Podcast appearances and mentions of maybelle carter

The duo is one of the strong traditions in folk music, and on this program we'll present some pairs of musicians who play well with others. You'll hear Robin and Linda Williams, James Bryan and Carl Jones, Hazel Dickens and Alice Gerrard, Sara and Maybelle Carter, and many more, from the past and recorded more recently. Duets in song and tune … this week on The Sing Out! Radio Magazine.Pete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / Smithsonian FolkwaysJames Bryan & Carl Jones /”Belles of Blackville” / Two Pictures / MartinThe Two Man Gentlemen Band / “Two Star Motel” / Two at a Time / Bean ToneMouths of Babes / “Lock & Key” / Brighter in the Dark / Wide Awake MusicThe Mastersons / “You Could Be Wrong” / Transient Lullaby / Red HouseZoe & Cloyd / “Fast Air” / Eyes Brand New / Z & C RecordsSara & Maybelle Carter / “While the Band is Playing Dixie” / An Historic Reunion / KochFlatt & Scruggs / “My Saro Jane” / The Essential Flatt & Scruggs / ColumbiaThe Delmore Brothers / “Blues Stay Away From Me” / Freight Train Boogie / AceHazel Dickens & Alice Gerrard / “Lover's Return” / Pioneering Women of Bluegrass / Smithsonian FolkwaysJames Bryan & Carl Jones /”Forty Drops” / Two Pictures / MartinAlasdair Fraser & Natalie Haas / “The Devil & the Gypsy” / Ports of Call / CulburnieBela Fleck & Abigail Washburn / “New South Africa” / Bela Fleck & Abigail Washburn / RounderNathan Gourley & Laura Feddersen / “The Blackbird-The Road to Garrison” / Life is all Checkered / Self-producedRobin & Linda Williams / “They All Faded Away” / These Old Dark Hills / Red HouseTeddy Thompson & Kelly Jones / “Never Knew You Loved Me Too” / Little Windows / Cv 30Pete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / Smithsonian Folkways

Six String Hayride Classic Country Podcast Episode 43, The 70's Part TWO 1975-1979. A discussion of Outlaw Music and the late 1970's with Chris and Jim. For years, Artists have been wanting more creative control over their music and recording contracts. Waylon and Willie beat the system to finally earn a fair deal and make their finest albums. The Music Business calls this "Outlaw". Audiences notice the "Countrypolitan Sound" has gotten way too soft and pretty and start looking to music that gets back to its roots of Three Chords and the Truth. Waylon and Willie lead the way with Jessi Colter, Guy Clark, and Townes Van Zandt. Loretta Lynn, Freddy Fender, Merle Haggard, Linda Ronstadt, Emmy Lou Harris, and Tom T Hall deliver the hits we love. George and Tammy break up and then make their finest single. Glen Campbell and Charlie Rich go Pop. We're going to the movies for JAWS, Monty Python, Smokey and the Bandit, and Star Wars. We reflect on the loss of Bob Wills, Groucho Marx, ELVIS, Sara and Maybelle Carter. Recipe for Elvis Peanut Butter and Banana Sandwich and a drink from the John Wayne Cocktail Guide. Available wherever you get Podcasts.https://www.facebook.com/profile.php?id=100086513555749https://www.patreon.com/user?u=81625843

Send us a Text Message.Three time Blues Foundation Traditional Female Artist award winner, Sue Foley's new album 'One Guitar Woman' is a heartfelt tribute to the female pioneers of the guitar - including Memphis Minnie, Lydia Mendoza, Maybelle Carter, Ida Presti, and Sister Rosetta Tharpe. The album showcases the dexterity of Foley's acoustic nylon string guitar skills as she expands on her blues playing into other genres like Piedmont fingerpicking, traditional country, flamenco and classical.“These are the women who were expressing themselves through the instrument as far back as the 1920's, at the inception of radio and recorded music. They are the trailblazers and visionaries whose footsteps I walk in,” says Foley.In May 2023, Foley was awarded the Blues Music Award for Traditional Blues Female Artist (the Koko Taylor Award) in Memphis TN for the third time. She was also honored with Guitarist of the Year and Blues Act of the Year at the 2023 Austin Music Awards, and Guitarist of the Year at the 2023 Maple Blues Awards. Her last studio album, Pinky's Blues took home Best Traditional Blues Album at the 2022 Blues Music Awards, and her latest live album Sue Foley Live In Austin Vol. 1 has spent 12 weeks at number 1 on the Roots Music Chart and has been on a number of blues Best Of 2023 lists. Learn more about Sue Foley at https://suefoley.comHost Lee Zimmerman is a freelance music writer whose articles have appeared in several leading music industry publications. Lee is a former promotions representative for ABC and Capital Records and director of communications for various CBS affiliated television stations. Lee recently authored the book "Thirty Years Behind The Glass" about legendary producer and engineer Jim Gains.Podcast producer/cohost Billy Hubbard is an Americana Singer/Songwriter and former Regional Director of A&R for a Grammy winning company. Billy is a signed artist with Spectra Music Group  and co-founder of the iconic venue "The Station" in East TN. Billy's new album was released on Spectra Records 10/2023 on all major outlets! Learn more about Billy at http://www.BillyHubbard.comSupport the Show.If you'd like to support My Backstage Pass you can make a donation to Billy & Lee's coffee fund at this link https://www.buymeacoffee.com/MyBackstagePassMy Backstage Pass is sponsored by The Alternate Root Magazine! Please subscribe to their newsletter, read the latest music reviews and check out their weekly Top Ten songs at this link http://www.thealternateroot.com

We know Ottawa-born Sue Foley from the blues albums she's created and released. Plus Multiple blues awards on both sides of the border. Her new album is One Guitar Woman. A tribute to the female pioneers of guitar. This was/is a very personal journey for Sue. She's studied the many women who played guitar before her and left their legacy to study and pass on. Female singers and players like Memphis Minnie, Elizabeth Cotten, Maybelle Carter, Sister Rosetta Tharp, Geeshe Wiley,  Lydia Mendoza etc. Many tales and tunes are connected to the album. Four-time Blues Foundation Traditional Female Artist award winner, Sue Foley's new album One Guitar Woman is a heartfelt tribute to the female pioneers of the guitar - including Memphis Minnie, Lydia Mendoza, Maybelle Carter, Ida Presti, and Sister Rosetta Tharpe. The album showcases the dexterity of Foley's acoustic nylon string guitar skills as she expands on her blues playing into other genres like Piedmont fingerpicking, traditional country, the Carter Scratch,  flamenco and classical. “From the time I decided to be a professional guitar player, I've always looked for female role models. These are the women who were expressing themselves through the instrument as far back as the 1920's, at the inception of radio and recorded music. They are the trailblazers and visionaries whose footsteps I walk in,”  Sue  Foley.

Présentée par Starchild. Pour ce septième numéro de Country Connection, Starchild met à l'honneur les reines de la country américaine. Le premier volume de cette rétrospective vous permettra de découvrir, voire de redécouvrir 25 destins de chanteuses, souvent féministes avant l'heure : Lynn Anderson, Maybelle Carter, June Carter Cash, Rosanne Cash, Patsy Cline, Skeeter Davis, Ann Fargo, Crystal Gale, Bobby Gentry, Emmylou Harris, The Judds, Brenda Lee, Loretta Lynn, Barbara Mandrell, Lorrie Morgan, Ann Murray, Olivia Newton-John, KT Oslin, Dolly Parton, Jeannie C.Riley, Linda Rondstadt, Connie Smith, Kitty Wells, Dottie West et Tammy Wynette

For some reason, when it comes to Country Music, most people do not associate it with black folk or folk musical expression. The thing is, country music, in its many forms, comes directly from black expression. i.e., the blues, country blues, and more. To give the context to the roots of commodified music presented and thought of as white music… We can use Leslie Riddle as an example… he was the teacher to the Carters for the music they would be credited for. Maybelle Carter always let that be known. In this episode, I discuss Why it is Always about Race regarding Country music, Country Blues, and Blackness. Coffle Gang and Domestic Slavery African American Tribal Music DONATION --- Send in a voice message: https://podcasters.spotify.com/pod/show/africanamericanfolklorist/message

When Country music was first recorded in the 1920s and early 30s there were precious few women singers and stars. This episode presents some of the earliest commercial recordings by women singers of early Country music - Patsy Montana, "Moonshine " Kate, Girls Of The Golden West, Billie Maxwell and of course Sarah and Maybelle Carter. Saddle up and join us! --- Support this podcast: https://podcasters.spotify.com/pod/show/american-grooves-hour/support

The early Newport Folk Festivals ( 1963-66) were the stage for the re-discovery of some of Americans' deepest "roots" music...Folklorists and 78rpm Record Collectors such as Ralph Rinzler, Alan Lomax, Dick Spottswood and Dick Waterman resurrected the careers and music of MISSISSIPPI JOHN HURT, SON HOUSE, SKIP JAMEs, MAYBELLE CARTER, ROBERT WILKINS, ECK ROBERTSON, DORSEY DIXON and others - Most of these artists had been living in obscurity , many assumed deceased only having gained a bit of recognition in 1952 with the release of Harry Smith's ANTHOLOGY OF AMERICAN FOLK MUSIC record album set. At Newport they were seen by 1000s and careers were rebuilt- This episode of American Grooves plays the ORIGINAL 1920s-30s recordings of some of those artists RESURRECTED AT NEWPORT --- Support this podcast: https://podcasters.spotify.com/pod/show/american-grooves-hour/support

Listen now (2 min) | When you think of Americans whose music has made a lasting difference, you might think of Scott Joplin, Woody Guthrie, Maybelle Carter, Harry Belafonte… or Roger Payne. Who? I came across Payne in a June obituary, reporting that he’d died at age 88 (yes, I occasionally scan the obits, not out of morbid curiosity, but because these little death notices encompass our people’s history, reconnecting us to common lives that had some small or surprisingly large impact).

Днешната музикална история е посветена на един голям хит. А зад него стои един голям музикант. Става дума за „Ring Of Fire“ на Johnny Cash от 1963 година. Кой е Johnny Cash (Джони Кеш)? Не е възможно да се опише с няколко думи. Определят го като кънтри певец, но не е само това. Определят го и като актьор, но и това е малко за него. Това е една изключително колоритна личност за своето време. Показателно за успеха му е, че съумява да продаде над деветдесет милиона свои записи в кариерата си. Даже през 1969 година, сред пика на „Бийтълс“, неговите албуми надхвърлят по продажби техните, което си е цяло чудо. „Ring Of Fire“ е написана през 1962 година от тогавашната приятелка и бъдеща, втора поред, съпруга на Джони – June Carter (Джун Картър), и от китариста и автор на песни Merle Kilgore (Мърл Килгор). Не се знае как се ражда идеята за текста, но на някои места се твърди, че Джун Картър е вдъхновена от фразата „Любовта е като горящ огнен пръстен“, която видяла подчертана в книга с поезия от елизабетинската епоха, подарена от неин чичо, който също се е занимавал с писане на песни. В кънтри музиката в много случаи има такива предшественици роднини, допринесли за насоката на музикантите. Според списание „Rolling Stone“ Джун пише песента, докато шофира в една късна нощ, мислейки за трудните си отношения с Джони, който по това време има проблеми с алкохола и наркотиците. Тя е силно обезпокоена от дивашките му маниери и че въпреки това не може да му устои. Заради същите тези проблеми само две години по-късно той причинява голям пожар, който унищожава стотици акри горски масиви в Калифорния. Тогава той едва успява да се спаси, а избягва и тежка присъда. Няколко пъти след това е арестуван и затварян за по една нощ за притежание на леки наркотици. Джони живее известно време и с друг човек, който има проблеми с дрогата - кънтри музикантът Waylon Jennings (Уейлън Дженингс). В предишен епизод разказахме за него и как той предрича катастрофата на самолета, причинила смъртта на Buddy Holly (Бъди Холи) и други музиканти. Джун казва на Джони, че ще се ожени за него, ако той се изчисти от всякакви наркотици. Джони временно ги спира и те се венчават, след като той й предлага брак на свой концерт в Онтарио. Но после пак се връща към тях. Джони многократно опитва да откаже наркотиците, но все не се получава. Джун е до него и му помага, придружавайки го в няколко клиники за наркозависими. От нея той има единствения си син, Джон Картър Кеш, който обаче също става клиент на тези лечебни заведения. За пръв път „Ring Of Fire“ е изпълнена през 1962 година от Anita Carter (Анита Картър), която е сестра на Джун. Първото й заглавие е „Love's Ring Of Fire“ и тя е включена в нейния албум „Folk Songs Old And New“, издаден от „Mercury Records“. Джони, който по онова време е гадже на Джун, чува песента. Дни след това той сънува, че в нея има звук от характерните за мариачи стила мексикански тромпети. Така в главата му се ражда идеята за неговата версия. Само година по-рано мексиканската музика и конкретния инструмент, който Джони си е представял, се чува в доста често пусканата по радиостанциите „The Lonely Bull“ на Herb Alpert (Хърб Алпърт). Кеш си казва, че ще изчака шест месеца, за да види дали „Love's Ring Of Fire“ ще стане хит, и ако не стане, той ще я направи за себе си. Тя наистина няма успех и Джони се захваща с нея. За пръв път в своята музика Кеш ще добави тромпети. Това толкова му се харесва, че той го повтаря и в един от следващите си хитове „It Ain't Me, Babe“ от 1964 година. Беквокали на Джони в „Ring Of Fire“ са сестрите Джун и Анита, а също и тяхната майка и популярна кънтри певица Maybelle Carter (Мейбъл Картър). Кеш не запазва съвсем текста на Анита, а поразмества строфите в него.

Six String Hayride Episode 8. Discussion of the most influential women in Country Music. Sara and Maybelle Carter, June, Helen, and Anita Carter. Patsy Montana and Patsy Cline. Loretta Lynn, Dolly Parton, Tammy Wynette, and Emmylou Harris. How these women changed music and the way the music business treats women artists.https://www.patreon.com/user?u=81625843

John Mceuen is a founding member of the seminal group Nitty Gritty Dirt Band. The group recorded an album 50 years ago called “Will The Circle Be Unbroken” that brought together some of the most iconic roots musicians of its day. Maybelle Carter, Doc Watson, Merle Tracis, Roy Acuff, just to name a few. John recently released a book memorializing this record with many pictures and stories of the recording process. I had a change to chat with him about this amazing book, as well as what it was like to record with these legendary musicians. I hope you dig it!

Pam Setser grew up singing in a family band, for 16 years, getting to meet icons like Doc Watson and Maybelle Carter. As a young adult she took on family responsibilities, but in recent years has returned to the music. She joins me on this edition of Americana Music Profiles to explore her musical journey and latest recorded project. 

Author and journalist Tim Falconer loves music with a passion, especially the sound of the human voice, breaking into song. However, Tim is tone deaf, a condition formally known as "amusic". His 2016 book Bad Singer  candidly reveals the bold and emotional journey he took to uncover his amusic diagnosis. In this episode, Tim shares personal stories about his relationship to music, why the idea of singing in public is terrifying (and how he did it anyway), and how music will always be essential to his existence. Music in this episode:"Weakness is Strength" (Communism)"What Light" (Wilco)"String of Lights" (The Real Shade)"Path of Least Resistance" (The Violet Archers)"Wildwood Flower" (Performed by Maybelle Carter)"Kid Thomas Boogie Woogie" - (performed by The Happy Pals New Orleans Party Orchestra)"Silver and Gold" (performed by Joe Strummer and the Mescaleros) Linkstimfalconer.comBad Singer (book) Tim on SpotifyMicah Barnes - Singers PlaygroundCBC Ideas - The Ballad of Tin EarsMusic Buddy would like to acknowledge Wayne Messmer, the National Anthem soloist with the Chicago Blackhawks at Chicago Stadium for 13 seasons in the NHL. In 1994, Wayne survived a gunshot attack that left his life and voice in peril.  Messmer's spirit, courage, and conviction enabled him to sing again.  The theme song "Human Stuff" is written by Jane Gowan and Tim Vesely, and performed by Jane and Tim, with additional vocals by Steve Wright and Connie Kostiuk.Support the showA Morning Run Productions ProjectMusic Buddy is nomated for a 2023 Canadian Podcast Award for "Outstanding Music Series", and "Outstanding Main Title Theme Music for a Series". Many thanks to the Canadian Podcast Awards, and congratulations to all the Nominees! You can see the full list of Nominees at canpodawards.ca Jane Gowan (host, producer, editor) Tim Vesely (co-producer/co-host) The show's theme song, "Human Stuff," is written by Jane Gowan and Tim Vesely, and performed by Jane and Tim, with additional vocals by Steve Wright and Connie KostiukEmail: jane@musicbuddy.caInstagram: @musicbuddypodcastFacebook: @musicbuddypodcastTwitter: @janegowanTikTok: @musicbuddypod

Bruce. A selection of new releases from Canada and elswhere. Music from the Balkans. Happy Birthday to Martha Wainwright, Maybelle Carter and Tom Phillips. And more.Playlist: Martha Wainwright - See Emily PlayRaine Hamilton - Mountain HengePelkka Poutanen - Mita Tuolta Kauka NakkyFanfare Ciocarlia - Hora evreiascaGraiu - Nu na dzatz patriotzi (Don't call us patriots)Old Man Luedecke - InchwormDom Flemons - Texas Easy StreetCarolina Chocolate Drops - Sourwood MountainThe Carter Family - Who's That Knocking At My Window?Perija - Visoko letaj, nadolu gledaj (Fly High, Look Down)The Dead South - Will The Circle Be UnbrokenJC Campbell - Stapleton SongShaela Miller - Poor ManTom Phillips and the Men of Constant Sorrow - Hard Part Of TownShkodra Elektronike - Ku e gjeta vedin (Where I Found Myself)Park Jiha - "A Day In ...'

Daniël Lohues koos voor zijn tweede lijstje zes nummers die hem diep beïnvloed of geraakt hebben en al jaren met hem meegaan. Als eerste een field recording van bijna honderd jaar oud, The Carter Family met Wildwood Flower. Maybelle Carter was een revolutionair gitariste, en bovendien hoort Daniël het platteland in hun muziek.The Carter Family - Wildwood Flowerhttps://open.spotify.com/track/0t9lVuPC8DWxtFywHffDs6?si=c418872e736642f2Het tweede lijstje van Lohueshttps://open.spotify.com/playlist/5FC2cxDQHQRyuyzIMdrC1H?si=0343e5b19e4c4dc1 Hosted on Acast. See acast.com/privacy for more information.

Nashville is a town filled with great singers and great songwriters, and certain rare artists are endowed with exemplary gifts in both endeavors. Leeann Skoda is just that kind of artist, and although she's from Arizona and currently calls Los Angeles home, she chose Nashville as the setting to record her new EP, Lucky Penny. While it's true that Skoda cut her teeth singing choral music and the kinds of country standards that comprise the foundation of every storied building on Music Row, her musical evolution on Lucky Penny reveals that her palette is infinitely more varied than yet another cookie cutter country singer in a sequined shirt. Sure, she can pull off a convincing Emmylou, Maybelle Carter, or Sheryl Crow - and she's been doing so for years both with her own songs as well as a hired gun session singer - but the adventurous soundscapes of her new direction are more indicative of a Fumbling Towards Ecstasy-era Sarah McLachlan or even Radiohead's pioneering The Bends or OK Computer albums. The five gems on Lucky Penny were written during an especially inspired artistic period fomented by a month-long songwriting challenge with a friend, and the self-imposed ambitious parameters of turning out new songs day by day paid off in spades. Skoda makes both the writing and the singing sound easy, but they most certainly are not. Making rare gifts sound easy is the hallmark of a true artist. 

Welcome to the 24th edition of the County Sales Radio Hour with our host Kinney Rorrer. On this show, we will be featuring new releases and classic recordings of the finest bluegrass and old time music. Recent releases from High Fidelity, Band of Ruhks, Appalachian Road Show, Donna Ulisse, Merle Monroe, Tony & Heather Mabe, and the Twin Creeks Stringband. Plus more great music from Doc Watson, Maybelle Carter, Larry Sparks, the Stanley Brothers, Bill Clifton, James Alan Shelton, the Seldom Scene, and more! Recordings featured on this program are available for purchase through the County Sales website and the County Sales store located in downtown Floyd, VA. You can also hear the County Sales Radio Hour at Radio Bristol every Monday at 12:00 pm and again on Saturdays at 3:00 pm.

In which Jack learns about Mother Maybelle Carter's contributions to American music history and compares her to David Bowie. Also, Durham trio Julia Reeves, Dan Clouse, and Matt Stutzman cover the Carter Family's "Wildwood Flower" for us all to enjoy. Watch a video of their recording session here: https://www.youtube.com/watch?v=Ah35LdBQOjo Support Women in Music: Country Soul Songbook Connect with Jack: wildwoodflowerpod@gmail.com Instagram @wildwoodflowerpod Support Jack www.venmo.com/u/Jack-Peterson-110 References Bufwack, M. A., & Oermann, R. K. (1993). Finding her voice: The saga of women in country music. Crown. Carter, Maybelle (April 24, 1963). Interview Gleason, H. (Ed.). (2017). Woman Walk the Line: How the Women in Country Music Changed Our Lives. University of Texas Press. Kahn, E. & Seeger, M. (1963). Interview with Sara and Maybelle Carter. Mazor, B. (2014). Ralph Peer and the Making of Popular Roots Music. Chicago Review Press. Pecknold, D. (Ed.). (2013). Hidden in the mix: the African American presence in country music. Duke University Press. Wolfe, C. K., & Olson, T. (Eds.). (2005). The Bristol sessions: writings about the big bang of country music (Vol. 12). McFarland. Zwonitzer, M., & Hirshberg, C. (2014). Will You Miss Me When I'm Gone?: The Carter Family and Their Legacy in American Music. Simon and Schuster. Songs: Lesley Riddle - The Cannon Ball Ernest Phipps & His Holiness Singers - If the Light has Gone out in Your Soul The Carter Family - Storms are on the Ocean The Carter Family - Wildwood Flower The Carter Family - Keep on the Sunny Side The Carter Family - John Hardy The Carter Family - River of Jordan The Carter Family - Sweet Fern The Carter Family - Worried Blues The Carter Family - Hello Stranger The Carter Family - Coal Miner's Blues The Carter Sisters - Columbus Stockade Blues The Carter Family - Lonesome Homesick Blues Julia Reeves, Dan Clause, & Matt Stutzman - Wildwood Flower

Jack learns about the life of Sara Carter of the Carter Family through the year 1941. Also, Momma Molasses covers Single Girl, Married Girl! Support Momma Molasses Hear more great Momma Molasses Music and keep in touch through: Instagram: @mommamolasses https://www.facebook.com/mommamolasses www.mommamolasses.org Support Women in Music: Country Soul Songbook Connect with Jack: wildwoodflowerpod@gmail.com Instagram @wildwoodflowerpod Support Jack www.venmo.com/u/Jack-Peterson-110 References Bufwack, M. A., & Oermann, R. K. (1993). Finding her voice: The saga of women in country music. Crown. The Encyclopedia of Country Music : The Ultimate Guide to the Music, Oxford University Press John Cohen (Producer), & Cohen, J. (Director). (1981). Sara and Maybelle: of the Original Carter Family. [Video/DVD] Berkeley Media. Kahn, E. & Seeger, M. (1963). Interview with Sara and Maybelle Carter. Mazor, B. (2014). Ralph Peer and the Making of Popular Roots Music. Chicago Review Press. Wolfe, C. K., & Olson, T. (Eds.). (2005). The Bristol sessions: writings about the big bang of country music (Vol. 12). McFarland. Young, H. (1973). Interview with Sara Carter. Zwonitzer, M., & Hirshberg, C. (2014). Will You Miss Me When I'm Gone?: The Carter Family and Their Legacy in American Music. Simon and Schuster. Songs: The Carter Family - Engine 143 The Carter Family - Bury Me Under the Weeping Willow The Carter Family - Single Girl, Married Girl The Carter Family - Cannonball Blues The Carter Family - The Storms are on the Ocean The Carter Family - God Gave Noah the Rainbow Sign The Carter Family - Hold Fast to the Right The Carter Family - The Sun of the Soul The Carter Family - Dying Soldier The Carter Family - Lonesome Pine Special The Carter Family - Gold Watch and Chain The Carter Family - Are you Tired of Me My Darling? The Carter Family - I'm Working on a Building The Carter Family - No Hiding Place Down Here The Carter Family - Can the Circle Be Unbroken? The Carter Family - No Depression in Heaven The Carter Family - I'm Thinking Tonight of my Blue Eyes

Collegamento telefonico con Sergio Chiari da Disconutshot Oggi è il compleanno di Bon Box, Sid Vicious, Donovan, Arthur Alexander e Maybelle Carter.

For this week’s program we’ll feature the new recordings Old-Time Sweethearts Volume 1 & 2 on the Dittyville label. These recordings offer some great old-time duets from Erynn Marshall & Carl Jones, Judy Hyman & Jeff Claus, Jesse Milnes & Emily Miller, Audrey & Bruce Molsky and others. We'll also scatter recordings by The Blue Sky Boys, Robin & Linda Williams, Ken & Brad Kolodner and many more. Join us for some great old-time music … this week on The Sing Out! Radio Magazine. Episode #21-17: Old-Time Duets Host: Tom Druckenmiller Artist/”Song”/CD/Label Pete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / SmithsonianFolkways Jess McIntosh & Aaron Smith / “Shakin' Down the Acorns” / Jess McIntosh & Aaron Smith / Self-produced Carl Jones & Erynn Marshall / “I Need You” / Old-Time Sweethearts Vol. 1 / Dittyville Ken & Brad Kolodner / “Wild Bill Jones” / Stony Run / Fenchurch The Blue Sky Boys / “Katy Dear” / Are You From Dixie / RCA-BMG Tyler Grant & Robin Kessinger / “Flop Eared Mule” / Kanawha County Flatpicking / Grant Central Robin & Linda Williams / “High Atmosphere” / Sugar for Sugar / Sugar Hill Jesse Milnes & Emily Miller / “West Virginia Polka” / Old-Time Sweethearts Vol.2 / Dittyville Frank & Allie Lee / “You Are My Flower” / Treat a Stranger Right / Bake Tone John Hartford & Howdy Forrester / “You Ever Heard Secesh” / Home Made Sugar and a Puncheon Floor / Spring Fed John Hartford & Howdy Forrester / “Secesh” / Home Made Sugar and a Puncheon Floor / Spring Fed Jess McIntosh & Aaron Smith / “Fire on the Mountain” / Jess McIntosh & Aaron Smith / Self-Produced Ashlee Watkins & Andrew Small / “Sunny Side of Life” / Old-Time Sweethearts Vol.2 / Dittyville The Everly Brothers / “Down in the Willow Garden” / Classic Everly Brothers / Bear Family Blake & O'Brien / “Tennessee Wagoner” / Be Ready Boys / Shanachie Brother Boys / “Band Box” / Presley's Grocery / Sugar Hill Erynn Marshall, Carl Jones, Rachel Eddy & Em Hammonds / “She Was Bold and Daring” / Old-Time Sweethearts Vol.1 / Dittyville Sara & Maybelle Carter / “Lonesome Pine Special” / Sara & Maybelle Carter / Bear Family The Horsenecks / “Melvin Wine's Uncle Pen” / Started Out in Town / Old-Time Tiki Parlour Pete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / Smithsonian Folkways

We lost a great musician on Christmas Day when Tony Rice passed at the age of 69. His friend Ricky Skaggs described Tony as “the single most influential acoustic guitar player in the last 50 years.” This week’s show, we’ll pay tribute by sharing some great recordings featuring Tony, as well as some selections from players who were inspired by him. We'll hear Bryan Sutton, Molly Tuttle and David Grier … and we’ll also hear some players who inspired Tony, including Doc Watson, Clarence White and Maybelle Carter. Farewell to Tony Rice … this week on the Sing Out! Radio Magazine. Episode #21-04: Tony Rice, RIP Host: Tom Druckenmiller Artist/”Song”/CD/Label Pete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / Smithsonian Folkways The Bluegrass Album Band / “Foggy Mountain Rock” / Sweet Sunny South / Rounder The Tony Rice Unit / “Jerusalem Ridge” / Unit of Measure / Rounder Tony Rice / “Go My Way” / Sings Gordon Lightfoot / Rounder The Tony Rice Unit / “My Favorite Things” / Backwaters / Rounder The Kentucky Colonels / “Beaumont Rag” / Long Journey Home / Vanguard The Kentucky Colonels / “Nine Pound Hammer” / Appalachian Swing / EMI Clarence White / “Alabama Jubilee” / Flatpick / Sierra Doc & Merle Watson / “Texas Gales” / Ballads from Deep Gap / Vanguard Doc Watson / “Black Mountain Rag” / Live at Club 47 / Yep Roc David Grisman / “Minor Swing” / Hot Dawg / A+M Norman Blake / “The Old Brown Case” / The Fields of November / Flying Fish Maybelle Carter / “Wildwood Flower” / Wildwood Pickin' / Vanguard Mark O'Connor / “Dixie Breakdown” / Retrospective / Rounder Molly Tuttle / “Take the Journey” / When You're Ready / Compass David Grier / “Billy in the Lowground” / Ways of the World / Dreadnaught Bryan Sutton / “Ragtime Annie” / Not Too Far From the Tree / Sugar Hill Pete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / Smithsonian Folkways

Flint radio broadcaster David O. Norris shares memories of a career in public and country radio broadcasting. He shares how Flint came to proclaim itself as the "Country Music Capitol of the North". He shares highlights of his decades long association with Maybelle Carter and the Carter family. He tells a great story about Johnny Cash and the Carter Family performing at the IMA Auditorium in Flint. During the performance an irate fan jumped on stage and attempted to fight with Johnny Cash. That incident with the fan, in which Maybelle Carter was a witness and David Norris was the program announcer resulted in a lifetime friendship with David and Maybelle. Enjoy the podcast! If you would like to listen to this podcast or others, watch videos or read articles from the Radio Free Flint website please visit: https://www.radiofreeflint.media --- Send in a voice message: https://anchor.fm/radiofreeflint/message

John McEuen was founding member of the Nitty Gritty Dirt band in the mid 1960s. Since then he has a led a musical career that is nothing short of amazing. He recorded with legendary musicians like Earl Scruggs, Doc Watson, and Maybelle Carter. He became lifelong friends with legendary comedian Steve Martin, and toured the world with the Nitty Gritty Dirt Band. Most recently he has released a number of books. Early next year he has a book coming out that details his bands trip to the Soviet Union in the late 1970s. He also has an audiobook coming out that offers more details and insight into his work "Life I've Picked." He's led an incredible career and it was super fun to chat with him about it. Enjoy! 

On this week’s show, we offer selections from some of the best flatpicking instrumentalists (with one ringer) in acoustic music. We'll hear guitar artistry from Norman Blake, Maybelle Carter, Matt Flinner, Beppe Gambetta, Wayne Henderson, Alison Brown and many more. Plectrum on the six-string … this week on The Sing Out! Radio Magazine. Episode #20-33: Flatpick Central Host: Tom Druckenmiller Artist/”Song”/CD/Label Pete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / Smithsonian Folkways Norman Blake & Rich O'Brien / “Tennessee Wagoner” / Be Ready Bos / Shanachie The Carter Family / “You Are My Flower” / Country Music Hall of Fame Series / MCA Don Reno & Red Smiley / “Under the Double Eagle” / Strictly Instrumental / Rural Rhythm Wayne Henderson / “Snowflake Reel” / Rugby Guitar / Flying Fish Tyler Grant & Robin Kessinger / “Garfield's March” / Kanawha County Flatpicking / Grant Central Alison Brown / “One Morning in May” / Stolen Moments / Compass Beppe Gambetta / “Hide and Seek” / Where the Wind Blows-Dove Tia O Vento / Borealis Molly Tuttle / “Sit Back and Watch It Roll” / When You're Ready / Compass Norman Blake & Rich O'Brien / “Flop Eared Mule” / Be Ready Boys / Shanachie The Andrew Collins Trio / “Cello Song” / Tongue & Groove / Self Produced Matt Flinner Trio / “Head-Smashed-In Buffalo Jump” /Traveling Roots / Compass The Harmonic Tone Revealers / “Half Past Four” / The Harmonic Tone Revealers / Corvus The Kentucky Colonels / “Lonesome Road Blues” / Long Journey Home / Vanguard The Kentucky Colonels / “Beaumont Rag” / Long Journey Home / Vanguard Russ Barenberg / “Little Monk” / When at Last / Compass Pete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / Smithsonian Folkways

Are you ready to learn some guitar history AND learn 5 awesome picking patterns? I'm covering these 5 picking patterns because they essentially transformed how we listen and play to the acoustic guitar. In this video, I'll introduce each picking pattern and explain it's origins. From there, you'll get an awesome example of what the picking pattern sounds like and who has continued to use and innovate on the original pattern. Also in this video, I'm featuring Halland Guitars in Livingston, Montana. This is an excellent builder who is making some seriously crafted acoustic guitars. Last but not least, I want to feature an Acoustic Tuesday viewer who is combining the spirit of heavy metal music with the sound of acoustic guitar. So, without further ado, let's dive right into the 5 picking patterns that changed acoustic guitar forever! Picking Pattern #5: The Carter Scratch While the Carter scratch is typically associated with Maybelle Carter of the Carter Family, it actually originated with Lesley Riddle. Using the thumb to predominantly play melodies, the Carter scratch was revolutionary in its day. Instead of being primarily a rhythm instrument, the Carter scratch allowed the guitar in folk and country music to become a melody instrument. Other names for the Carter scratch include the 'thumb brush' technique, the 'Carter lick,' and also the 'church lick.' Picking Pattern #4: Travis Picking Stemming from the Carteeer scratch, Travis picking gets its name from Merle Travis. You see, Merle Travis used an alternating thumb technique to drive the bass while the rest of his picking hand played a syncopated melody gets played on the higher strings. What's interesting is that Travis didn't necessarily invent Travis picking as we know it today. He often referred to his style of playing as "thumb picking", possibly because the only pick he used when playing was a banjo thumb pick, or "Muhlenberg picking", after his native Muhlenberg County, Kentucky, where he learned this approach to playing from Mose Rager and Ike Everly. Picking Pattern #3: Flatpicking So, this specific conversation revolves around not just using a pick but using a pick to play fiddle tunes on guitar. While we can't tie this style of playing to one specific player, some of the early adopters of this flatpicking style include George Shuffler, Alton Delmore, Johnny Bond, Don Reno, and Bill Napier. Prior to these players, the lead guitar was sparsely used — when it was used, it was a novelty instead of being the norm that it is today. From these early players, we have artists like Riley Puckett, Clarence White, Doc Watson, Tony Rice, and so many others who made bluegrass and country guitar the huge success that it is today. Those artists have now handed the torch to younger artists like Billy Strings and Molly Tuttle. Picking Pattern #2: Crosspicking Think of crosspicking as combining the momentum of the banjo with the melodic qualities of flatpicking. It has a harp-like texture that can be simultaneously delicate and powerful. George Shuffler is credited with creating the crosspicking technique as a way to "fill-in" sound while playing with the Stanley Brothers. Because he was playing in the "lean" years of bluegrass, the touring groups didn't use large bands with mandolin, banjo, drums, or bass. As a result, George created a unique style to cover the Stanley Brothers in between vocal phrases. Picking Pattern #1: Percussive Fingerstyle While simultaneously an approach to guitar and a picking pattern, percussive fingerstyle really changed the way acoustic guitarists approach the instrument. Moving beyond the traditional restrictions of just playing fretting and plucking the strings, percussive fingerstyle utilizes the body of the guitar, harmonics, alternate tunings, tapping, and more to create a wide range of tones, sounds, and textures. We can trace a lot of percussive fingerstyle techniques back to Michael Hedges who really revolutionized this style. ★ Request your invite to Tony's Acoustic Challenge today: https://tonypolecastro.com/al-request-invite/?ref=INVITE&src=AL ★ All show notes and links: https://acousticlife.tv/at147/ ★ Get the show: https://tonypolecastro.com/get-acoustic-tuesday

This week Aaron and Brent pick cover songs that sound nothing like the originals. Bands include the Ramones, Pearl Jam, Maybelle Carter, Ruston Kelly, Leonard Cohen, Concrete Blond, Bruce Hornsby, Ricky Scaggs, Sir Mix-A-Lot, Jonathon Coulton, Whitney Houston, and Bootstraps. Episode Playlists:https://open.spotify.com/playlist/4xRvVGRvYZxtpRMh6nyQDe?si=0XcolYzJTaeqk9DR-XPGbw (Spotify) https://music.apple.com/us/playlist/crossing-the-streams-volume-3/pl.u-V9D7m8GuqV8B36 (Apple Music) Mentions from the show:(40:15) https://vimeo.com/25007470 (Bruce Hornsby improvising The Valley Road at Bonnaroo 2011) Visit us at www.crossingthestreamspodcast.com This podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy

Beth is an independent producer, director and writer, whose fervor for American history, music and culture has led to a series of award-winning and critically acclaimed films. In fact a few weeks after we recorded this interview, Beth won an Emmy for her film Fort Vancouver that she made for Oregon Public Broadcasting. Her latest project, her first scripted web series, called The Musicianer tells the tale of Yodelin' Vern Lockhart — a hillbilly singer with a problem. Read more about Beth. Read more about The Passionistas Project.   Listen to these BONUS CLIPS from Beth's interview: BONUS: Beth Harrington on her definition of success BONUS: Beth Harrington on her biggest professional challenge BONUS: Beth Harrington on her plans for The Musicianer BONUS: Beth Harrington on singing with Jonathan Richman and the Modern Lovers BONUS: Beth Harrington on her most courageous decision BONUS: Beth Harrington on opportunities for female filmmakers at festivals and markets BONUS: Beth Harrington on her mantra BONUS: Beth Harrington on her advice to an aspiring female filmmaker BONUS: Beth Harrington on her mentors BONUS: Beth Harrington on her pop culture icon FULL TRANSCRIPT Passionistas: Hi and welcome to the Passionistas Project Podcast. We're Amy and Nancy Harrington. Today we're talking to a very special guest, our sister Beth Harrington. Beth is an independent producer, writer, and director whose fervor for American history, music, and culture has led to a series of award winning and critically acclaimed films. In fact, a few weeks after we recorded this interview, she won an Emmy for a film she made for Oregon Public Broadcasting about Fort Vancouver. Her latest project, a scripted web series called "The Musicianer," or tells the tale of yodelin' Verne Lockhart, a hillbilly singer with a problem. So please welcome to the show, Beth Harrington. Beth what's the one thing you're most passionate about? Beth: I mean, the obvious answer is filmmaking. With the close second being music. Those things are just so intertwined for me, more, especially more and more lately, that's all I really want to do and talk about and think about. But in of course in that is storytelling. You know, I love a good story and I love telling those stories. And lately I've just been feeling like a lot of it's about just being as creative as you can be for as much of the day as you can be creative. And I have some inspiration for that lately from people I've been working with and it's like, oh yeah, let's just be creative all day long. Let's cut out things out of construction paper and make little things out of clay. So I don't know, that's, I've been really excited about just being creative more and more. Passionistas: So how does that translate into what you do for a living? Beth: For a living large, actually I work for public television and I've been making films for Oregon Public Broadcasting in the northwest and before that in Boston at WGBH for a number of years. And that's been my sort of bread and butter. But what's great about that is I'm still filmmaking and it's never a thing that I feel anything but great about, you know, I, I love working in public television. That's been great. So there's that. But on my, as far as my own stuff goes, that preoccupies even more of my brain. And I've just always, I'm just kind of always thinking about that stuff. And I'm, I've been lately, you know, the last few years I've been trying to figure out how I can make music and film be so much a part of what I do, that I will live out my days doing those things. I think I spend every part of everyday thinking about how to advance the film and music related film stuff that I do, um, in whatever shape or form I can do that. And sometimes, unfortunately that takes the form of just doing boring things like applying for grants. And some of it is really fun. I just came back from a month where a big part of the month I was just away shooting stuff. And then last night I got home from a few days of premiering that new pilot for my, my film project, "The Musicianer" in Canada to the audience that loves this, the star of it the most. Um, those are the things that I want my day to be full of and I'm working actively working to fill my day with those things. Passionistas: Tell us a little bit about your path to becoming a documentary filmmaker. Beth: I guess I should preface all this by saying that when I went to college and there weren't a lot of people actually making documentaries, and there certainly weren't that many women making documentaries, largely because independent film where a lot of documentary resides just didn't exist the way we know it now. You didn't go to college to become an independent filmmaker. I mean, you barely went to college to become a filmmaker unless you're going to UCLA or someplace like USC or someplace like that. So when I went, I was, I went with the intention of trying to tell stories in media somehow, but it hadn't fully formed as documentary. But the more I did work on the radio station and in this cable thing called Synapse, that was up in Syracuse where I went, the more I realized that the thing I most wanted to do was deal with these realities. And it was super fun to tell real stories because truth is stranger than fiction as it turns out. So when I got out of school, I wanted to keep doing that, but I had no clue how to pursue that. But fortunately for me, over time I chipped away at just working in media period. And then several years out of school I finally realized I started working with other women filmmakers through Women in Film. And that organization really helped me a lot to connect with other women and a lot of those women worked at WGBH in Boston. And then I was like, oh, that's where it's all happening. That's really where I should be focusing my energy right now. And knowing those women, I realized that a lot of them did their own projects on the side as well as doing the things for series like "Nova" and "Frontline" and those kinds of shows. So it gave me a little confidence to go out and start working on my own projects. And so my initial foray into filmmaking making documentaries was that way. And then over time I got a gig working with WGBH and that further underscored all the things I was trying to do. Passionistas: So the early films that you made on your own were inspired by the North End of Boston where you were living at the time. Tell us about what you found so inspiring about that neighborhood and what drew you to want to cover those things in film. Beth: I had moved into the North End in 1977 and it was still very much an all Italian American enclave. There are hardly any people that became known as outsiders when I moved in. So, okay. One or two outsiders is okay. So I was, I was part of the very first wave of, in truth, gentrification in the neighborhood. You know, it had been largely an immigrant neighborhood at that point for over a hundred years. So I kind of thought there were great stories there and I was interested in figuring out what they were because as you know, our family has an immigrant history in Italian history. And so I thought, oh, this would be kind of cool to explore that part of what I know about our own family, what I know about the neighborhood when I know about Italian American history. And so I started filming these religious feasts because they were so damn colorful and there were 12 of them. And so every weekend in the summertime I could go to one of these feasts. And I was like, Jesus, a crazy, they're so cool. People carry and saints and pinning money on the saint and all kinds of sausages and little neck clams and Italian memorabilia. And I just thought that was the coolest thing around. And I wanted to document that. And then it turned out to be one feast in particular that had a really cool climax, which was the angel ceremony, which was this little girl. They take a little, a little like eight-year-old girl, put her on a block and tackle pulley system and fly her out a window over the crowd. And she's dressed as an angel. And it was just nuts. And I thought, you know, this doesn't happen just anywhere in the world. And it's happening in my own backyard. I should start filming this stuff. So that was really the impetus when I saw that ceremony, and I happen to be with friends of mine who were from Spain when I saw it, and they were like, what the heck? And I said, I know, isn't that amazing? They were like, this stuff doesn't even happen in Europe anymore like this. And I said, you're right. I should be documenting it. So that was the beginning of like what ended up being three films about Italian American religious ritual and this sort of anthropological approach that I took to it. But that didn't last for very long because then I get sucked into it and became the subject of my own film. Passionistas: So that film was "The Blinking Madonna." So tell us about the genesis of that film. Beth: I had made two documentaries about this one religious society. The Fisherman's Feast is what the common name for it was, but it was about the Virgin Mary. It was about the Madonna del Soccorso. And she was Our Lady of Perpetual Help. And so I'd gone and filmed a little angel ceremony and then I went to Sicily with some of the participants and filmed the connective feast that happened there. And I kind of came home from that thinking, okay, I've done all the work I need to do on Italian American religious feasts. And this one summer I had been laid off from my job. There was no more work at the Documentary Guild. I had broken up with the guy I lived with for a really long time. So I was not only on my own for the first time, but all of a sudden all my bills had just doubled. And I had no job. And I was kind of freaking out and really, really depressed. And my friends from the feast called me and said, you come into the feast, it's next weekend. And I was like, ah, I don't think so. But they insisted and I brought my camera and I went to see them and I filmed the feast one more time with my own camera. And when they get back to their headquarters, they looked at the videotape. I just gave them the videotape and it was a videotape and they said, oh my God, there's a miracle on this tape. And the miracle that they saw was that the statue of the Virgin Mary appeared to be blinking her eyes. And they told me this on the phone and I was like, yeah, let me come down and take a look at it. And when I went down to look at it, sure enough, it looked like the statue of the Virgin Mary was blinking her eyes. And this is a plaster of Paris statue with no moving parts. I thought, you know, this doesn't happen every day. And I could explain what happened, but the neighborhood being what it was and people's devotion being what it was that even though I dutifully told them, I think it's the auto focus on the camera, they wanted to believe otherwise. And so one thing led to another, and by the two days later there were busloads of people coming into the neighborhood to view the video tape to see the statue of the Virgin Mary and ended up on the front page of the Boston Herald. On all the TV stations that night and all of a sudden this fallen away Catholic that I am. And this media person, uh, became the agent of a miracle and in the middle of a media event of her own making, albeit inadvertently, it was a crazy time. And a good friend of mine, Deborah Granik, who's a pretty well-known filmmaker now, she encouraged me to try to make a film about it. And I at first couldn't see my way through it. I couldn't, I couldn't imagine what it was. I, you know, I said, it exists already. It's the story that's on the news. And she said, no, it's about you. And I was like, really developed me. You sure? And she was like, yeah, you gotta be in this. It's about you. So with her encouragement and some real prompting, you know, she really pushed me. I started working on the film and finished it the fall and a couple of years later, and it's still my favorite film that I've ever made. That's still like, it says everything I want to say about community and my background and family and all those things. Passionistas: What's the most important thing you learned about yourself by being the subject of your own film? Beth: That you can run but you can't hide. You think you put these things in your bed, in your rear view mirror. I'm not a practicing Catholic. I'm not somebody who's, I haven't been to church routinely since I was a teenager and that even then it was largely to satisfy our mother and I kind of thought I didn't care about it, but clearly I did. If I'm making films about it, I don't know who I was kidding except myself. I was clearly exploring stuff that I thought I didn't want any part of. And so when this thing happened I was like, Huh, this is it knocking on the door. It's me going and I'm still here. You know, are you going to pay attention or not? So it's not like I had a religious conversion because of it, but it did make me realize that there were components of my upbringing and my education Catholic school that I really cherish. And there were things about it that I want no part of and we could do a whole show on that. But really that the stuff that I, I cared about that was embedded in it was very meaningful to me and made me who I am. And that's something you just, you can't get away from. It's there. Passionistas: And now with time, even though you have a technical explanation for it, do you think it was assigned that the statute blinked at you? Beth: Sure. Cause right at that time, a week prior to this or two weeks prior to this, a handsome French man moved in downstairs from me and shortly after I got my job back and I was told I was going to take this cool trip to the Philippines to do a film about volcanoes and I stopped feeling bad and obviously the sign was, I was ready to move on. I embraced the whole episode as being kind of fun and crazy. Like it was lovely. People in my community thought that I was the agent of a miracle, right? They thought I was capable of being the Saint Bernadette of the North End. And that made me feel really great. Not because I believe that, but I believed that it was so nice of them to think that of me, that that changed how I felt even I already loved the neighborhood, but I loved him even more after that. So it just kinda cracked me open or made me realize that I was already cracked open and I was ready to make the next step. So that was the sign. The sign was, you're ready, move on. And as an, as a scholar, I know my friend Bob Orci, who's an Italian American religious scholar, pointed out the Virgin Mary when she appears to people, right. And that this, the body of literature about this, when she appears to people, she doesn't appear to people who are in good shape. You'd never, you know, she appears to poor people. She pours them, appears to people in crisis. That's her M.O. And he said, Beth, you were perfect. You were such a mess. You know, this is perfect. And I was like, you're right, I was perfect. Passionistas: So then talk about getting into making your music documentaries. What inspired you to start making them? Beth: Well, I really, I really wanted to almost from-the-get-go, you know, like I especially back when I finally started working in film, I thought, God, there's so many great stories. Why isn't anybody telling them? And one of the reasons nobody was telling them was that we're an outlets for them at the time. The other reason people weren't telling those cause they're expensive to make. And I figured that out fairly, fairly fast. I had friends who were making a documentary about women in the blues and they were in rights hell for a number of years trying to pay the music for those, for that documentary. So I was aware from the beginning that it was an expensive proposition. And as a young filmmaker, I thought, well, there's no way. Back in those days there was no way I could command the kind of money as an inexperienced person. I couldn't raise that money to do the kind of film I wanted to do. So I would have to wait until I became a more experienced filmmaker. So really took me many years, both refining what I knew about just making films and then getting the confidence and the skillset to raise money. All of those things had to reach a point where I felt I was ready to do it. But you know, right around the time I moved away from Boston and moved to the Pacific northwest, I really had always wanted to do this documentary about the early rockabilly women and the rock and roll scene, the peers of Elvis's and Jerry Lee Lewis, his and Johnny caches who were women. And that story was dates back to when I was in the modern lovers. I had thought about that as a possibility in like 1979 but I didn't get to make that film until the late 1990s it was just wasn't possible, but I did get to do it and it was really, it was the right time and it went really well and the film did really well and I still feel good about it because I think I gave a window into these, the lives of these women that a lot of people would know about. If the film hadn't existed and apparently according to some of the women in the film, it boosted their careers. Most notably Wanda Jackson's. She went from being marginally known to ending up in the Rock and Roll Hall of Fame. I felt like, oh good, my work is done. I helped do that. Passionistas: And then your follow up film, "The Winding Stream" was also a very female centric topic. Talk about that film and also just why telling the story of women in music so specifically is important to you. Beth: "Winding Stream" as a follow-up to that, it really organically came out of it because a lot of the women I talked to on the rockabilly film noted that a huge influence on them in the 1950s where these women from the 1920s Maybelle and Sarah Carter who had been arguably, they're the first famous women in country music and really first famous women in American music at that time. This is at a time when radio is it coming in and the recording industry is coming in. So these people that would probably only have been regionally known are suddenly famous. Not only all over the country, but all over the world. Maybelle Carter and Sarah Carter, are two of the seminal women in American music. So I was really excited about telling that story. Sarah's husband AP was this sort of Impresario of the group, but the real musical engine of that group were the two women. And once I realized that, I was like, well, this is a no brainer. Why isn't anyone telling this story? And I also had the added impetus of knowing that Johnny Cash was a huge part of the promotion of the story because Johnny Cash married into that family. June Carter cash is the descendant of these women. And so I had made my rockabilly film, had Roseanne cash in it as a narrator. So I had this connection to Rosanne and I was about to reach out to her when she reached out to me and said, you know, you should think about making a film about the Carters. I was like, well, it's funny you should mention it. I would love to do that. So she opened the door for several of the really important interviews, most notably the interview with her father in both cases. In the case of "Welcome to the Club, the Women of Rockabilly" and in "Winding Stream," like a lot of history, it isn't that people aren't there, it's just that they're not getting singled out. There are women in all these stories. There are people of color in all these stories. They're, they're there and they're not even on the sidelines, they're there. We just kind of have this way of until very recently just focusing on the white guys. So I'm really excited that these films came out when they came out. I feel like they were in some ways a little bit ahead of their time. Then now I think it's, it's a little bit of a no brainer that we can now look back and say, Oh yeah, there are the women there. They're right there. But they weren't obvious in terms of how, how they were depicted in the media. I'm really proud of that. I'm proud to have helped contribute to some of that. Passionistas: So besides musical talent, was there a common thread that you found with the women that were featured in both of those films that sort of contributed to their success? Beth: Especially in the rockabilly film, but even to a certain extent in the Carter story, there were other strong women in the wings that made it possible. All of the rockabilly women had mothers that really wanted them to do what they were doing. Wanda's mother sewed her stage clothes. Laurie Collins, his mother couldn't have been prouder, drove them all over the place to gigs, get them on TV shows, insisted that they moved to LA so that the kids could be on TV. Janice Martin's mother pretty much almost like fell in love with Elvis during the whole process. Like took her to meet Elvis and took her to meet Chet Atkins. And then it wasn't just being stage mothers, although there was a certain amount of that. And in Brenda Lee's case, she was the support of the family. So her mother was like, you're doing this because we need the money. But they were all super proud of their daughters and they worked hard to make it happen. And even in the Carter family story at a time when women really weren't doing that, you know, they weren't out there touring, they weren't out making records. It was just a weird thing. The community around them seemed to be fine with it and they got help with their while they were away because other people, some other when women supported them. So I think that's the most striking thing that there was that support from other women. Passionistas: So you recently completed the pilot episode of your first scripted project, "The Musicianer." So what made you decide to move into a scripted format? Beth: I love documentaries, but you know, you're waiting for people to say the right thing or to say the thing that you think will help tell the story. And I thought, gee, we'll be so liberating to do something where I put words in somebody's mouth and they send them. Wouldn't that be great? And I had done, you know, little attempts at narrative stuff before, but I had never really given myself the freedom to do that. And I started to think if not now, when, and there were a bunch of other forces that came together. One was that there was all this extra information from the research I did from "Winding Stream" that never shows up in the film. It has no place to go. It's important but not relevant to the story. So I knew all this extra stuff about the recording business and the movie business and the 1920s and so I liked quote, you know, living there. And I thought that was kind of fun. And at the same time I had been going to these academic conferences and meeting all these academics that cared about all that stuff too. And I got an immersed in that world of what they talk about and the way they talk about it. And then the third big thing, and probably the most important thing was as I finished "Winding Stream," I was introduced to this musician whose name his stage name is Petunia. And Petunia is, in my opinion, one of the most exciting performers I've seen in a long time. He's just a force of nature and he's a kind of mysterious guy with a vague personal backstory. And he's somebody who I recognize had enormous charisma and I thought he'd be really great in a film. And right around the time I was sort of thinking this, he said to me, you know, if you ever needed somebody to play Jimmy Rogers in a film, I'm your guy and I thought you are. You are the guy. So I kind of tucked all that away and started thinking about it. I would see him periodically when he come through town and I kept saying, I haven't forgotten about that thing we talked about. So finally I, it all kind of came together in my head that it would be fun to do something that was vaguely supernatural that involved a story about the 1920s but also had a present storyline that involved musicologists in contemporary academia. And let me use all this extra background information that I had in a way that didn't fit into a documentary. So I wrote this thing called 'The Musicianer" and he's the star of it and he's really good. He did a really good job and it lets him use his music talents. It lets me play in the world of music still, but it also lets me make use of all this extra stuff that took me 10 years to put together Passionistas: We're Amy and Nancy Harrington. And you're listening to the Passionistas Project Podcast and our interview with Emmy-winning filmmaker, and our sister, Beth Harrington. Visit her website, BethHarrington.com to learn more about all of Beth's films and her new web series, "The Musicianer." Now here's more of our interview with Beth. As an independent producer director who's had to keep the momentum going for herself for a very long time. Do you ever feel unmotivated and if you do, how do you push past it? Beth: That I used to be more problematic than it is now cause I now I recognize that you've got to have those periods of feeling unmotivated. It's like it's like recovery. I'm pretty driven. So if I find myself in a place where I'm like I can't, I can't, I just can't. I can't even then that's me telling myself you need to take this time. You know, right after I got off the road with winding stream, I think I sat on the couch for about two or three months, pretty much didn't, you know, I, I was just, I was just done and I didn't have an idea and I didn't know what I was gonna do next. And that was really unusual. And, and it, it was a little alarming for lit a little bit. And I did wonder and gave myself time to say, are you done with filmmaking? Maybe this is the high note you go out on and it's good and it's over. But then I thought, okay, but what is it I'm going to do if I don't do that? I didn't have an answer that satisfied me cause there's nothing I like better. I've taught a little bit and I've done other kinds of writing and there's nothing that I like more than making films. And when it's going well, it's the best Gig in the world. So I allowed myself to really think about it and to feel it and to mourn it and to, and then it was like, Nah, I'm doing it again. So it's a little bit like a drug addiction. So there's that. But um, yeah, I'm happy I'm still doing it. Passionistas: What do you think is the one biggest lesson you've learned during your journey as a filmmaker that sticks with you? Beth:  I think the biggest thing that I know about anything creative is perseverance. I have come to realize it's more important than talent. It's more important than intelligence. That's who wins the game. You're, you have to persevere. And filmmaking is one of the big tests of that because there's so many parts that are hard before you get to do the fun part, that you better be willing to hang in there and the hard work because you might never get to the fun part. So I have always, you know, the Woody Allen thing showing up. You just show up and you, you do it, you do the hard work and you put one foot in front of the other. That's something I've become really good at, even when I don't even understand what the next step is all the time. It's like, well we got, I gotta take some step, I'll take this step. So I think that's the biggest lesson I've learned from filmmaking is that there is such an obvious set of hurdles. Everybody has hurdles in the work they do. But for filmmaking to even get to be creative, you have to do all this other stuff before you even get the chance to be creative. It isn't like you go out and buy a canvas and then you paint. You have to raise the money to buy the wood to put stretch the canvas on the frame. And you know, it's, he just goes on and on. Passionistas: What's been the most rewarding part of what you do? Beth: The most rewarding part of what I do is having an influence on people's understanding of our culture and history. And sometimes that's very general, like just people come up to me and saying, I never knew that. Thank you for showing me that. And often it's telling untold stories about women and people who don't get represented usually in these things. You know, I, I'm really proud of the fact that with "Winding Stream,” part of the story was the story of Leslie Riddle, who was the African American Blues Man, that AP Carter enlisted to help him collect songs in the south. And AP and Leslie were ostensibly friends, but AP Carter benefited financially from the songs that got collected. And to our knowledge, Leslie Riddle did not. He spent lots of time with the carters. Many historians and people like me, think of Leslie Riddle is very important figure in the Carter family story. Maybe arguably the fourth Carter, you know, if there's a fifth Beatle and George Martin is the fifth Beatle, then Leslie Riddle is the fourth Carter. But he's usually not acknowledged that way. So I was able to tell a little bit of his story and after the film was done, people in North Carolina where he was born, who hadn't spent much time thinking about Leslie Riddle, used some of my research to justify approaching for the fathers of a certain town and getting them to erect a memorial in honor of Leslie Riddle.That was like, my work is done. I, that was, that was such a great feeling to be able to, to have that happen. So those kinds of things make me really, really happy and they don't always happen on that scale, but they do happen in the sense that people become aware of something that they weren't aware of before and maybe see it slightly differently. I also, the fact that when I showed "Winding Stream" to audiences that were kind of demographically mixed, I'd show it in places in the south where they're on one part of the auditorium. They'd be all these kind of hipster Americana appreciators and then there'd be people who were much more conservative, had grown up with the carters almost as part of their religious beliefs. You know, Carter sang a lot of religious songs, so there were these very different camps in the same room and we would have Q and A's afterwards and people would talk about everything from, you know, was Johnny Cash saved to, you know, tell me more about this African American Blues Guy. And so to have those conversations was really, that was really gratifying. And my husband Andy, whom you know, has a phrase that he likes to use about when you get people to think about things they didn't think about or accept ideas that they might not have accepted ordinarily. And he calls it Trojan horsing. So we bring the Trojan horse in and then we climb out and we make people think about things and then we climbed back into the horse. Um, so that's Trojan horsing. Passionistas: What do you think were the lessons that Mama taught us about women's roles in society? Beth: Mama, like a lot of women of her generation. And I also will include my late mother-in-law, Marie in this, you know, you, it's the old, you can't be it if you can't see it. Right. And those women didn't have any range of opportunities. And Mama to her credit went to art school and she became an art teacher. And in conversation with her over the years, I realized there were things she probably would have loved to have done, but she was also somebody with a strong sense of duty. And she already had kids and that there was just like off her radar screen at that point. And she couldn't pursue those things to her way of thinking. And I remember many afternoons sitting with mam watching television. Watching the talk shows, watching Merv Griffin and you know, Gloria Steinem would be on, or Betty Friedan would be on, or you know, any number of radical Tom Hayden, Abbie Hoffman, all these revolutionary figures were on TV. And I sensed a tremendous ambivalence from mom. On one hand she was like, now these people are crazy. You shouldn't, don't do what they're doing, you know. But there was a piece of her that recognized that things were being, some of it was being dismantled in a good way. And I think she wanted that for all of us, that she wanted us to have opportunities that she didn't, have, you know. The fact that she always used to say she wanted to be an archeologist, she would've dug that, no pun intended. She wouldn't, you know, she would've loved that. She would've thought that was the, the greatest, you know, one day we went on a little dig together, the BU had just so she could do it. And I ended up going on a dig for a while in Spain and she thought that was great because it was something that she was so curious about. I mean, I don't mean to make it sound like I only learned stuff from her by what she didn't get to do because she also very much promoted our sense of possibility. She very much wanted us to pursue our, our ambitions and dreams, especially the creative ones. Even at the same time saying, yeah, but you have to support yourself. You have to figure out a way to support yourself. And that was really important because some parents just go no, some parents just say, you can't do that. And they mean really okay if you can support yourself. But most people just say no. Mama had the presence of mind to say, yeah, go ahead and do that. You're going to be in Jonathan Richmond and the Modern Lovers just kind of after you've just finished college? Okay. You know, she never made it seem like that was a bad idea. As long as I could justify how I was going to take care of myself. And at that point they were paying me enough so I could. And she was like, great, then have fun. She was so accepting of people too. She was so incredibly accepting in a society that wasn't that accepting. We had gay friends and friends of color and all these people come into the house over the years that I know other parents would not have been so open. And she was the one that was open. And remarkably so all of those people still comment on it today. That's an extraordinary thing for someone from her time, you know? And what she, what she couldn't do for herself in a way. Passionistas: So what's your proudest career achievement? Beth: I think still "Blinking Madonna" is my proudest career achievement because it was the first big creative risk I ever took and compounded by the fact that I was in it and it was super personal and I had to be really honest in a way that I'd been fairly guarded before that. And people really liked him for, because I was honest. So that I think was my proudest thing. I, you know, that I took a huge creative risk and I, and I sweated that I would go to bed every night going, oh, this is either the best thing I've ever done or the worst thing I've ever done and give on any given night. It could be one or the other. And I was like, oh. And a lot of people challenged me, especially then because I was a woman putting myself in the middle of my own story and making a film about it. And I had people guy say to me, what makes you think you're so special? And I, that wasn't what I was trying to do. I was saying, I don't think I'm so special. I think I have something universal to say, but boy, those kinds of remarks could've just cut me off at the knees and I didn't let it. So I think that's what I'm proud of stuff. Passionistas: What's your secret to our rewarding life? Beth: What's that line from "Spinal Tap"? "Have a good time all the time." Which is the best movie of all time. As long as I'm here talking about films. No, I mean there is something to that. There's, I, I do believe life is too short. Life is too short. And so, you know, we stayed up way too late the last few nights in British Columbia hanging around with people 20 years younger than us going to rock and roll shows four nights in a row. Yay. And um, Andy and I were both exhausted and he said, why are we doing this and this because we can because we can. And it's such, there was just such great memories. I'll sleep when I'm dead. I want to just keep doing the fun stuff. So I try not to turn down opportunities to do fun stuff. I try to be there during the sad stuff as present as I can be for the people that I love. And then the rest of the time the chips fall where they may, but I, I, I feel like I'm going to quote another musical. "We got a lot of living to do." Right? Again, this is stuff to do. So I think that's the key to a rewarding life is not until not sitting back and letting it roll over you. And I know a lot of my friends go, what the heck? And they see my posts on Facebook and like, aren't you tired? And when are you home and why don't you do this and that. And I just think at this, not enough time. Let's just keep going. You know, you can take a few days off and sleep, but go for the Gusto. Passionistas:  Thanks for listening to the Passionistas Project Podcast and our interview with Emmy-winning filmmaker, and our sister Beth Harrington. Go to PopCulturePassionistitas.com to see some family photos of us with our big sister Beth. Visit her website, BethHarrington.com to learn more about all the best films and her new web series "The Musicianer." And be sure to subscribe to the Passionistas Project Podcast so you don't miss any of our upcoming inspiring guests.  

Caryn Rose shares her contribution to the book Woman Walk the Line: How the Women in Country Music Changed Our Lives, an essay about discovering Maybelle Carter and women making space for themselves in male dominated circles. Recorded at Pete’s Candy Store in Brooklyn on December 12, 2017. Words & Guitars is hosted by Michael […]

In 1972, young country-rockers the Nitty Gritty Dirt Band released "Will the Circle Be Unbroken," a triple LP full of collaborations with country music legends like Maybelle Carter and Roy Acuff. In this episode of Tempo, the Dirt Band's Jeff Hanna discusses the landmark album.

THE CARTER FAMILY are considered the most influential group in country music history. Comprised of a gaunt, shy gospel quartet member named Alvin P. Carter and two reserved country girls -- his wife, Sara, and their sister-in-law, Maybelle -- the Carter Family sang a pure, simple harmony that influenced not only the numerous other family groups of the '30s and the '40s, but folk, bluegrass, and rock musicians like Woody Guthrie, Bill Monroe, the Kingston Trio, Doc Watson, Bob Dylan, and Emmylou Harris, to mention just a few. Among the more than 300 sides they recorded are "Worried Man Blues," "Wabash Cannonball," "Will the Circle Be Unbroken," "Wildwood Flower," and "Keep on the Sunny Side." This WoodSongs Special Event Broadcast will be celebrating the Legacy of the Carter Family. Featuring... JOHN CARTER CASH, having been involved in music all his life, is an accomplished and award winning record producer. However, his activities inthe creative world reach far beyond just music production. He is also a singer-songwriter, and author. The grandson of Maybelle Carter and the only son to John R Cash and June Carter Cash, he preserves the family legacy and is a caretaker to the heritage of his musical ancestors. DALE JETT is a native of Southwest Virginia and is a third generation member of the legendary Carter Family. The son of Janette Carter, the grandson of A.P.and Sara Carter, his roots have been heavily steeped within the heart of his family's musical heritage. Growing up within the Carter Family, Dale has been influenced by many musicians and styles of music. Dale helped emcee and the trio performed at the Carter Family Fold for many years. Their group,"Hello Stranger", features Dale as he carries on the Carter Family tradition. AL, ALICE & RUTH are a Berea-based Appalachian and bluegrass trio. They toured for years as part of the McLain Family Band, a world-renowned family bluegrass band and Kentucky musical treasure. WoodSongs Kid: Jaelee Roberts is a Tennessee girl that was born with bluegrass in her blood. She performs on WoodSongs with her dad, Danny, the mandolin player for The Grascals.

The song in this story----Wildwood Flower----is now a traditional “folk song,” but was composed as parlor music by J. P. Webster, living in Elkhorn, Wisconsin at the time, shortly before the Civil War. The original lyrics by Maud Irving were so strange that most renditions of the song make mondegreen of them. Take, for example, the first stanza. Maud wrote: I’ll twine 'mid the ringlets of my raven black hair,The lilies so pale and the roses so fair,The myrtle so bright with an emerald hue,And the pale aronatus with eyes of bright blue.But the usual version given, is that which is sung here by Maybelle Carter in 1928:Oh, I'll twine with my mingles and waving black hair,With the roses so red and the lilies so fair,And the myrtle so bright with the emerald dew,The pale and the leader and eyes look like blue.Actually, neither one makes much sense. But there is no flower called “aronatus;” what Maud meant by that is anybody’s guess.

Ballads about legendary hurricanes and storms at sea, blues tunes about rainy days, and songs of hope that sunny days are right around the corner. Music from the likes of Maybelle Carter, Lonnie Johnson, and green-earth poetry from Langston Hughes, Sarah Webster Fabio and Virginia Bennett.