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“We Always Tried to Be Good People”: Respectability, Crazy Water Crystals, and Hillbilly Music on the Air, 1933-1935 by Pamela Grundy

If you are easily exhausted, or too nervous, you have headaches or backaches or can’t sleep as you should, if your complexion is sallow or your tongue coated; maybe you’re just being warned by Nature that the troubles with far more serious names may be on the way. Faulty elimination, the sluggish and delayed passage of waste throughout the system, causes many serious disorders, disorders with all kinds of names…. Don’t give up to pain and illness…. Why all you need is determination, ordinary drinking water, and Crazy Water Crystals. Won’t you try it? -Crazy Water Crystals radio advertisement.

From

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Last updated February 19, 2021

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When you visit our website https://www.nativeground.com (the “Website“), and more generally, use any of our services

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The Secret Signals of Musicians

By Wayne Erbsen

It’s Saturday night. Instead of relaxing safe at home plopped comfortably in front of your big screen TV, you’ve got your hind quarters parked squarely on a hard folding chair. If that’s the case, chances are you’re either at a festival watching your favorite bluegrass band, or perhaps you’re huddled under a tarp in the pouring rain jamming with friends or total strangers at a fiddlers convention. Either way, you often witness secret or not-so-secret signals or cues from one musician to the rest of the group to alert them that a song or tune is about

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Rosin by Bob Smakula

Rosin is made from the sap of pine trees. Live trees are wounded, and the sap is collected for processing. The larch conifer is used most often for violin rosin, but only a small portion of all collected pine sap finds it way to the musical world.

Most rosin in its basic form is similar. Manufacturers add compounds to tweak rosin for particular fiddlers’ needs. Dark rosin has tar added to make it softer, which makes the rosin stickier and suitable for colder climates. A small amount of beeswax is sometimes added to help lessen the harmonic squeak caused by

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Frank Smith, Andrew Jenkins, and Early Commercial Gospel Music

In 1923 two forces were working in the South to transform the face of American music: the radio and the phonograph record. As the various forms of traditional and grass roots music encountered these new mass media, a curious and complex chemistry developed that gradually changed the nature of the music, the musi­cians, and the role music played in people’s lives. Music once designed for the parlor, the back porch, the barn dance, or the church was now the creature of the radio studio, the Victrola, the fiddling contest, or the vaudeville theater. Musicians used to playing for a local

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Gospel Boogie: White Southern Gospel Music in Transition, 1945-55

It has become a truism to say that most forms of traditional music in the American South were to some extent ‘commercialized’ by the end of the 1920s; certainly this is true of fiddle and instrumental traditions, country singing, the blues and jazz. By the middle of the Depression most of these musics had gained access to the mass media, either through phonograph records or radio. Throughout the Depression amateur musicians gave way to semi-professional, and then fully professional, musicians who spent most of their time playing music. While these changes meant erosion of regional styles and dilution of tradition,

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‘Gospel Boogie’: white southern gospel music in transition, 1945-55 by Charles Wolfe

It has become a truism to say that most forms of traditional music in the American South were to some extent ‘commercialized’ by the end of the 1920s; certainly this is true of fiddle and instrumental traditions, country singing, the blues and jazz. By the middle of the Depression most of these musics had gained access to the mass media, either through phonograph records or radio. Throughout the Depression amateur musicians gave way to semi-professional, and then fully professional, musicians who spent most of their time playing music. While these changes meant erosion of regional styles and dilution of tradition,

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A History of Bluegrass Guitar in Western North Carolina

By John Martin

When folklorists like Cecil Sharp came to the mountains of North Carolina they found an enduring musical culture of Scotch-Irish fiddle tunes and ballad singers as well as some of the only black banjo and fiddle players in the country.  In the 1940s, western North Carolinians helped produce a new form of music: bluegrass. Earl Scruggs popularized the regional three-finger banjo style that in many ways defined bluegrass, and the state also made many contributions to guitar playing. 

While the acoustic guitar began as a rhythm instrument, North Carolinians Don Reno, Earl Scruggs, Doc Watson, and George

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Music of the Southern Appalachians by Mike Seeger

This area is to the west of the flat tidewater and piedmont areas of the Atlantic coastline and includes some broad valleys with good agricultural land, such as the Shenandoah Valley in Virginia, as well as many smaller valleys, some just wide enough for a little bottomland next to a creek. The eastern mountains are not nearly as tall as the Rockies; they generally rise 1,000 to 3,000 feet with a maximum of 6,000 feet, and are forested with a variety of deciduous and evergreen trees and many smaller bushes and flowers. Some mountains are green, rolling hills, but in

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The Coon Creek Girls by John Lilly

Rural Roots of Bluegrass

On the evening of June 8,1939 limousines began to deliver the cream of Washington D.C. society to the East Room of the White House. President and First Lady, Franklin and Eleanor Roosevelt were entertaining King George VI and Queen Elizabeth of England and had arranged a command performance in their honor. Chandeliers sparkled, jewelry glistened, and the royal guests sat in the front row with their hosts. Music for the evening was provided by the finest representatives of American culture, including opera tenor Lawrence Tibbett, classical musician Marion Anderson, the large and popular Kate Smith, and Alan Lomax singing Western

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