Banjo Quotes

The banjo is such a happy instrument--you can't play a sad song on the banjo - it always comes out so cheerful.

A gentleman is someone who knows how to play the banjo and doesn't.

A sip of wine, a cigarette, And then it’s time to go. I tidied up the kitchenette; I tuned the old banjo. I’m wanted at the traffic-jam. They’re saving me a seat.

But when I make a good [taxidermy] mount I feel like I beat God in a small way. As though the Almighty said, Let such critter be dead, and I said, 'Fuck You, he can still play the banjo.

What I'm worrying about is what Tom is going to say when he starts talking." "Uncle Tom?" "I wish there was something else you could call him except 'Uncle Tom,' " Aunt Dahlia said a little testily. "Every time you do it, I expect to see him turn black and start playing the banjo.

She dumped me for the quarterback after she'd played my body like a banjo. So Sad." "I bet" "I'm serious. I was heartbroken." "For how long?" "A whole week." An eternity in the life of a teenage boy.

I feel sorry for little babies... When a little baby is born into this cold world, he's confused! He's frightened! He needs something to cheer him up... The way I see it, as soon as a baby is born, he should be issued a banjo!

This banjo surrounds hate and forces it to surrender.

What kind of freaks are they? Katelyn thought as they continued to circle her. Is this some result of banjo inbreeding?

To claim that music is more important than oxygen would be trite and sentimental. It would also be true.

I never knew you played the banjo!" cried Harris and I, in one breath. "Not exactly," replied George: "but it's very easy, they tell me; and I've got the instruction book!" From Three Men in a Boat

when the cities are gone and all the ruckus has died away. when sunflowers push up through the concrete and asphalt of the forgotten interstate freeways. when the Kremlin & the Pentagon are turned into nursing homes for generals, presidents, & other such shit heads. when the glass-aluminum sky scraper tombs of Phoenix, AZ barely show above the sand dunes. why then, by God, maybe free men & wild women on horses can roam the sagebrush canyonlands in freedom...and dance all night to the music of fiddles! banjos! steel guitars! by the light of a reborn moon!

When you want genuine music -- music that will come right home to you like a bad quarter, suffuse your system like strychnine whisky, go right through you like Brandreth's pills, ramify your whole constitution like the measles, and break out on your hide like the pin-feather pimples on a picked goose, -- when you want all this, just smash your piano, and invoke the glory-beaming banjo!

There are moments in every relationship that define when two people start to fall in love. A first glance A first smile A first kiss A first fall… (I remove the Darth Vader house shoes from my satchel and look down at them.) You were wearing these during one of those moments. One of the moments I first started to fall in love with you. The way you gave me butterflies that morning Had absolutely nothing to do with anyone else, and everything to do with you. I was falling in love with you that morning because of you. (I take the next item out of the satchel. When I pull it out and look up, she brings her hands to her mouth in shock.) This ugly little gnome With his smug little grin… He's the reason I had an excuse to invite you into my house. Into my life. You took a lot of aggression out on him over those next few months. I would watch from my window as you would kick him over every time you walked by him. Poor little guy. You were so tenacious. That feisty, aggressive, strong-willed side of you…. The side of you that refused to take crap from this concrete gnome? The side of you that refused to take crap from me? I fell in love with that side of you because of you. (I set the gnome down on the stage and grab the CD) This is your favorite CD ‘Layken’s shit.’ Although now I know you intended for shit to be possessive, rather than descriptive. The banjo started playing through the speakers of your car and I immediately recognized my favorite band. Then when I realized it was your favorite band, too? The fact that these same lyrics inspired both of us? I fell in love with that about you. That had absolutely nothing to do with anyone else. I fell in love with that about you because of you. (I take a slip of paper out of the satchel and hold it up. When I look at her, I see Eddie slide her a napkin. I can’t tell from up here, but that can only mean she’s crying.) This is a receipt I kept. Only because the item I purchased that night was on the verge of ridiculous. Chocolate milk on the rocks? Who orders that? You were different, and you didn’t care. You were being you. A piece of me fell in love with you at that moment, because of you. This? (I hold up another sheet of paper.) This I didn’t really like so much. It’s the poem you wrote about me. The one you titled 'mean?' I don’t think I ever told you… but you made a zero. And then I kept it to remind myself of all the things I never want to be to you. (I pull her shirt from my bag. When I hold it into the light, I sigh into the microphone.) This is that ugly shirt you wear. It doesn’t really have anything to do with why I fell in love with you. I just saw it at your house and thought I’d steal it.

don't feel sorry for me. I am a competent, satisfied human being. be sorry for the others who fidget complain who constantly rearrange their lives like furniture. juggling mates and attitudes their confusion is constant and it will touch whoever they deal with. beware of them: one of their key words is "love." and beware those who only take instructions from their God for they have failed completely to live their own lives. don't feel sorry for me because I am alone for even at the most terrible moments humor is my companion. I am a dog walking backwards I am a broken banjo I am a telephone wire strung up in Toledo, Ohio I am a man eating a meal this night in the month of September. put your sympathy aside. they say water held up Christ: to come through you better be nearly as lucky.

Tacos are like what the voices of a hundred angels singing Bob Dylan while sitting on rainbows and playing banjos would taste like if that sound were edible.

A banjo will get you through times of no money, but money won't get you through times of no banjo

You get to tour some of the historic homes and listen to ghost stories." "This is what people do in small towns?" "We could either do that or go sit on my porch, chew some tobacco, and play banjos.

Tell me this, pal, why isn't everybody sitting on a fence in the moonlight playing a banjo? That's all I want to know.

Strigoi are the Lost. You're the Tainted because you joined the modern world and left behind their backward ways for your own messed up customs." "Hey," I retorted. "We're not the ones with overalls and banjos." "Rose," chastised Dimitri, with a pointed look at the door. "Be careful. And besides, we only saw one person in overalls.

I wi-li-lished I li-li-lived in Molahonkey la-la-land The la-la-land where I-li-li was bo-lo-lo-lo-lo-lo-lorn So I-li-li could play-la-lay my o-lo-lold banjo-lo-lo My o-lo-lold ban-jo-lo-lo won’t go-lo-lo-lo-lo-lo-lo.

Call themselves?" asked Yama. "You are wrong, Sam, Godhood is more than a name. It is a condition of being. One does not achieve it merely by being immortal, for even the lowliest laborer in the fields may achieve continuity of existence. Is it then the conditioning of an Aspect? No. Any competent hypnotist can play games with the self-image. Is it the raising up of an Attribute? Of course not. I can design machines more powerful and more accurate than any faculty a man may cultivate. Being a god is the quality of being able to be yourself to such an extent that your passions correspond with the forces of the universe, so that those who look upon you know this without hearing your name spoken. Some ancient poet said that the world is full of echoes and correspondences. Another wrote a long poem of an inferno, wherein each man suffered a torture which coincided in nature with those forces which had ruled his life. Being a god is being able to recognize within one's self these things that are important, and then to strike the single note that brings them into alignment with everything else that exists. Then, beyond morals or logic or esthetics, one is wind or fire, the sea, the mountains, rain, the sun or the stars, the flight of an arrow, the end of a day, the clasp of love. One rules through one's ruling passions. Those who look upon gods then say, without even knowing their names, 'He is Fire. She is Dance. He is Destruction. She is Love.' So, to reply to your statement, they do not call themselves gods. Everyone else does, though, everyone who beholds them." "So they play that on their fascist banjos, eh?" "You choose the wrong adjective." "You've already used up all the others.

Don't ask. We're all but done for in any case, taking that Fiona couldn't hit a cow's arse with a banjo, and Paddy and Maureen both cheat like tinkers at a fair." "What are you talking about? Why would anybody hit a cow with a banjo? He only smiled. "The point is, Fiona couldn't so we'll be done soon enough.

and floating in the Sound was a triangle of silver scales, trembling a little to the stiff, tinny drip of the banjoes on the lawn.

Buck had lobbied for a banjo player but Lane said they cost too much, which made no fucking sense to Buck because a banjo’s got fewer strings than a damn guitar.

Give me a cuckoo clock and a Sep Winner's Self-Instructor for the Banjo, and I'll join you.

Bluegrass lyrics are almost always about death, loss, and unrequited love, but the music – the noise we make with out banjos and our fiddles – is joyful. The dead are always with us, even after their ghosts move on, but it's the life pulsing through our veins that makes the music.

I live on an island called Ireland where most of the music is shite. I grew up listening to "Danny Boy"; I grew up hating Danny Boy, and all his siblings and his granny. "The pipes, the pipes are caw-haw-hawing." Anything with pipes or fiddles or even - forgive me, Paul - banjos, I detested. Songs of loss, of love, of going across the sea; songs of defiance and rebellion - I vomited on all of them.

She dropped miserably on the first chair she came to and sat there staring through the oriel, oblivious of Good Luck's frantic purrs of joy and Banjo's savage glares of protest at her occupancy of his chair.

That sounds self-indulgent and gratifying without vulgar ostentation,” says I; “and I don’t see how money could be better invested. Give me a cuckoo clock and a Sep Winner’s Self-Instructor for the Banjo, and I’ll join you.

When the cities are gone, he thought, and all the ruckus has died away, when sunflowers push up through the concrete and asphalt of the forgotten interstate freeways, when the Kremlin and the Pentagon are turned into nursing homes for generals, presidents and other such shitheads, when the glass-aluminum skyscraper tombs of Phoenix Arizona barely show above the sand dunes, why then, why then, why then by God maybe free men and wild women on horses, free women and wild men, can roam the sagebrush canyonlands in freedom—goddammit!—herding the feral cattle into box canyons, and gorge on bloody meat and bleeding fucking internal organs, and dance all night to the music of fiddles! banjos! steel guitars! by the light of a reborn moon!—by God, yes! Until, he reflected soberly, and bitterly, and sadly, until the next age of ice and iron comes down, and the engineers and the farmers

George got out his banjo after supper, and wanted to play it, but Harris objected: he said he had got a headache, and did not feel strong enough to stand it.  George thought the music might do him good—said music often soothed the nerves and took away a headache; and he twanged two or three notes, just to show Harris what it was like. Harris said he would rather have the headache.

Why am I walking, where am I running What am I saying, what am I knowing On this guitar I'm playing, on this banjo I'm frailin' On this mandolin I'm strummin', in the song I'm singin' In the tune I'm hummin', in the words I'm writin' In the words that I'm thinkin' In this ocean of hours I'm all the time drinkin' Who am I helping, what am I breaking What am I giving, what am I taking

Dust off your dancing shoes, the ones with wheels attached, because I’ve got banjo sounds FOR SALE. I’ve got boxes and boxes of the stuff labeled “Sexy," and to be sure nobody steals them, they are rubber and waterproof and I store them all on the bottom of my duck pond.

How she wished she were back at home with her family, strumming her banjo on the porch while Grampa Cornpone played the fiddle. Oh, the steamy bayou nights of her youth! Ma would cook up a huge pan of Creole innards, whilst Pa sat in the corner smoking his pipe of tabaccy with the hound dogs snoozing at his feet.

He was like some prophet of old, scourging the sins of the people. He leaped about in a frenzy of inspiration till I feared he would do himself an injury. Sometimes he expressed himself in a somewhat odd manner, but every word carried conviction. He showed me New York in its true colours. He showed me the vanity and wickedness of sitting in gilded haunts of vice, eating lobster when decent people should be in bed. 'He said that the tango and the fox-trot were devices of the devil to drag people down into the Bottomless Pit. He said that there was more sin in ten minutes with a negro banjo orchestra than in all the ancient revels of Nineveh and Babylon. And when he stood on one leg and pointed right at where I was sitting and shouted "This means you!" I could have sunk through the floor.

Uncouth thoughts can come take possession of the sweetest mind. That happens to you, you got to keep yourself alone a long time to heal of it. Mostly so you don’t pass it on. Thoughts, you see, or things, or folks that touch, go right on rubbing on each other, long after the actual touching is done and gone. That’s the Law Of Contagion.” -- Banjo Bartell

Perfection can be overdone; a rift in a lute relieves melodious monotony, and when discords cease to amuse, one can always have the instrument mended or buy a banjo.

Visit an elf outpost and you practically hear the banjos in the background.

Life was going past her, down a hot shady summer road, life with gray uniforms and jingling spurs and flowered organdie dresses and banjos playing.

You could tell it was classical, because the banjo players were leaning back and chewing gum; and in New York restaurants only death or a classical speciality can stop banjoists.

they listened to Otis Taylor’s Banjo album as they made the short trip across town.

Uncle Tom’,” said Aunt Dahlia a little testily. “Every time you do it, I expect to see him turn black and start playing the banjo.

You, sir, are as twisted as a twelve-string banjo. —Willie Nelson to Sheriff Preston Bank

I tell people I was in the U.S. Army for three and a half years in WWII -- but what did I mainly do to beat the fascists? Play the banjo.

'A guitar would work.' But then again so would a flute. A horn. A banjo. A tambourine. A trombone. The drums. When you're mixing music and love, there really is no bad combination." -Elvis Ruby

Speaking more generally about what attracted him to bluegrass banjo, he said it was 'just the sound of the instrument, and then the fire, you know; the speed and all that. I was attracted by the intensity of it, really. And I was drawn to that incredible clarity-- when something is going along real fast and every note is absolutely clear. That, to me, was really amazing-- the Earl Scruggs instrumentals...' But Garcia refused to commit himself to just one style of music. Though bluegrass became his overriding obsession for about two years, he still dabbled in folk, old-timey and blues whenever the opportunity arose and there were players around.

I THINK THE REAL TRICK to finding that sense of satisfaction is to realize you don’t need much to attain it. A window-box salad garden and a banjo hanging on the back of the door can be all the freedom you need. If it isn’t everything you want for the future, let it be enough for tonight. Don’t look at your current situation as a hindrance to living the way you want, because living the way you want has nothing to do with how much land you have or how much you can afford to spend on a new house. It has to do with the way you choose to live every day and how content you are with what you have. If a few things on your plate every season come from the work of your own hands, you are creating food for your body, and that is enough. If the hat on your head was knitted with your own hands, you’re providing warmth from string and that’s enough. If you rode your bike to work, trained your dog to pack, or just baked a loaf of bread, let it be enough. Accepting where you are today, and working toward what’s ahead, is the best you can do. You can take the projects in this book as far as your chosen road will take you. Maybe your gardens and coops will outgrow mine, and before you know it you’ll be trading in your Audi for a pickup. But the starting point is to take control of what you can and smile with how things are. Find your own happiness and dance with it.

The boy I love, the same becomes a man not through derived power but in his own right, Wicked, rather than virtuous out of conformity or fear, Fond of his sweetheart, relishing well his steak, Unrequited love or a slight cutting him worse than a wound cuts, First rate to ride, to fight, to hit the bull's eye, to sail a skiff, to sing a song or play on the banjo, Preferring scars and faces pitted with smallpox over all latherers and those that keep out the sun.

I am Banjo Telemark. I am an Ambiguitionest that is to say a maker and vendor of bespoke bewilderment. My atelier is the world and in my atelier nothing is solid and every truth you think you know is also a lie. I am Banjo Telemark. Let me show you my art.

His feeling for the South was not so much historic as it was of the core and desire of dark romanticism--that unlimited and inexplicable drunkenness, the magnetism of some men's blood that takes them into the heart of the heat, and beyond that, into the polar and emerald cold of the South as swiftly as it took the heart of that incomparable romanticist who wrote The Rime of the Ancient Mariner, beyond which there is nothing. And this desire of his was unquestionably enhanced by all he had read and visioned, by the romantic halo that his school history cast over the section, by the whole fantastic distortion of that period where people were said to live in "mansions," and slavery was a benevolent institution, conducted to a constant banjo-strumming, the strewn largesses of the colonel and the shuffle-dance of his happy dependents, where all women were pure, gentle, and beautiful, all men chivalrous and brave, and the Rebel horde a company of swagger, death-mocking cavaliers. Years later, when he could no longer think of the barren spiritual wilderness, the hostile and murderous intrenchment against all new life--when their cheap mythology, their legend of the charm of their manner, the aristocratic culture of their lives, the quaint sweetness of their drawl, made him writhe--when he could think of no return to their life and its swarming superstition without weariness and horror, so great was his fear of the legend, his fear of their antagonism, that he still pretended the most fanatic devotion to them, excusing his Northern residence on grounds of necessity rather than desire.

If I’ve learned one thing in my life it’s that most people act out of fear. When I look back on every bad decision in my life, that’s where it came from. Fear of missing out, fear of losing someone or something, fear of getting my ass kicked, or even fear of getting my heart hurt. Fear is the worst reason to do anything.

There was dancing on the canvas in the garden; oöd men pushing young girls backwards in eternal graceless circles, superior couples holding each other tortuously, fashionably, and keeping in the corners - and a great number of single girls dancing individualistically or relieving the orchestra for a moment of the burden of the banjo of the traps.

George got out his banjo after supper, and wanted to play it, but Harris objected: he said he had got a headache, and did not feel strong enough to stand it. George thought the music might do him good - said music often soothed the nerves and took away a headache; and he twanged two or three notes, just to show Harris what it was like. Harris said he would rather have the headache.

I cried, a bit, as a spoke to Belinda on my mobile phone, in a quiet corner, perhaps the only quiet corner in Jaipur. I told her how I'd hoped Paul would read the forward, that he'd read how much I admired his work and how much I admired him, how much I just plain liked him and loved him. But, even as I spoke, I knew: Paul had always known that. He'd seen in on my face every time we met. What made me cry was the obvious, stupid fact that we'd never meet again.

If I were stranded on a desert island and could bring only one instrument to keep me company, I’d take a guitar. It’s versatile, and it gives you such a huge repertoire to draw from. I’d be able to play so many more types of songs than I could with a mandolin or a fiddle or a banjo. A guitar is handy to sing along with, too, and I’d have a lot of singing to do to keep from getting too lonesome. Praising God fights depression and loneliness like nothing else can. When you’re praising Him, you’re not thinking about yourself.

He never forgot. From somewhere in the darkness came the sound of a banjo, tentative chords … a message … what news? Old loves reconsummated, sickness, a child’s crying. Silence now in the houses. Repose. Even to those for whom no end of night could bring rest enough. And silence, the music fled in the seeping amber warmth of innumerable dreams laid to death upon the hearth, ghostly and still … The morning is yet to the nether end of the earth, and he is weary. Bowing the grass in like sadness the dew followed him home and sealed his door.

RESURRECTION OF DJANGO He was born in a gypsy caravan and spent his early years on the road in Belgium, playing the banjo for a dancing bear and a goat. He was eighteen when his wagon caught fire and he was left for dead. He lost a leg, a hand. Goodbye road, goodbye music. But as they were about to amputate, he regained the use of his leg. And from his lost hand he managed to save two fingers and become one of the best jazz guitarists in history. There was a secret pact between Django Reinhardt and his guitar. If he would play her, she would lend him the fingers he lacked.

After supper was over and the toasts had been drunk, the boy Pablo was called in to play for the company while the gentlemen smoked. . . there was softness and languor in the wire strings--but there was also a kind of madness; the recklessness, the call of wild countries which all these men had felt or followed in one way or another. Through clouds of cigar smoke, the scout and the soldiers, the Mexican rancheros and the priests, sat silently watching the bent head and crouching shoulders of the banjo player, and his seesawing yellow hand, which sometimes lost all form and became a mere whirl of matter in motion, like a patch of sand-storm.

The butterflies I experience racing in a regatta or giving a banjo recital are, of course, a symptom of anxiety, and it might seem contrary to Stoic principles to go out of my way to cause myself anxiety. Indeed, if a goal of Stoicism is the attainment of tranquility, shouldn’t I go out of my way to avoid anxiety-inducing activities? Shouldn’t I, rather than collecting butterflies, flee from them? Not at all. In causing myself anxiety by, for example, giving a banjo recital, I have precluded much future anxiety in my life. Now, when faced with a new challenge, I have a wonderful bit of reasoning I can use: “Compared to the banjo recital, this new challenge is nothing.

Seated at his own desk looking out on the overgrown garden, he marvels at what the little banjo is teaching him. Six months ago he had thought his own ghostly place in Byron in Italy would be somewhere between Teresa’s and Byron’s: between a yearning to prolong the summer of the passionate body and a reluctant recall from the long sleep of oblivion. But he was wrong. It is not the erotic that is calling to him after all, nor the elegiac, but the comic. He is in the opera neither as Teresa nor as Byron nor even as some blending of the two: he is held in the music itself, in the flat, tinny slap of the banjo strings, the voice that strains to soar away from the ludicrous instrument but is continually reined back, like a fish on a line. So this is art, he thinks, and this is how it does its work! How strange! How fascinating!

He could tell Fleming he was a musician but he could not communicate what the music said to him or said to the people he played it for. The music told itself, it made some obscure connection for which there were no words. The music was its own story, but a man could dip into the vast reservoir of folk and blues lines and phrases and images and construct his own story: though upon performing it and without it losing any relevance to his own life it now belonged to the audience as well. It was something he could not fathom. The old songs with juryrigged verses like bodies cobbled up out of bones from a thousand skeletons. Songs about death and lost love and rambling down the line because sometimes down the line was the only place left. Songs that treated the most desperate of loss with a dark sardonic humour. "I'm going where the climate suits my clothes", the song said, not saying the frustration and despair that created it, saying that in the sheer lonesomeness of the sound, in the old man's driving banjo. There was an eerie timelessness about it that said it could have been written a thousand years ago, or it could have been an unfinished song about events that had not yet played themselves out.

Last Thoughts On Woody Guthrie When yer head gets twisted and yer mind grows numb When you think you're too old, too young, too smart or too dumb When yer laggin' behind an' losin' yer pace In a slow-motion crawl of life's busy race No matter what yer doing if you start givin' up If the wine don't come to the top of yer cup If the wind's got you sideways with with one hand holdin' on And the other starts slipping and the feeling is gone And yer train engine fire needs a new spark to catch it And the wood's easy findin' but yer lazy to fetch it And yer sidewalk starts curlin' and the street gets too long And you start walkin' backwards though you know its wrong And lonesome comes up as down goes the day And tomorrow's mornin' seems so far away And you feel the reins from yer pony are slippin' And yer rope is a-slidin' 'cause yer hands are a-drippin' And yer sun-decked desert and evergreen valleys Turn to broken down slums and trash-can alleys And yer sky cries water and yer drain pipe's a-pourin' And the lightnin's a-flashing and the thunder's a-crashin' And the windows are rattlin' and breakin' and the roof tops a-shakin' And yer whole world's a-slammin' and bangin' And yer minutes of sun turn to hours of storm And to yourself you sometimes say "I never knew it was gonna be this way Why didn't they tell me the day I was born" And you start gettin' chills and yer jumping from sweat And you're lookin' for somethin' you ain't quite found yet And yer knee-deep in the dark water with yer hands in the air And the whole world's a-watchin' with a window peek stare And yer good gal leaves and she's long gone a-flying And yer heart feels sick like fish when they're fryin' And yer jackhammer falls from yer hand to yer feet And you need it badly but it lays on the street And yer bell's bangin' loudly but you can't hear its beat And you think yer ears might a been hurt Or yer eyes've turned filthy from the sight-blindin' dirt And you figured you failed in yesterdays rush When you were faked out an' fooled white facing a four flush And all the time you were holdin' three queens And it's makin you mad, it's makin' you mean Like in the middle of Life magazine Bouncin' around a pinball machine And there's something on yer mind you wanna be saying That somebody someplace oughta be hearin' But it's trapped on yer tongue and sealed in yer head And it bothers you badly when your layin' in bed And no matter how you try you just can't say it And yer scared to yer soul you just might forget it And yer eyes get swimmy from the tears in yer head And yer pillows of feathers turn to blankets of lead And the lion's mouth opens and yer staring at his teeth And his jaws start closin with you underneath And yer flat on your belly with yer hands tied behind And you wish you'd never taken that last detour sign And you say to yourself just what am I doin' On this road I'm walkin', on this trail I'm turnin' On this curve I'm hanging On this pathway I'm strolling, in the space I'm taking In this air I'm inhaling Am I mixed up too much, am I mixed up too hard Why am I walking, where am I running What am I saying, what am I knowing On this guitar I'm playing, on this banjo I'm frailin' On this mandolin I'm strummin', in the song I'm singin' In the tune I'm hummin', in the words I'm writin' In the words that I'm thinkin' In this ocean of hours I'm all the time drinkin' Who am I helping, what am I breaking What am I giving, what am I taking But you try with your whole soul best Never to think these thoughts and never to let Them kind of thoughts gain ground Or make yer heart pound ...

By the old Moulmein Pagoda, lookin' lazy at the sea, There's a Burma girl a-settin', and I know she thinks o' me; For the wind is in the palm-trees, and the temple-bells they say: "Come you back, you British soldier; come you back to Mandalay!" Come you back to Mandalay, Where the old Flotilla lay: Can't you 'ear their paddles chunkin' from Rangoon to Mandalay ? On the road to Mandalay, Where the flyin'-fishes play, An' the dawn comes up like thunder outer China 'crost the Bay! 'Er petticoat was yaller an' 'er little cap was green, An' 'er name was Supi-yaw-lat - jes' the same as Theebaw's Queen, An' I seed her first a-smokin' of a whackin' white cheroot, An' a-wastin' Christian kisses on an 'eathen idol's foot: Bloomin' idol made o' mud Wot they called the Great Gawd Budd Plucky lot she cared for idols when I kissed 'er where she stud! On the road to Mandalay... When the mist was on the rice-fields an' the sun was droppin' slow, She'd git 'er little banjo an' she'd sing "Kulla-lo-lo! With 'er arm upon my shoulder an' 'er cheek agin my cheek We useter watch the steamers an' the hathis pilin' teak. Elephints a-pilin' teak In the sludgy, squdgy creek, Where the silence 'ung that 'eavy you was 'arf afraid to speak! On the road to Mandalay... But that's all shove be'ind me - long ago an' fur away An' there ain't no 'busses runnin' from the Bank to Mandalay; An' I'm learnin' 'ere in London what the ten-year soldier tells: "If you've 'eard the East a-callin', you won't never 'eed naught else." No! you won't 'eed nothin' else But them spicy garlic smells, An' the sunshine an' the palm-trees an' the tinkly temple-bells; On the road to Mandalay... I am sick o' wastin' leather on these gritty pavin'-stones, An' the blasted English drizzle wakes the fever in my bones; Tho' I walks with fifty 'ousemaids outer Chelsea to the Strand, An' they talks a lot o' lovin', but wot do they understand? Beefy face an' grubby 'and - Law! wot do they understand? I've a neater, sweeter maiden in a cleaner, greener land! On the road to Mandalay... Ship me somewheres east of Suez, where the best is like the worst, Where there aren't no Ten Commandments an' a man can raise a thirst; For the temple-bells are callin', an' it's there that I would be By the old Moulmein Pagoda, looking lazy at the sea; On the road to Mandalay, Where the old Flotilla lay, With our sick beneath the awnings when we went to Mandalay! O the road to Mandalay, Where the flyin'-fishes play, An' the dawn comes up like thunder outer China 'crost the Bay !

SOMETIMES ON A PORCH in June, a girl begins to plunk her banjo; and after a spell of stillness, while the sound travels down their ear crinkles into their inmost feeling-chambers, the music starts to dance the people passing by. They toss like puppets on a bouncing sheet; like boys without a boat; they swing like weeds in the wind; they leap heptangularly about, dancing eccentric saltarellos, discovering that their springs are not so rusty. For even if you have built masterful aspen castles in your mind, have toppled whole forests to throttle the writhing elements into a liveably serene personal pond; if you have longtime sculled your ingenious fins to withstand the tumble-crazy currents; there is music that will dissolve your anchors, your sanctuaries, floating you off your feet, fetching you away with itself. And then you are a migrant, and then you are amuck; and then you are the music’s toy, juggled into its furious torrents, jostled into its foamy jokes, assuming its sparklyblue or greenweedy or brownmuddy tinges, being driven down to the dirgy bottom where rumble-clacking stones are lit by waterlogged and melancholy sunlight, warping back up to the surface, along with yew leaves and alewives and frog bones and other strange acquisitions snagged and rendered willy-nilly by the current, straggling away on its rambling cadenzas, with ever-changing sights—freckled children on the bank, chicken choirs, brewing thunderclouds, june bugs perched in wild parsley—until it spills you into a place whose dimensions make nonsense of your heretofore extraordinary spatial intelligence.

What would be the natural thing? A man goes to college. He works as he wants to work, he plays as he wants to play, he exercises for the fun of the game, he makes friends where he wants to make them, he is held in by no fear of criticism above, for the class ahead of him has nothing to do with his standing in his own class. Everything he does has the one vital quality: it is spontaneous. That is the flame of youth itself. Now, what really exists?" "...I say our colleges to-day are business colleges—Yale more so, perhaps, because it is more sensitively American. Let's take up any side of our life here. Begin with athletics. What has become of the natural, spontaneous joy of contest? Instead you have one of the most perfectly organized business systems for achieving a required result—success. Football is driving, slavish work; there isn't one man in twenty who gets any real pleasure out of it. Professional baseball is not more rigorously disciplined and driven than our 'amateur' teams. Add the crew and the track. Play, the fun of the thing itself, doesn't exist; and why? Because we have made a business out of it all, and the college is scoured for material, just as drummers are sent out to bring in business. "Take another case. A man has a knack at the banjo or guitar, or has a good voice. What is the spontaneous thing? To meet with other kindred spirits in informal gatherings in one another's rooms or at the fence, according to the whim of the moment. Instead what happens? You have our university musical clubs, thoroughly professional organizations. If you are material, you must get out and begin to work for them—coach with a professional coach, make the Apollo clubs, and, working on, some day in junior year reach the varsity organization and go out on a professional tour. Again an organization conceived on business lines. "The same is true with the competition for our papers: the struggle for existence outside in a business world is not one whit more intense than the struggle to win out in the News or Lit competition. We are like a beef trust, with every by-product organized, down to the last possibility. You come to Yale—what is said to you? 'Be natural, be spontaneous, revel in a certain freedom, enjoy a leisure you'll never get again, browse around, give your imagination a chance, see every one, rub wits with every one, get to know yourself.' "Is that what's said? No. What are you told, instead? 'Here are twenty great machines that need new bolts and wheels. Get out and work. Work harder than the next man, who is going to try to outwork you. And, in order to succeed, work at only one thing. You don't count—everything for the college.' Regan says the colleges don't represent the nation; I say they don't even represent the individual.

I come to oil country with a book about radicals who wish for the end of pipelines. But that's not what it's about. It's the friction point of prosperity and concern, ability and disability, the loss of bodily presence and the gain of ghost messages. It's misplaced outrage and well-placed courage. It's banjo song and smoke in your eye. Stories hinge there, swinging this way and that.

By the 1860s more and more banjo makers followed in Ashborn's footsteps, for, as we shall see, most often inventive banjo design, that which might indeed lead to true innovation, originated with those makers who wholeheartedly embraced the possibilities of mechanized production. Most violin makers, for example, as well as guitar makers such as Martin, continued to build instruments by traditional methods, patiently training apprentices in the various steps necessary to produce an entire instrument by themselves. But by the 1860s the banjo had become anything but traditional, with a score of patents filed in which its design was changed, often quite radically, as various banjo makers capitalized on the nation's growing infatuation with the instrument. Its basic form - a five-string neck and a circular sounding chamber - established, the banjo began to appear in a bewildering number of variations as makers sought to adapt the instrument to the new kinds of music people wished to play on it. In 1840 the banjo had been a symbol of the American South in general and the slave plantation in particular. But after its initial popularization on the minstrel stage led to its wholesale embrace by Victorian America, it came to represent the aspirations of a burgeoning mechanic class who brought to its design and manufacture the same invention through which they had transformed other areas of American industry. It truly was becoming America's instrument.

Ya game is fine, but ya booze-eyes are a problem. Not like ya ta drink this much. I reckon ya banjo’d, so ya are.

the shift from banjo to guitar played a significant role in the rise of blues: Banjos have very fast sound decay, which means that one has to play relatively quickly and cannot mimic the drawn-out contours of a vocal performance. The guitar has greater sustain, making it more appropriate for slow songs, and also has a warmer tone, making it more suitable for accompanying sentimental ballads or moaning hollers.

No other supporting player won three Academy Awards, and you would be hard-pressed to name another character actor whose performances frequently overwhelmed those of ostensible leads like Joel McCrea and Barbara Stanwyck in Banjo on My Knee. “We’re supporting you. Be nice to us,” McCrea and Stanwyck joked with Brennan. Those stars had the fights of their lives trying to stay on equal terms with old Walter. Sure, other character actors have had their star turns—especially in television, which gave Ward Bond in Wagon Train, Raymond Burr in Perry Mason, and Harry Morgan in M.A.S.H. their respective moments of fame—but no character actor other than Brennan dominated the Hollywood century of popular entertainment, or attained the iconic status he achieved. To follow Brennan—beginning with his career as a seven-dollar-a-day extra—is to learn all you need to know about Hollywood and its mythologizing of the American dream. Walter Brennan became an archetype, not a stereotype.

I just hope i don't hear banjo music, because if i do, i'm outta here.

I love to eat lettuce for breakfast, they call me bunny.

in Banjo on My Knee (December 11, 1936). He plays Joel McCrea’s father, a wizened old river denizen and musician who goes off in search of his son, who is himself looking for his estranged wife (Barbara Stanwyck). Brennan dominates scene after scene. He becomes iconic, the very spirit of the fiercely independent and rugged river people. William Faulkner was assigned this picture, and though he was taken off it early, the spirit of the novelist’s country people seems to suffuse Brennan’s performance. He plays a character thirty years older than his actual age—not through makeup or mannerisms, so much as with his reedy voice, semi-toothless grin, and adroitly mussed and thinning hair, all of which projects an age-old and indomitable presence. When Brennan gets to Memphis, just north of Faulkner’s Jefferson, Mississippi, he becomes a hit performer after a club owner discovers him. Brennan’s performance on banjo, harmonica, drums, and various other instruments—while also singing the “Saint Louis Blues”—is pure vaudeville, which is to say, pure Walter Brennan. And it’s worth noting that the scene is also a ruse, since Brennan played no instruments; six musicians actually produced the sound that seems to be coming out of his nimble fingers.

Nothing much changed in Walter Brennan’s domestic life even after he won his Academy Award and received rave reviews for both Come and Get It and Banjo on My Knee. He remembered hurrying home with his gold statuette, strutting in his borrowed tuxedo, and asking his wife how it felt to be married to an Academy Award winner. Ruth gave him a look and said, “Turn out the lights and go to bed. I lived with you when you didn’t have a dime.” His rare moment of bragging caught her off guard, and he had never spoke of stardom. It all seemed just work to him—or so Ruth supposed. Years later, she admitted she had not taken in the honor bestowed on her husband.

The moon had risen higher, and floating in the Sound was a triangle of silver scales, trembling a little to the stiff, tinny drip of the banjoes on the lawn.

terrible cafes were in, as World War I was in, and "Red Sails in the Sunset" was in, and the banjo was in, with the mandolin pressing hard on its heels.

My raging libido instantly shriveled at the sight of what had to be the reunion crew of Deliverance. Instantly the tune of Dueling Banjos started to play in my head. No, no, no, this couldn’t be happening. I could not bring myself to go home with a hillbilly, regardless of the state of tumbleweeds blowing through my nether regions. It was time I turned around, tucked my tail between my legs, and got the hell out of there.

Oh yeah. You totally look like a banjo-strumming softie,” says Christina. “Really?” “No. Not at all, actually. Just…let me fix it, okay?” She rummages in her bag for a few seconds and pulls out a small box. In it are different-sized tubes and containers that I recognize as makeup, but wouldn’t know what to do with. We are in my parents’ house. It was the only place I could think of to go to get ready. Christina has no reservations about poking around--she already discovered two textbooks wedged between the dresser and the wall, evidence of Caleb’s Erudite leanings. “Let me get this straight. So you left the Dauntless compound to get ready for war…and took your makeup bag with you?” “Yep. Figured it would be harder for anyone to shoot me if they saw how devastatingly attractive I was,” she says, arching an eyebrow. “Hold still.” She takes the cap off a black tube about the size of one of my fingers, revealing a red stick. Lipstick, obviously. She touches it to my mouth and dabs it until my lips are covered in color. I can see it when I purse them. “Has anyone ever talked to you about the miracle of eyebrow tweezing?” she says, holding up a pair of tweezers. “Get those away from me.” “Fine.” She sighs. “I would take out the blush, but I’m pretty sure it’s not the right color for you.” “Shocking, considering we’re so similar in skin tone.” “Ha-ha,” she says. By the time we leave, I have red lips and curled eyelashes, and I’m wearing a bright red dress. And there’s a knife strapped to the inside of my knee. This all makes perfect sense.

My expression must be a fuck of a lot more dangerously possessive than I realized, because he says, “Didn’t mean to steal your new bride, man. Thanks for not punching me in the throat; I need my vocal cords for my set.” He offers his hand and I shake it, careful not to crush it in my grip. He probably needs those fingers to play a fucking banjo.

Damn. Never heard a grown man who topped out at six and a half feet with arms like a hockey player’s beg for his petite little hundred pound woman to come rescue him. From her mama. Cue the dueling banjoes.

Tobacco, banjo playing, and dominoes do not figure in the Decalogue as recorded in the Book of Exodus. But particularly in nineteenth- and twentieth-century America, Christians have been adept, and remarkably inventive, at interpreting God’s commandments to cover just about anything they don’t approve of. The effect, of course, is to make the surpassingly large God of the scriptures into a petty Cosmic Patrolman.

Gibson put out this cheap, really good guitar, and cats would tune it, since they were nearly all banjo players, to a five-string banjo tuning. Also, you didn’t have to pay for the other string, the big string. Or you could save it for hanging the old lady or something.

The plains drift on through the deep daylight. I watch the snow bees sent mad by the sun. The limbs of the hickory trees swing loose in the noontide, Feathery, stretching their necks. The wind blows through its own hair forever. If something is due me still —Firedogs, ashes, the soap of another life— I give it back. And this hive Of shelved combs, my wax in its little box.

I hear the wind howlin' and roarin' like a freight train, and I know old Wally could be in for his last days. But I just kept my head down and prayed. Well, that tornado ripped me right up from the earth and sent me heavenbound, and I was swirled amongst the trees and the cows and houses and every imaginable thing. I held onto my banjo for dear life, and I began to sing and play and make the most of this terrible ride I found myself on. I suppose that tornado was soothed by my tune, because it soon slowed down, lowering me back to earth until I landed here.

Most of the time, when a bum on the street asks you for money, it’s not too hard to just walk away, but these fun guys, with their jokes, banjos and cute animals, they make it impossible to dismiss them. It makes me wonder what they know that I don’t.

Under the name The Waterson Family, they made their recording debut for Topic, one of four upcoming acts on the showcase compilation Folk-Sound of Britain (1965). Dispensing with guitars and banjos, they hollered unadorned close harmonies into a stark, chapel-like hush. The consensus was that they ‘sounded traditional’, but in a way no other folk singers did at the time. It was the result of pure intuition: there was no calculation in their art. When Bert Lloyd once commented joyfully on their mixolydian harmonies, they had to resort to a dictionary. Later in 1965 the quartet gathered around the microphone set up in the Camden Town flat of Topic producer Bill Leader and exhaled the extraordinary sequence of songs known as Frost and Fire. In his capacity as an artistic director of Topic, Lloyd curated the album’s contents. Focusing on the theme of death, ritual sacrifice and resurrection, he subtitled it A Calendar of Ritual and Magical Songs. The fourteen tracks are divided by calendrical seasons, and the four Watersons begin and end the album as midwinter wassailers, a custom popularised in the late eighteenth and early nineteenth centuries as groups of singers – ‘waits’ – made the rounds of the towns and villages, proffering a decorated bowl of spiced ale or wine and asking – in the form of a song, or ‘wassail’ – for a charitable donation. Midwinter comes shortly before the time of the first ploughing in preparation for the sowing of that year’s new crop, and the waits’ money, or food and drink, can be considered a form of benign sacrifice against the success of the next growth and harvest. The wassail-bowl’s rounds were often associated with the singing of Christmas carols.

Innovation dances to the sweet sound of a banjo. Banjo behavior makes people want to jump up and join in.

Or— B) Talk to people I barely knew about subjects other than cars, sausage, or my superior banjo playing and pretend to care about their inanity. Of the two scenarios, the latter was the most likely. Therefore—

Nelle sue forme primitive, embrionali- quando aveva una struttura ancora vaga e variabile, aperta, simile a quella degli hollers - il blues, al pari degli altri folk song nero-americani, era cantato in assolo, oppure all'unisono, ma mai in armonia. Il primo rudimentale accompagnamento armonico fu fornito da un banjo, lo strumento di probabile origine africana che aveva dominato negli spettacoli dei minstrel e che venne poi sostituito dalla chitarra, assai più adatta per la sua duttilità.

The characteristic sounds of a trumpet, oboe, banjo, piano, or violin are due to the distinct cocktail of harmonic frequencies that each instrument produces. I love the image of an invisible cosmic bartender, expert in creating hundreds of different harmonic cocktails, who can serve up a banjo to this customer, a kettledrum to the next, and an erhu or a trombone to the one after that

I have been with them a great deal,” he wrote from Louisiana, “and never before saw so much of gloom, despondency, and listlessness. I saw no banjo, heard none but solemn songs. In church or on the street they impress me with a great sadness. They are a sombre, not a happy, race.” Several weeks later, when his regiment was encamped near Baton Rouge, he attended a black religious service and described the “mingled excitement and devotion,” the shouting, the clapping of hands, the jumping, the often wild and excited singing. It all impressed him, however, as “a mournful joy,” and the hymns seemed “more a loud wail than a burst of joyous melody.

Whitehouse Road" Early in the morning when the sun does rise Layin' in the bed with bloodshot eyes Late in the evenin' when the sun sinks low Well that's about time my rooster crows I got women up and down this creek And they keep me going and my engine clean Run me ragged but I don't fret Cause there ain't been one slow me down none yet Get me drinking' that moonshine Get me higher than the grocery bill Take my troubles to the highwall Throw 'em in the river and get your fill We been sniffing that cocaine Ain't nothin' better when the wind cuts cold Lord it's a mighty hard livin' But a damn good feelin' to run these roads I got people try to tell me, Red Keep this livin' and you'll wind up dead Cast your troubles on the Lord of Lord's Or wind up laying on a coolin' board But I got buddies up White House Road And they keep me strutting when my feet hang low Rotgut whiskey gonna ease my pain 'N all this runnin's gonna keep me sane Get me drinking' that moonshine Get me higher than the grocery bill Take my troubles to the highwall Throw 'em in the river and get your fill We been sniffing that cocaine Ain't nothin' better when the wind cuts cold Lord it's a mighty hard livin' But a damn good feelin' to run these roads It's a damn good feelin' to run these roads When they lay me in the cold hard clay Won't ya sing them hymns while the banjo plays You can tell them ladies that they ought not frown Cause there ain't been nothing ever held me down Lawmen, women or a shallow grave Same ol' blues just a different day Get me drinking' that moonshine Get me higher than the grocery bill Take my troubles to the highwall Throw 'em in the river and get your fill We been sniffing that cocaine Ain't nothin' better when the wind cuts cold Lord it's a mighty hard livin' But a damn good feelin' to run these roads It's a damn good feelin' to run these roads It's a damn good feelin' to run these roads Tyler Childers, Purgatory (2017)

Jake Pace was in the kitchen baking cookies and his wife was in their large living room playing Mozart on the banjo.

Hildy resumed her electric banjo rendition of “Eine Kleine Nachtmusik.

dlaurent The Ballad of Johnny Jihad (Down Desert Storm Way). © c. 2001 During the Gulf War (1990-1991), American Pro-Taliban Jihadist John Philip Walker Lindh was captured while serving with the enemy forces. Here is his tale in song and legend. My nowex at the time did not want me to run to the radio station with this, thought I’d look singularly ridiculii. The following, 'The Ballad of Johnny Jihad' is sung to the tune of 'The Ballad of Jed Clampett' (1962), commonly known as 'The Beverly Hillbillies' song, the theme tune for the TV show series starring Buddy Ebsen. (Lyrics, Paul Henning, vocals Jerry Scoggins, Lester Flatt; master musicians of the art of the ballad and bluegrass ways, Lester Flatt and Earl Scruggs). The Ballad of Johnny Jihad (Sung) Come and listen to the story of Johnny Jihad, Who left home and country to study his Islam, And then one day he was shooting at our troops, So down through the camp did the government swoop. (Voice Over): ‘Al Que-da that is, Af-ghani Tali-ban, Terror-ist . . .’ (Sung) Well, the first thing you know ol’ John from ’Frisco roamed, The lawman said ‘he’s a lad misunderstood very far from home.’ Said, ‘Californee is the place he oughta be,’ So they request his trial be moved to Berkeley . . . (Voice Over): ‘Liberals that is, group-ies, peace-activists . . .’ Announcer: The Johnny Jihad Show! (Intense bluegrass banjo pickin’ music) . . . (Sung) Now its time to say goodbye to John and all his kin, Hope ya don’t think of him as a fightin’ Taliban, You’re all invited back again to this insanity, To get yourself a heapin’ helpin’ of this travesty . . . Johnny Jihad, that’s what they call ’im now Nice guy; don’t get fooled now, y’hear? (Voice Over): ‘Lawyerin’ that is, O.J.ism, media-circus . . .’ (Music) . . . end

Reading well is the best revenge.

Numerous Monroe protégés formed their own groups performing in his style. The most famous were Lester Flatt and Earl Scruggs, respectively the guitarist-lead vocalist and the banjo picker who were core members of the classic Blue Grass Boys lineup of the late 1940s. They left to form the tremendously successful partnership of Flatt and Scruggs & the Foggy Mountain Boys, gaining crossover fame in the 1960s by contributing music to the soundtracks of the Beverly Hillbillies television show and the movie Bonnie and Clyde.

Guitarist John Starling, mandolinist John Duffey, Dobroist Mike Auldridge, banjo picker Ben Eldridge, and bass man Tom Gray began The Seldom Scene during November, 1971. From the start, the group featured bluegrass standards, original compositions, and pop and rock songs given a bluegrass treatment.

There is a time for morning, Ecclesiastes says, and of course there is. But up in the hills, in the Thirties, morning and joy almost always breathed the same air...Our world was bitter and sweet; more like cough syrup than good whiskey---hits your throat and leaves you shuddering and gagging and wanting just a little more. That's how it was in the holler---sad songs set to banjo-twanged two-steps; hard times and laughter and kinship and the deep, unsettling fear of the Lord. Praise Him so His hand don't turn against you. Praise Him for the good things. Praise Him in the hard times; bittersweet.