Lester Brown 1 About a Quarter to Nine 1935 Al Dubin Harry Warren 1 About Face 1948 Sam Lerner Gerald Marks 1 Abraham 1931 Bob MacGimsey 1 Abraham 1942 Irving Berlin 1 Abraham, Martin and John 1968 Dick Holler 1 Absence Makes the Heart Grow Fonder (For Somebody Else) 1929 Lewis Harry Warren Young 1 Absent 1927 John W. Metcalf 1 Acabaste! (Bolero-Son) 1944 Al Stewart Anselmo Sacasas Castro Valencia Jose Pafumy 1 Ac-cent-tchu-ate the Positive 1944 Johnny Mercer Harold Arlen 1 Ac-cent-tchu-ate the Positive 1944 Johnny Mercer Harold Arlen 1 Accidents Will Happen 1950 Johnny Burke James Van Huesen 1 According to the Moonlight 1935 Jack Yellen Joseph Meyer Herb Magidson 1 Ace In the Hole, The 1909 James Dempsey George Mitchell 1 Acquaint Now Thyself With Him 1960 Michael Head 1 Acres of Diamonds 1959 Arthur Smith 1 Across the Alley From the Alamo 1947 Joe Greene 1 Across the Blue Aegean Sea 1935 Anna Moody Gena Branscombe 1 Across the Bridge of Dreams 1927 Gus Kahn Joe Burke 1 Across the Wide Missouri (A-Roll A-Roll A-Ree) 1951 Ervin Drake Jimmy Shirl 1 Adele 1913 Paul Herve Jean Briquet Edward Paulton Adolph Philipp 1 Adeste Fideles (Portuguese Hymn) 1901 Jas. -
LABEL RECORD NOSK S SONG TITLE ARTIST BAND- Velvet Tone 2089-V B a Hobo's Life Is a Happy Life "Hobo" Jack Tuner Vocal Guitae Accomp
LABEL RECORD NOSK S SONG TITLE ARTIST BAND- Velvet Tone 2089-V B A Hobo's Life Is A Happy Life "Hobo" Jack Tuner Vocal Guitae accomp. Velvet Tone 2089-V A Everybody Dose It In Hawaii "Hobo" Jack Tuner Vocal Guitae accomp. Victor 18956 B Arkansaw Traveler A. C. (Eck) Robertson Violin Solo Victor 18956 A Sallie Gooden A. C. (Eck) Robertson Violin Solo Adelyne Hood and Vernon Columbia J-932 A Calamity Jane (from the West) Dalhart Novelty Accomp. Vocal Violin, Guitar & Mouth Harp Columbia 15109-D B The Fate Of Kinnie Wagner Al Craver accomp. Vocal Duet Violin and Guitar Columbia 15109-D A We Sat Beneath The Maple On The Hill Al Craver and Charlie Wells Accomp. Columbia M 449 A Saturday Night Boogie Al Dexter and his Troopers Brunswick 103 A East Tennessee Blues Al Hopkins with his Buckle Busters Brunswick 103 B Round Town Gals Al Hopkins with his Buckle Busters RCA Victor 20-2132 A A New Salty Dog Allen Brothers Allen Brothers Old Time Singin' With Yodel Acc. Supertone 9651 A Down In The Jail House On My Knee Amos Greene By Two Guitars Old Time Singin' Acc. By Two Supertone 9651 B My Carolina Sunshine Girl Amos Greene Guitars Andrews Sisters Vocal with Instrumental Decca 28163 B Hang Your Head In Shame and Red Foley Accompaniment Andrews Sisters Vocal with Instrumental Decca 28163 A Where Is Your Wandering Mother Tonight and Red Foley Accompaniment Intro 6015 B Dust Of A Rose Andy Parker and The Plainsmen Intro 6015 A Hangman's Guns Andy Parker and The Plainsmen Victor S-248 B I Dreamed Of A Hillbilly Heaven Anita Carter no data Starday 104 B Poor Ole Teacher Arlie Duff no data Starday 104 A You All Come Arlie Duff no data M-G-M 10914 A Beautiful Brown Eyes Arthur "Guitar Boogie" Smith Arthur Smith Vocalion 02554 A Times Ain't Like They Used To Be Ashley and Foster Vocal with Guitar & Harmonica Columbia 37964 A Ashamed To Own The Blessed Savior Bailes Brothers Vocal Duet with String Band Acc. -
American Square Dance Vol. 56, No. 3 (Mar. 2001)
AMERICAN r6 SQUAREDANCE 1111111141 "The International Magazine of Square Dancing" $3.50 March 2001 ilfINHURST'S TAPE Ei RECORD SERVICE The Professional Source for Callers & Cuers GRADUATION DIPLOMAS! LARGEST SELECTION AVAILABLE! LASER-PRINTED MASTERS COLORFUL HIGH QUALITY CERTIFICATES • Basic ot, lipfneu • Mainstream Fin4JIMME41.4v • Plus ta. Imesam Al•••••"poW Nom alma w.• • • , 71.1 sperg • Advanced IfIKhdle• OW* rd.,* 44.••••••• 0.51morli.Avilwren, • Challenge • Rounds til .,.,,,1410 lib • Clogging • Contra Dance • Line Dancing • American Square Dancing Celebrate • Community Dance Program Graduation! • Country Couple Dancing • Certificate of Appreciation "WOW! Your service is fast. Thanks." - R.M. "I ordered records on Sunday and had them on Tuesday morning. I couldn't believe the great service" - L.K. SupremeAudio.com Come visit the largest website for information on Square & Round Dance Records & Equipment! 100% Secure Shopping! Single ClickTM Convenience! 1-800-445-7398 (USA & Canada) Phone 800-445-7398 or 603-876-3636 io 01711 Fax: 800-346-4867 or 603-876-4001 r Foreign Toll Free: AT&T USA Direct Service Access Number plus Phone: 877-445-7398 or Fax: 877-346-4867 Supreme©SupremeAudio.com Website: www.SupremeAudio.com GS HANHURST'S AETi & RECORD SERVICE (A Division of Supreme Audio, Inc.) P.O. Box 50 • Marlborough, NH 03455-0050 American SquareDance. March 200! J7 J717 J7 12 4 17 4 17 1 1 7 1 7 1 7 J7 J717417 4 4 A 4 J7 AAA J 7 4 4 17 44 4 JI 4 4 J712 J717 J7 J7 17 aaWhide RCads b 12 gplICkSkin J7 J7 J7 17 17 4 Becky & Dick Waibel Larry Cole Dale McCiary Otto Degner 17 • NEW RAWHIDE RELEASES 12 RWH-214 ROCKY TOP by Otto 12 J7 .12 • NEW BUCKSKIN RELEASES J7 BUC-1265 COLD. -
2012 Jun & July
DESERT BLUEGRASS ASSOCIATION GRASS CLIPPINGS Volume 17 Issue 2 June/July 2012 “Earl Scruggs was 88 years old. He lived an un- mitigated triumph of a life, enabling creation of the great American music form now known as blue- grass and ennobling his instrument of choice, the banjo.” - Peter Cooper, Nashville Tennessean “Clarence and I would just listen and listen, over and over. Clarence would also sit down with a banjo from time to time to figure out what Earl was doing. He was a big influence on both of us. He was so very, very nice… always reached out to shake my hand. He was a wonderful friend, and his musical influence is monumental. Earl was a real treasure—we’ll never forget him.” - Roland White “Earl was to the 5-string banjo what Babe Ruth was to baseball. He is the best there ever was, and the best there ever will be.” Porter Wagoner, 2004 I’M STEPPING DOWN AS EDITOR Last month, I announced my intention to step down as editor of Grass Clippings, our DBA newsletter. I published a request in the newsletter for someone to take over the position as newsletter editor. I have been doing this job, on and off, since the incep- tion of the DBA in 1995. Time for some new blood and new perspectives. I was not overwhelmed with offers to step into the position. At the Monday night workshop, hoping to spark some interest, I ex- plained the duties and responsibilities and perks that go along with the position. I was overjoyed when a hand went up. -
The History of Early Bluegrass in Texas the History of Early Texas in Bluegrass Early of History the Bluegrass in Texas1
Moag and Campbell: The History of Early Bluegrass in Texas The History of Early The HistoryTexas ofEarly Bluegrass in Bluegrass in Texas1 Rod Moag, with assistance from Alta Campbell Bluegrass music in Texas has received even less recognition in completely separate from country music. I characterize the publications from within the state than without. Joe Carr and development of bluegrass music in Texas as a process rather Alan Munde’s Prairie Nights to Neon Lights: A History of than a binary switch from one stage to the other. This model Country Music in West Texas, includes a 20-page chapter on accounts for the varying pace of transition and the distinct bluegrass in West Texas.2 However, most books dealing with timelines found in the different regions of the state. To my Texas music have, at best, given bluegrass a passing mention knowledge, this has not been articulated before, though nation- and, at worst, given misleading information on the subject. al writers, such as Neil V. Rosenberg and Bill C. Malone have Larry Willoughby’s 1984 book, Texas Rhythm–Texas Rhyme, in previously identified many of the same trends and factors in a single mention of bluegrass lists four bands— bluegrass music’s development. Grassfire, Leon Valley Boys [actually Leon Valley Bluegrass], the Shady Grove Ramblers, A Brief Overview of Bluegrass Music in Texas and Tennessee Valley Authority—characterizing The story of bluegrass in Texas begins in 1950 with the them as “a part of the country music scene in Mayfield Brothers. Three members of a ranching family near Texas.”3 Singing Texas, edited by F. -
Breaking Down Bluegrass: the Invention of a Genre from Ballads to Banjos to Bill Monroe
Discovery Guides Breaking Down Bluegrass: The Invention of a Genre from Ballads to Banjos to Bill Monroe By Lorna Dries “Bluegrass is a wonderful music. I’m glad I originated it.” -Bill Monroe Introduction Bluegrass is possibly un- like any other traditional American musical genre. Like most other Ameri- can traditional music, its origins come from a mix of music brought over from various immigrant groups. Unlike most other American tradi- tional music, its creation can be traced back to one man: Bill Monroe. What started as Monroe’s sped-up and tightly struc- tured brand of old-time or hillbilly music became Live Bluegrass music at Shreves Store in Smoke Hole Canyon, West Virginia a musical genre that http://commons.wikimedia.org/wiki/File:Smoke_Hole_-_Shreves_Store_2.jpg would sprout its own permutations and varia- tions. In its purest form, bluegrass incorporates the following musical elements: the use of acoustic instruments; fast, virtuosic playing; tight vocal harmony in either two-, three-, or four-part har- mony; and planned instrumental solos for individual musicians (Rosenberg 5). A typical blue- grass band is generally comprised of a banjo player, fiddler, stand-up bass player, guitarist, and mandolin player. Some bluegrass bands include a Dobro guitar; however, this is not an instru- ment Monroe included when he first was credited with the bluegrass sound. ©2011 ProQuest Released September 2011 1 Dries: “Breaking Down Bluegrass” Although bluegrass can be traced to Appalachian mountain music and various aspects of the African-American music traditions, it is by and large a commercial music, devised and per- formed with the microphone and for the stage (Rosenberg 5).