David Holt Musical Conversation

Partial Transcript: •David shares his appreciation for being part of the series and mentions the Cherokee program they did before.
•The conversation with David is interactive, with audience members having the opportunity to ask questions.
•The conversation will involve stories, history, and music.
•David talks about the limited access to music when he was growing up, with television and radio being the main sources.
•He mentions not liking songs like “How Much Is That Doggie In The Window.”
•David’s granddad had a Black lady who listened to great radio stations, which was influential for him.
•He moved to California with his dad, where there was a lot of music, and he became interested in playing the drums.
•David started drum lessons at the age of fourteen.
•The first live music he saw was a band called The Problems.
•David shows a picture of his dad playing traditional instruments called Bones that have been passed down through generations.
•The bones were obtained from John Oscar Holt from Almette County, North Carolina.
•The bones are a rhythmic instrument and can be made from wood or real rib bones.

Segment Synopsis: From Limited Access to Drums: David’s Musical Influences and Family Legacy

Keywords: Almette County, North Carolina; Bones; John Oscar Holt; The Problems; “How Much Is That Doggie In The Window; ” California; Cherokee program

Subjects: David discusses his music influences and instruments in an interactive conversation with the audience. He shares his experience growing up with limited access to music, his interest in drums, and taking lessons at age 14. He also shows a picture of his dad playing traditional bones instruments that have been passed down through generations.

Partial Transcript: • Despite not being musicians themselves, music was passed down through generations.
• The speaker’s granddad used to play a tune called “Whiskey Before Breakfast” on the fiddle. This sparked the speaker’s interest in exploring different genres of music.
• The speaker became serious about playing drums, both in jazz and rock and roll bands.
• The speaker was attracted to real-time musicians and their artistry.
• While in college in San Francisco, the speaker stopped playing music but was surrounded by local bands like the Jefferson Airplane.
• The speaker dropped out of college to explore a career in teaching and worked at a private elementary school in Martinez, California.
• On the speaker’s first night at the school, they were attacked by three individuals, resulting in a lengthy physical and emotional recovery.
• One of the teachers at the school owned old 78 records, including a Carl Sandberg song, which aided the speaker’s recovery process.

Segment Synopsis: Finding Healing Through Music

Keywords: 78 records; Jefferson Airplane; Martinez, California; San Francisco; jazz; real-time musician; rock and roll bands; “Whiskey before breakfast”; Carl Sandberg

Subjects: The speaker’s love for music began in their family, where they were exposed to various genres. They became serious about playing drums in jazz and rock bands, influenced by local musicians. After a hiatus in college, they taught at an elementary school, but a traumatic incident hindered their progress. They recovered through music therapy, which helped them emotionally and physically heal.

Partial Transcript: •The narrator had experienced a traumatic event and was seeking healing.
•Motivated by their Texas upbringing and familiarity with cattle, the narrator became interested in cowboy songs and sought to find old recordings.
•The narrator visited UCLA and spoke with Kenny Goldstein, who informed them that the first cowboy singer ever recorded, Carl Spragg, was still alive and living in Brian, Texas.

•The narrator obtained a picture of Carl Spragg and decided to visit him.
•Carl Spragg, a former Texas A&M baseball coach, was still playing guitar and taught the narrator how to play the harmonica.
•The narrator discovered that the harmonica was traditionally played with a rhythm technique involving playing notes out of the side of the mouth and tapping the tongue on the reeds.
•The narrator was amazed by the experience and realized the value of connecting with accessible heroes like Carl Spragg.
•The narrator returned to school and completed degrees in Biology and Art, as well as a teaching credential.
•The narrator encountered Ralph Stanley, a well-known Bluegrass musician, on their college campus and took a photograph of him.
•After the concert, the narrator asked Ralph Stanley where they could learn to play the old-style clawhammer banjo.

Segment Synopsis: Harmonizing the Soul: A Journey of Music, Mastery, and Personal Growth

Keywords: Bluegrass musician; Brian, Texas; Carl Spragg; Kenny Goldstein; Ralph Stanley; UCLA, Texas A&M.; art; biology; harmonica; old-style clawhammer banjo; Texas upbringing

Subjects: Seeking healing, the narrator delved into cowboy songs and sought out masters like Carl Spragg, a former Texas A&M baseball coach, who taught them harmonica techniques. They also connected with renowned musician Ralph Stanley, learning the old-style clawhammer banjo. This journey led to personal growth and completion of degrees in biology, art, and teaching credentials.

Partial Transcript: •The Bluegrass style of banjo playing originated from Africa several hundred years ago.
•The banjo played in the Bluegrass style has a distinct sound that was brought over by African slaves.
•The Bluegrass style was later replaced by the three-finger style in the 1930s.
•In 1969, the speaker and a banjo-playing friend traveled to various fiddlers’ conventions in the Appalachian region to learn and experience old-style banjo playing.
•While attending these conventions, they would be invited to stay with locals, who were friendly and hospitable.

•The speaker also discovered cowboy songs and the Harry Smith Anthology of American Folk Music, which featured old recordings and artists like Uncle Dave Macon.
•Uncle Dave Macon was known for his unique style and character.

Segment Synopsis: The Evolution and Rediscovery of Bluegrass Banjo Music

Keywords: African slaves.; Appalachian region; Harry Smith Anthology of American Folk Music; Uncle Dave Macon; fiddlers convention; three-finger style; Bluegrass style of banjo

Subjects: The Bluegrass banjo style originated from Africa and features a distinct sound. It was replaced by the three-finger style in the 1930s. In 1969, the speaker attended Appalachian fiddlers’ conventions to learn old-style banjo playing, staying with friendly locals. They discovered cowboy songs and the Harry Smith Anthology of American Folk Music, which featured old recordings and artists like Uncle Dave Macon.

Partial Transcript: •The writer discovered his interest in music and dance through an anthology of American music.
•In the late 1960s, multiple clog teams were popular in schools in North Carolina, and clogging became a widespread activity.
•The writer learned how to clog in order to combine music and dance.
•Years later, the writer met Sid Hart Readereder, the old fiddler who played with Kirk McGee, and asked about the dancing.
•The writer learned to tap on the back of the guitar from Kirk McGee as a way to play music and dance simultaneously.
•The writer decided to come back to his hometown and learn directly from old folks instead of relying on recordings.
•The old folks were born in the late 1800s and had experiences and knowledge similar to the writer’s ancestors.
•One example is Nimrod Working, a coal miner from Kentucky, who had a strong presence and reminded the writer of his tough Texas grandmother.
•The writer felt comfortable talking to and learning from these old folks due to his upbringing in the South.

Segment Synopsis: Tapping into Ancestral Rhythms: Exploring Clogging and Music-Dance Techniques with Old Folks

Keywords: Kirk McGee; North Carolina; Sid Hart Readereder

Subjects: The writer learned clogging and music-dance techniques from old folks in his hometown, which helped him, combine his interests in music and dance. He felt a connection with these individuals, who had similar experiences and knowledge as his ancestors, and found comfort in learning from them.

Partial Transcript: •Roy Acuff and Grandpa Jones were influential figures in the music community. They welcomed the writer into their league due to the lack of young musicians playing their style of music at the time.
•John Markford, a Nashville musician, had a unique way of thinking and was a talented songwriter.
•The writer had a close relationship with someone referred to as “Doc Watson,” who taught them a great deal about music.
•Wade Mayor, a musician from Weaverville, North Carolina, recorded hundreds of songs in the 1930s and 1940s but had to move to Detroit to make a living in the 1950s.
•Walt Davis, a professional musician in the 1920s, continued to pursue music alongside another career.
•Barb Ray, a resident of Sodom, North Carolina, regularly visited the writer and taught them various techniques and tunes.
•Mary Sexton, a ballad singer, and Kathryn Windham, a storyteller from Selma, Alabama, were highly esteemed in their respective fields.

Segment Synopsis: Rediscovering Ancestral Rhythms: Exploring Clogging and Music-Dance Techniques with Old Folks

Keywords: Detroit; Grandpa Jones; John Markford; Mary Sexton.; Selma, Alabama; Sodom, North Carolina; Walt Davis; Weaverville, North Carolina; Roy Acuff

Subjects: The writer learned clogging and music-dance techniques from old folks, discovering a connection to ancestral rhythms and comfort in their shared experiences.

Partial Transcript: •Bessie Jones, a skilled storyteller, learned from her father and grew up in an era where storytelling was a common form of entertainment.

•Bessie Jones collected songs from ex-slaves and the Georgia Sea Islands, contributing to the preservation of black slave heritage.
•Bessie Jones recorded numerous impactful songs, some of which can be found on the website davidholt.com.
•The narrator expresses admiration and awe for the live performances of Doc Watson.
•The narrator first heard Doc Watson’s music in high school and met him in 1972.
•The narrator asks Doc Watson about how blind people dream, and he responds with “Feel it.”
•After about twenty years, the narrator and Doc Watson reunite on a radio show and discuss the previous question.
•Doc Watson clarifies that he meant both the feelings of the heart and the touch when talking about how blind people dream.
•The narrator and Doc Watson occasionally perform together, calling each other on stage for shows.
•In 1998, the narrator and Doc Watson were asked to do a program together by UCTV, and they agreed to participate.

Segment Synopsis: Preserving Black Slave Heritage Through Storytelling and Song: The Collaboration of Bessie Jones and Doc Watson

Keywords: Bessie Jones; Doc Watson; Georgia Sea Islands; preservation of black slave heritage; UCTV

Subjects: Bessie Jones, a skilled storyteller, collected songs from ex-slaves and the Georgia Sea Islands, contributing to the preservation of black slave heritage. The narrator expresses admiration for Doc Watson’s performances and recalls their meeting in 1972. They occasionally perform together and in 1998, they were asked to do a program together by UCTV.

Partial Transcript: •The author recalls a conversation with a doctor about appearing on a television show and practicing for it.
•The doctor suggests listening to recordings and assures the author that they will figure it out.
•The author mentions that the musician did not enjoy practicing with other people but would practice alone.
•The author reflects on a show they played with the musician and expresses satisfaction with their performance.
•People started calling in and expressing interest in hiring the show after seeing the performance.
•The author discusses how being around the musician changed their perspective on music and their own playing.
•The musician’s concentration and emotional expression during his performances were inspiring to the author.
•The musician’s ability to leave out certain notes in a solo and still create a powerful piece of music influenced the author.
•The author requests a reminder of something that represents their time playing with the musician

Segment Synopsis: The Impact of a Great Musician: A Reflection

Keywords: emotional expression

Subjects: The author reflects on playing with a great musician whose dedication and emotional expression in performance inspired them. They discuss how their time with the musician changed their perspective on music and their own playing. The musician’s ability to create powerful music by omitting certain notes left a significant impact on the author.

Partial Transcript: •The narrator initially learned to play guitar by observing and learning from a skilled guitarist known for his fingerpicking style.
•The narrator started playing music at an older age and focused on learning fingerpicking to improve their skills.
•Despite experiencing fatigue, the narrator continues to work on their fingerpicking every day.
•The narrator expresses a desire for change and peace of mind through lyrics about their struggles and dreams.
•The narrator is asked about collaborating with contemporary women in country music.
•The narrator explains that it is challenging to connect with country music artists unless they have a television show in Nashville.
•The narrator mentions Claire Lynch as a talented singer in the country music industry.
•The narrator expresses appreciation for the younger generation of musicians in country music, including a performer named Josh Goforth.

Segment Synopsis: In Search of Tranquility: Exploring Connections Between Fingerpicking and Country Music Artists

Keywords: Claire Lynch; Nashville; contemporary women in country music; country music artists, country music industry, younger generation of musicians in country music, Josh Goforth; skilled guitarist.; fingerpicking style

Subjects: The narrator learned guitar by observing a skilled guitarist and focused on fingerpicking. They desire change and peace through music. They find it difficult to connect with country music artists unless they have a TV show in Nashville. They appreciate young talent like Claire Lynch and Josh Goforth.

Partial Transcript: •The availability of DVDs has allowed young musicians to learn from the best and become skilled at a young age.
•There is optimism for the future of music due to the talent of these young musicians.
•The speaker wore a hat because it was a common accessory among the people they knew, including their father and grandfather.
•The decision to wear a hat on a TV show came about because the speaker’s receding hairline was drawn on with an eyebrow pencil.
•Wearing the hat became a defining characteristic for the speaker, and now they feel uncomfortable performing without one.
•The speaker appreciates positive comments on their music and sees a correlation between their music style and the concept of “old school.”
•The speaker values programs on railroads and recently participated in a city railway journey on a refurbished Pullman train.
•The speaker has been involved in railroad programs for seventeen years, showcasing the history of railroads in America.

Segment Synopsis: DVDs: Empowering Young Musicians and Inspiring Optimism for Music’s Future

Keywords: refurbished Pullman train

Subjects: The availability of DVDs has improved young musicians’ skills, contributing to optimism for music’s future. Wearing hats became a comfort for a speaker whose receding hairline was drawn on, and they appreciate positive comments on their old-school music style. They have been involved in railway programs in America for seventeen years, including a recent refurbished Pullman train journey.

Partial Transcript: •Railroads have transitioned from hauling freight to transporting tourists, often in beautiful locations with old equipment such as steam engines and early diesel engines.
•Steam trains have a unique personality and are often seen as living beings despite being inanimate objects.
•The speaker expresses concern for the future of railroads and old trains.
•Etta Baker, a lady from Morganton, North Carolina, was a skilled guitar player in the old Piedmont blue style.
•Etta’s music represents a time period dating back to the 1800s, as she learned from her father and grandfather.
•One of Etta’s most famous songs is “Railroad Bill.”
•The speaker shares a picture of Etta, taken when she was in her late seventies and going to see her sister.

Segment Synopsis: The Evolving Railroads: From Freight Carriers to Symbolic Tourist Attractions

Keywords: early diesel engines; hauling freight; old Piedmont blue style; steam engines; steam trains; transporting tourists; Morganton, North Carolina

Subjects: Railroads have evolved from freight carriers to tourist attractions, with steam trains symbolizing a living entity. The speaker expresses concern for their future and shares a picture of skilled guitarist Etta Baker, who played in the old Piedmont blue style and had a song called “Railroad Bill.”

Partial Transcript: •The narrator’s friend had a falling out with her sister years ago but recently wanted to reconcile with her.
•The narrator noticed that her friend gave her back a guitar she had borrowed, indicating that she didn’t expect to make it back from her trip.
•The friend traveled to Washington, DC, to reconcile with her sister and ended up passing away at the end of the week.
•The narrator emphasizes the friend’s kind nature and asks if the audience can see it in her face.
•The topic switches to Riverwalk Jazz and how the narrator got involved with the show.

•Riverwalk Jazz is a show on National Public Radio that has been on for 25 years and is broadcasted on 250 stations.
•The narrator got involved with the show because the previous producer, Margaret Moose, left after her partner ran off with someone else, and she wanted to start a new show.
•Margaret Moose started Riverwalk Jazz and was looking for a host who could interview old musicians and tell stories.
•Stanford University has a website with all the shows from the past 25 years.
•The interviewer then asks about the difficulties and joys of being a host on the show.
•The narrator mentions that one joy is simply being able to do it.
•The narrator recalls advice from a musician about not overworking oneself to avoid burnout.

Segment Synopsis: From Reconciliation to Tragedy: The Journey of a Riverwalk Jazz Producer

Keywords: Margaret Moose; National Public Radio; Riverwalk Jazz; Stanford University; Washington, DC

Subjects: The narrator’s friend reconciled with her sister in Washington, DC, but tragically passed away. They discuss how the narrator got involved with Riverwalk Jazz, a 25-year-old NPR show after the previous producer left. The host shares the joys and challenges of the job, including avoiding burnout by not overworking themselves.

Partial Transcript: •The speaker’s friend advised them to prioritize making a living for their family and consider everything else as extra.
•The speaker values this advice and applies it to their own life to pursue meaningful work.
•The speaker shares an example of being offered a hosting role on a game show but they decline because it did not align with their desired direction.
•One of the challenges of being a professional musician is constant travel, which the speaker no longer finds interesting.
•At sixty-eight years old, the speaker still wants to keep playing music but acknowledges the need for practice to maintain their skills.
•The speaker finds the greatest joy in getting to know the powerful and grounded people they encounter in their music career.

•The speaker references seeing Dolly Parton’s love for her mountain music as an inspiration to pursue personal passions regardless of financial gain.

Segment Synopsis: The Power of Prioritizing Family and Pursuing Meaningful Work

Keywords: Dolly Parton’s love for her mountain music

Subjects: To prioritize making a living and personal goals, the speaker advises prioritizing family and considering other pursuits as extra. They declined a game-show hosting role, valuing meaningful work. They acknowledge the need for practice in their music career, finding joy in meeting influential people. They reference Dolly Parton’s love for her music as an inspiration to pursue passions regardless of financial gain.

Partial Transcript: •Music has the power to attract and connect people, especially when it has soul and a rich history.
•The importance of community is a central theme in music.
•The speaker’s job involves bringing music from different centuries into the present, which they take pride in.
•The speaker expresses a desire to continue this work.
•The speaker mentions learning to play a paper bag from an old fellow in a community called Sodom, North Carolina.
•The speaker recalls a performance where they decided to play the paper bag, aiming to make an impression.
•The speaker also mentions an instrument called a mouth bow, which they learned from Morris Thornton and another individual in Norris, Tennessee.

Segment Synopsis: Uniting Communities Through a Timeless Musical Journey

Keywords: Morris Thornton; Norris, Tennessee; mouth bow; Sodom, North Carolina

Subjects: Music connects people and is central to community themes. The speaker, who brings music from different centuries to the present, takes pride in their job. They learned to play a paper bag from a community in North Carolina and a mouth bow from individuals in Tennessee, aiming to make an impression in performances.

Partial Transcript: •The speaker discusses an instrument called the mouth bow and its unique sound and musical possibilities. By changing the shape of their mouth, they can create different notes and play tunes on it.
•The speaker confirms that they write music and prefer to be known as someone who plays traditional music with occasional original songs rather than a singer-songwriter.
•They express their desire to write a song for the mouth bow, noting that it may have been a thousand years since such a song was written.
•The speaker mentions the drovers who used to drive cattle from Ashville to Charleston, emphasizing the difficulty of herding thousands of cattle and wild turkeys over long distances without photography to document their existence.
•They express their intention to write about drovers and their quiet lives, which have been forgotten due to lack of visual records.
•The speaker mentions the time it took the drovers to travel from the falls to the market, highlighting the arduous nature of their work.
•They mention sour mash whiskey as a way to keep warm during winters on the road.
•The audience asks about the instrument in the speaker’s lap, resembling a banjo but different, and the speaker explains that it is a replica of a museum piece from the 1860s, made of curly maple and groundhog hide, with catgut strings.

Segment Synopsis: The Art of Music: Exploring the Unique Sound and Traditions of the Mouth Bow

Keywords: Ashville; Charleston; catgut strings; curly maple; groundhog hide; sour mash whiskey; mouth bow

Subjects: The speaker discusses the mouth bow’s unique sound and their desire to write a song for it, noting its potential for traditional music. They also express intentions to write about the drovers’ quiet lives and their arduous work, highlighting the time it took them to travel and sour mash whiskey as a means to keep warm. The speaker also explains their instrument, a replica of a museum piece from the 1860s with catgut strings.

Partial Transcript: •David shares how he started incorporating storytelling into his music, particularly when performing for children in schools as opposed to bars.
•He realized that telling stories could hold the children’s attention for longer periods of time compared to a three-minute song.
•He became involved in the storytelling revival starting in Jonesborough, Tennessee, in the early 1970s.

•In 1976, he performed at the National Storytelling Festival, where he was recognized for adding music to his stories.
•David aims to seamlessly integrate stories into his music so the audience doesn’t perceive it as a separate storytelling component.

Segment Synopsis: The Art of Musical Storytelling: Seamlessly Blending Narratives and Music

Keywords: Jonesborough, Tennessee; National Storytelling Festival; storytelling revival; three-minute song

Subjects: David began incorporating storytelling in his music, especially when performing for children, as it held their attention longer than songs. He got involved in the storytelling revival in the 1970s and in 1976, he was recognized for adding music to his stories at the National Storytelling Festival. He aims for seamless integration of stories in his music.

Partial Transcript: •The narrator gives an example of an experience with Susie Brunson, the oldest living person at the time
•Susie Brunson was born in 1870 in Bamberg, South Carolina
•In the black community during reconstruction, banjos were not common, but washboards were used for music and dance
•Susie Brunson taught the narrator a technique for playing the washboard without thimbles on the fingers
•The narrator mentions a picture of Susie Brunson and the washboard on a website
•After Susie Brunson passed away, the narrator learns about another oldest living person named Mary Thompson in Orlando, Florida
•Mary Thompson’s favorite song as a little girl in the 1870s was “Greasy Greens.”
•The narrator mentions a friend named George Higgs who knew the song “Greasy Greens” and lived in Tarboro but has since passed away.

Segment Synopsis: Musical Wisdom from the Oldest Living: Washboard Techniques and Beloved Songs

Keywords: George Higgs; Orlando, Florida; “Greasy Greens; ” banjos; Susie Brunson

Subjects: The narrator shares an experience with Susie Brunson, the oldest living person at the time, who taught them a washboard-playing technique. They also mention Mary Thompson, another oldest living person, and her favorite song, “Greasy Greens,” which was also known by their friend George Higgs.

Partial Transcript: •Mountain culture encompasses storytelling, music, advancement, and connections to the land, building, and faith.
•The old tunes and songs contain wisdom and have the power to evoke emotions and bring happiness.
•The music itself holds a power of its own and keeps the culture alive.
•Tunes like “Frosty Morning” have a sense of ancient time and need to be preserved.
•Mountain culture provides a unique and valuable perspective that is different from mainstream culture.
•It is important to maintain and pass on mountain culture for future generations to appreciate and learn from.

Segment Synopsis: The Enduring Wisdom and Emotional Power of Mountain Culture”

Keywords: “Frosty Morning”; Mountain culture

Subjects: Preserving mountain culture is crucial as it encompasses storytelling, music, and connections to the land, building, and faith. Ancient tunes like “Frosty Morning” hold wisdom and evoke emotions, providing a unique perspective different from mainstream culture. Maintaining and passing on mountain culture ensures its appreciation and learning for future generations.

Partial Transcript: •The text discusses the significance of keeping music alive and the various roles that different individuals play in preserving it.
•The author emphasizes the need for connection and depth in music rather than simply aimlessly playing.
•Every cell in the mind should be engaged when playing, creating a meaningful experience.
•The author believes that music provides a connection to the past and should be remembered for future generations.
•The loss of music would result in missing out on valuable memories and cultural heritage.
•Despite countless songs being lost throughout history, it is worth preserving music to prevent further loss.
•Popularizing music too much can lead to it becoming corny and losing its authenticity.
•It is important to have both professional and home musicians to sustain the music industry.
•Professional musicians push the music forward while those who play at home contribute to the love and enjoyment of music.
•All individuals, from professional musicians to amateur hobbyists, play a crucial role in keeping music alive.
•If any of these roles fade, the entire music community could diminish, although the author does not foresee this happening.

Segment Synopsis: Preserving Music: The Key to Sustaining the Industry

Keywords: connection and depth in music

Subjects: The author underscores the importance of preserving music, emphasizing depth and connection in playing, and the roles of both professional and home musicians in sustaining the industry. Music connects us to the past and holds cultural heritage, so its preservation is crucial. Without these roles, the music community could dwindle.

Partial Transcript: •The National steel guitar, made of metal and invented in 1927 in California, was originally designed for playing Hawaiian music.
•The National steel guitar is also known as a slide guitar, as it is played by sliding a brass pipe or bottleneck on the strings to produce a unique sound.
•The slide guitar is particularly well-suited for playing blues music.
•The speaker prefers to use a brass pipe instead of a bottleneck, as it produces a slightly better sound.
•The Weissenborn guitar is another style of guitar.
•The speaker still includes playing the spoons in their programs.
• Weissenborn guitars did not often get involved in the mountain division before resonators came along.

Segment Synopsis: The Evolution and Versatility of the National Steel Guitar

Keywords: Hawaiian music; Weissenborn guitar; brass pipe; National steel guitar

Subjects: The National steel guitar, a metal instrument invented for Hawaiian music in 1927, is a slide guitar played with a brass pipe or bottleneck. It is well-suited for blues music. The speaker prefers using a brass pipe and still includes playing spoons in their programs. Weissenborn guitars were not often involved in the mountain division before resonators arrived.

Partial Transcript: •The speaker recounts the story of a guitar made entirely out of wood and how it wasn’t commonly found in the mountains.
•The speaker mentions the introduction of steel guitars and expresses admiration for them.
•Bobby Osborne, a mandolin player who played with the Osborne Brothers, had a loud pickup installed in his instrument in the 1960s.
•Bill Monroe, a prominent figure in Bluegrass, was impressed by Bobby’s mandolin and wanted to buy it from him.
•The speaker discusses their own musical preferences, stating that they were more into rock and roll than political folk music.
•The speaker believes that music should remain apolitical because everyone has differing opinions in politics.
•The speaker lives in Fairview, North Carolina, and enjoys being at home instead of traveling extensively like many retirees.

Segment Synopsis: : Reflections on Music, Bobby Osborne’s Mandolin, and the Importance of Musical Authenticity

Keywords: Bill Monroe; Bluegrass; Bobby Osborne; Bobby’s mandolin; Fairview, North Carolina; Fairview, North Carolina; Osborne Brothers; political folk music; rock and roll; steel guitars

Subjects: The speaker shares their memories of music, including a wooden guitar and admiration for steel guitars. They discuss Bobby Osborne’s loud pickup-equipped mandolin, Bill Monroe’s interest in it, and their own preference for rock and roll over political folk music, believing music should remain apolitical. They also mention living in Fairview, North Carolina, and enjoying home life over extensive travel.

Partial Transcript: •The speaker values a routine that includes exercise, breakfast, and practicing music, as it feels like heaven to them.
•The speaker acknowledges that they still travel, but not as often as before, suggesting that they used to travel around 220 days a year.
•The speaker mentions that old songs were typically passed down through word-of-mouth by older generations.
•There have been various efforts to preserve folk music, with one notable compilation being the Anthology of American Folk Music, which consists of old recordings from the 1920s.
•The speaker references a project where they helped create an autobiography for someone by recording their stories and music, accompanied by a concert.
•The speaker confirms having protégés, including Laura Boosinger and Josh Goforth, who have worked with them in the Appalachian Music Program.
•The speaker expresses confidence in Josh Goforth’s talent and the potential for him to carry on their teachings.
•The speaker expresses gratitude to the interviewer for their presence and concludes the conversation.

Segment Synopsis: Preserving Folk Music in Appalachia: An Insight into a Speaker’s Routine and Mentoring Program

Keywords: Josh Goforth; Laura Boosinger; folk music; Appalachian Music Program

Subjects: The speaker values their routine of exercise, breakfast, and music practice, and acknowledges their past frequent travel. They discuss preserving folk music, efforts such as the American Folk anthology and mention their protégés Laura Boosinger and Josh Goforth, both of whom they work with in the Appalachian Music Program. The speaker expresses confidence in Josh’s talent and potential to carry on their teachings.