Education Archives - The Birthplace of Country Music
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Thank You, Teachers!

Today is National Teacher Appreciation Day, also known as National Teacher Day. The National Education Association notes that this is “a day for honoring teachers and recognizing the lasting contributions they make to our lives.”

Here at the Birthplace of Country Music Museum, we can’t sing the praises of teachers high enough – we love working with them and finding new ways to connect with teachers and their students. Teachers do too many amazing things for us to list them all. However, we are going to share our top six reasons why teachers ROCK, and because we are a music museum, we are using the guitar – a fundamental instrument of country music – and its six guitar string notes, listed from the bottom string up, as our inspiration: E B G D A E!

A graphic of a hand holding the neck of a guitar. The six strings are labelled bottom string to top string as EGBDAE/123456.

Graphic of a guitar neck with the strings labelled bottom to top as EBGDAE/123456. ©

E String

Being a teacher is hard, but despite the challenges faced, teachers strive to encourage and excite their students to learn, think critically, and explore the world around them every single day. We often see the evidence of this with the student who come through our doors – many of them have learned about early country music or local history or technology in their classrooms already, priming them for a more meaningful experience and providing us with a lot of great questions and observations as we share the museum with them.

B String

And this leads to the tangible outcome of this prep – when teachers bring students to the museum. We are so grateful for the school field trips that are scheduled at the museum, and we’ve seen the number of these tours continually grow since we opened in 2014. Some teachers and students are coming for the first time; other educators bring their classes year-after-year. They come from our local Bristol, TN/VA schools, the Northeast Tennessee and Southwest Virginia region, and even further afield, including schools in Georgia, Northern Virginia, and Iowa!

Not only do teachers bring students to visit the museum, but they also put a lot of effort into the planning of and during these field trips, which always makes the experience better for all of us.

A large theater space with school students seated while a white man in a red shirt and khaki pants talks to them from the stage floor.

A student group is introduced to the museum and the orientation film by docent Richard Horner. © Birthplace of Country Music

G String

We are also lucky to get useful guidance from teachers. Through school tour surveys, teacher in-service workshops, and one-on-one conversations, educators provide us with amazing feedback that help us to improve our programs for students and teachers alike. In 2020 and 2021, we worked with a focus group of teachers from the Bristol, TN/VA public schools to hear about their ideas, suggestions, wants, and needs for our museum-based lesson plan project, and we also had our first teacher intern who helped us on the project and to deliver two impactful in-service workshops for K-12 educators. The insights we gained from this experience were invaluable!

D String

The teachers we partner with strive to develop creative and interesting ways to engage their students with the museum and its content. We’ve had so many positive experiences working with different classes and learning groups – from the YWCA TechGYRLS production of a radio show to mark the Smithsonian’s Museum Day Live! event; the fun activities we’ve done with the Virginia Middle School after-school club (including square dancing, the science of sound, and an upcoming instrument petting zoo); the class that had been immersed in Johnny Cash’s music before our Johnny Cash/Folsom Prison special exhibit in 2022; and talking to a high school class about the things that go into curating a small exhibit, how to write museum labels, and ways to engage people with their own content.

Left: A group of 8 young girls pose together in front of a chalkboard that says "YWCA TechGYRLS Radio Program 1pm." Right: A large group of male and female students pose in the Johnny Cash exhibit. They are all wearing black in honor of "the man in black"!

Left: The YWCA TechGRYLS pose with the notice of their radio show in the museum lobby. Right: A group of students honor the “man in black” by wearing all black when visiting 1968: A Folsom Redemption in 2022. © Birthplace of Country Music

A String

As we said earlier, being a teacher is a hard job. But the teachers we know are amazing advocates for their students and for the joy of learning. And they are ALWAYS doing so much to support their students, to help them thrive, to be a positive person in their life, and so much more.

And they also advocate for us – by bringing their classes to the museum, by sharing events and other opportunities we offer to students and their families, and by letting our community know that the museum is an important educational asset.

E String

Finally, the teachers who visit the museum  encourage smiles and laughs from their students throughout their time with us. They play Banjo Bingo; they sing along in the karaoke booth; they give a whole host of answers to one of our favorite questions: how many grooves are on a record?; they dance in the Immersion Theater; and so much more. They show the kids that you can learn AND have fun at the same time!

Left: Sullins Academy's Head of School and one of its teachers try out a student activity for the special exhibit Things Come Apart. They are both kneeling on the ground putting together a "vehicle" from PVC pipe. Right: A group of Sullins Academy students pose around their PVC pipe vehicle. There are six white students - 3 boys, 3 girls - and they are doing funny faces and poses.

Sullins Academy teachers and students took part in a vehicle-building exercise as part of the Things Come Apart special exhibit at the museum in 2017. © Birthplace of Country Music

Rene Rodgers is the Head Curator of the Birthplace of Country Music Museum and oversees its educational programming. She loves teachers!

How I Spent My Summer Vacation

Do you remember coming back to school and being asked to write an essay on “How I Spent My Summer Vacation”? Well, sometimes as adults, we get asked to do this too!

I spent part of my summer vacation – a much-needed respite from my 7:00am to whenever job as a North Carolina educator – learning about museum education at the Birthplace of Country Music Museum. For three intense weeks, I completed an internship for my educational leadership doctoral program at Appalachian State University, working with the curatorial staff to design and implement a two-day in-service training for area teachers about the museum’s educational resources and helping to develop museum content lesson plans. Having worked in K-12 and community college education, I was not new to teaching; however, museum education is uniquely different, and this opportunity taught me an expansive amount. Most importantly I learned how museums are a vital non-traditional educational method, and this experience provided me with a fuller appreciation of their importance and impact on our communities and our history.

Introducting elementary school teachers to the Birthplace of Country Music Museum’s lesson plans. © Birthplace of Country Music

When most people think of school and learning, they think of sitting in desks in a classroom. Field trips to museums were treats awarded to the class and provided a break from the mundane everyday classroom monotony. This assessment isn’t wrong, but this internship taught me that there is much more to museums than what we experience in mere field trips. The Birthplace of Country Music Museum is a fun place to visit, filled with music and several interactive technologies for visitors to engage with the music. However, it is also a living educational gem, where the special exhibit is always changing and the curatorial staff is constantly seeking ways to improve the content and to provide visitors with memorable information.

Teaching is ongoing at the museum. When school groups visit, students get an introduction to the story of the 1927 Bristol Sessions and view a film about its history and impact before embarking on a scavenger hunt to learn more. They can also enjoy a game of Banjo Bingo, a fun, interactive way for them to learn about the instruments used in these important recording sessions. The museum’s Special Exhibits Gallery also offers a space for learning focused on different topics throughout the year – from music, Appalachian culture, explorations of art and portraiture, or even wider histories like Civil Rights or the history of work in America. These lessons are often wrapped in an interactive discussion about the artifacts and images on view. Even though students may not even realize it, they are learning valuable information despite not being in a traditional educational venue. The museum is teaching and providing a valuable avenue to provide education in a non-traditional way.

Three images:
Left-hand image: Four sets of lesson plans, two of which have blue and teal covers with their titles "The 1927 Bristol Sessions Story" and "The Instruments of the 1927 Bristol Sessions," and two of which are draft texts for lesson plans on technology and the science of sound and artists/personalities from the 1927 Bristol Sessions.
Top right: The author Amy Myers stands in front of several teachers seated at round tables in a large room. Amy is a white woman with blonde hair; she is wearing a black and white dress and is holding one of the lesson plans up next to a PowerPoint slide presentation.
Bottom right: A group of teachers sit at round tables in a large room. Near the brick wall at the back two teachers (one white man with a white shirt, one white woman with brown hair and a blue top) stand up -- one holds a poster they have created as a group for one of the learning activities.
Working with the curatorial team on the museum’s K-12 lesson plans project and sharing museum educational resources at the July teacher in-service gave me a unique insight into the enormous potential of museum education – and how fun it can be! © Birthplace of Country Music

Further, the Birthplace of Country Music Museum is an important asset to the Bristol community and as a vehicle to explore the history of the region. The premise of the museum focuses on how country music grew out of the 1927 Bristol Sessions, but the museum’s content delves deeply into the rich culture of the Appalachians, a culture that has made Bristol the place it is today. Further, the expansive musical heritage of Bristol is alive and well at this museum, preserving vital information for the community and enabling generations to learn about and to understand their past. The importance of the museum’s role in preserving the area’s history cannot be understated. It is an integral part in preserving the community’s rich heritage.

The list of everything I learned while working at the museum could go on and on, but honestly these facets impacted me the most. The Birthplace of Country Music Museum is a beautiful venue that is dedicated to educating visitors about its history grounded in the region’s music. The staff are amazing, tireless professionals, dedicated to the museum’s mission. I am very thankful for this opportunity afforded me to work alongside these folks and to learn primarily from the curatorial staff. It has changed my outlook on non-traditional education, and I now carry the positive impact of the museum and the Bristol region with me wherever I go. Not only did this experience change how I view museums in general, but it made me further appreciate the role they fulfill in the educational realm. 

Check out the museum’s Education page to learn more about their offerings to the local community and K-12 educators. The museum’s suite of K-12 lesson plans will be uploaded to the website soon.

Amy Myers interned at the Birthplace of Country Music Museum in 2021, helping curatorial staff to plan and produce museum lesson plans and deliver a two-day teacher in-service program. She is working on her Ph.D. in Educational Leadership at Appalachian State University, while also working as a teacher in the North Carolina school system.

To App-uh-latch-uh or To App-uh-lay-shuh…That is the Question

Yes, both are correct, but here is why I urge you to still say “App-uh-latch-uh.”

It’s something that has caused perhaps nearly as many arguments as politics. No one has (hopefully) ever gotten into an argument about whether or not they ordered a “car-mel” or “care-ah-mel” latte, but disagreements about Appalachia can become very heated very easily. Appalachia has several different pronunciations across the United States, but the two most common (and contentious) are “App-uh-latch-uh” and “App-uh-lay-shuh.” The former has traditionally been linked with the south, while the latter is more associated with the north.

The photograph show a display mannequin showcasing a grey t-shirt, red scarf, and musician brooch. The t-shirt has the word [app-uh-latch-uh] on it.

Soon after the museum opened, we sold t-shirts that spelled out the “correct” pronunciation of Appalachia – it generated debate from our visitors and also 435 shares on the related social media post! © Birthplace of Country Music

So, who is right? To quote writer John Green: “The truth resists simplicity.” Both ways are correct, but which way you choose to say it can say more about you than you may realize.

Much like its pronunciation, the etymology of the word “Appalachia” is also debated. Before the Europeans arrived in North America, the Appalachian Mountains and their geographical components had a multitude of names. The Cherokee or Tsalagi called the Smoky Mountains Shaconage. Algonquin-speaking peoples called the White Mountains in New Hampshire Wobanadenok. To the Powhatan of eastern Virginia, the Blue Ridge Mountains were known as Quirank. The first people to live in the region were all independent nations with different languages and cultures. It wasn’t until later that the entire mountain range was grouped as a single region.

The consensus is that the current name derives from “Apalachee” (App-uh-latch-ee), the Spanish romanization of the name of a Native American people that lived in the Florida Panhandle, though exactly upon which expedition the Spanish encountered these Indigenous people is debated. Either way, variations of the name – such as “Apalachen” – began appearing on Spanish maps of the area in the 1560s. By the 1700s, the name was used to refer to the southern section of the mountain range, and the name “Appalachia” was eventually used for the entire mountain range by the end of the 19th century.

A vintage map focused on the Carolinas and Georgia, with Virginia  showing at the top of the map. Various regions, rivers, and other topographical features are marked, including the Appalachian Mountains chain, which are marked as Apalachean Mountains.

A map from the mid-1700s with “Country of the Apalaches” and “Apalachean Mountains” labeled. Found on, source: David Rumsey, Historical Map Collection, Carolina and Georgia (by Emanuel Bowen and John Gibson, 1758)

Southern Appalachia and Northern Appalachia may share a general geographical continuity, but could not be more different regarding culture, accents, and media portrayal. Popular media often makes a mess of the south, frequently portraying it as feral, uneducated, and backward. The way we speak appears to be particularly hard for Hollywood to nail down. Take, for example, Brad Pitt’s questionable “Smoky Mountain” accent in the 2009 film Inglorious Basterds. Southerners with a keen ear would have no trouble differentiating the tight Appalachian accent of someone like Dolly Parton from the hazy drawl of popular characters like Scarlet O’Hara. However, both of these accents can be heard in the beloved 1989 film Steel Magnolias – from Parton herself (Tennessee) and Julia Roberts (Georgia) respectively. To complicate matters even further, the film takes place in Louisiana, a linguistically and culturally distinct geographical area.

There are people living in Northern Appalachia – and beyond – who say “App-uh-lay-shuh.” Those people are not wrong, even though that is not how I say it. Just like there is no single southern accent, there is no single Appalachian identity. The fact that I grew up in East Tennessee is the main reason I say “App-uh-latch-uh.” Southern Appalachia is very much its own beast with its own culture, stereotypes, and – yes – dialect. The way we speak is as much a part of our way of life as the food we eat, the stories we tell, and the music we make. Just like sharing music can bridge the gap between people of two different cultures and heritage, so can something as simple as saying the name of our home the way we say it.

In other words: When in Southern Appalachia, do as the Southern Appalachians do.

Writer Sharyn McCrumb opines on the ways to pronounce “Appalachia.”

Safer Travels to Bristol, Above and Below!

Exploring the Birthplace of Country Music & Beyond

In our previous blog post, Walk the Line in Bristol, TN-VA, we offered an itinerary of must-sees if you’re looking for a safe weekend getaway to the birthplace of country music. In that article we hit a lot of highlights, but there is definitely more to see in Bristol and the surrounding area! Read on to discover what else there is to see when visiting:

A young girl with long braids stands up in her seat to take in the view of a NASCAR race at Bristol Motor Speedway.
Racing at Bristol Motor Speedway is a bucket list event the whole family will enjoy!
Photo courtesy of Bristol Motor Speedway

Bristol Motor Speedway

NASCAR drivers and fans alike will tell you that there is nothing so thrilling as a race on the high banks at Bristol Motor Speedway. Known as “The Last Great Colosseum,” BMS has been a main attraction in Bristol since its very first race in 1961 – and there isn’t a bad seat in the house! BMS has taken enhanced safety measures for fans, drivers, crew, vendors, employees, and other guests to help keep everyone safe from COVID-19. Check out their policies by clicking here.

A black Corvette competes in Bristol Motor Speedway's Thunder Valley Street Fights event.
Street Fights at Bristol Motor Speedway’s Thunder Valley.
Photo courtesy of Bristol Motor Speedway

Bristol hosts races in several NASCAR touring series, including two major NASCAR Cup Series. Legendary drivers like Dale Earnhardt, Darrell Waltrip, Richard Petty, Jeff Gordon, and many more have all earned victories at the track, and – whether you are a sports fan or not – we highly recommend adding a night race at Bristol to your bucket list. If you have a camper, there are campgrounds all around the track where you can tailgate and celebrate or commiserate with fellow fans. The track hosts amazing vendors and special events all around the facility throughout race weekend to keep the family entertained. Between NASCAR events, BMS’s Thunder Valley dragway hosts NHRA Drag Racing, dirt track racing, and street fight racing events that are high-octane adventures all their own!

A stunning view of the Underground River inside Bristol Caverns.
The breathtaking Underground River inside Bristol Caverns.
Photo courtesy of Bristol Caverns

Bristol Caverns

If you think Bristol is amazing on the surface, just wait until you explore what’s underneath at Bristol Caverns! Formed by the ancient Underground River 200 to 400 million years ago, Bristol Caverns is one of the oldest and most beautiful attractions in Northeast Tennessee.

A lit and gated pathway inside Bristol Caverns.
A lit walkway inside Bristol Caverns highlights the beauty underground.

Legend has it that Native Americans used the caverns as an escape route during clashes with settlers. Cameras are welcome, and you’ll definitely want to glimpse back upon the wonderous and dramatic sights found inside all three levels of the colorful chambers that wind 180 feet below to the cavern floor. Bristol Caverns is opened year-round, seven days a week (except certain holidays). Call ahead to book a tour and inquire about health and safety rules for social distancing in the wake of COVID-19: 423-878-2011.

Beyond Bristol
To make the most of your experience, we highly recommend taking time to visit a few other sites in the region:

  • Bays Mountain Park & Planetarium
    Just down the road in Kingsport, Tennessee, Bays Mountain Park & Planetarium offers a plethora of nature- and science-focused adventures including hiking trails, a state-of-the-art Planetarium Theater, and animal habitats including wolves, bobcats, raptors, and reptiles.
  • Barter Theatre
    Barter Theatre opened in Abingdon, Virginia, in 1933 and is the longest-running professional Equity theatre in the United States. Also the State Theater of Virginia, the Barter got its name because theatergoers were able to pay for tickets to shows in vegetables, dairy products, and livestock. Known as a launching pad for the careers of many iconic actors and actresses and its award-winning productions, the Barter is making use of the outdoor Moonlite Drive-In to host shows during the pandemic.
  • Hands On! Discovery Center and Gray Fossil Site
    The Hands On! Discovery Center at Gray Fossil Site is an all-ages science center full of fun and interactive exhibits including a musical Tesla coil, giant building blocks, a three-story Paleo Tower, and an art studio. Guests are invited to engineer a rocket, create a masterpiece, and get up close and personal with an active fossil dig site dating back 5 million years. The facility is open with modified COVID-19 safety precautions and an adjusted schedule for your safety.

Want to know more about exploring Bristol, Northeast Tennessee, and Southwest Virginia? Visit our partner websites and plan your trip!

Discover Bristol 
Believe in Bristol 
Northeast Tennessee Tourism Association
Visit Southwest Virginia 

Earth Day 2020: Sustainability, Museums, and Their Communities

Today is Earth Day – and not just any Earth Day, but the 50th anniversary of Earth Day – a date that is traditionally marked by environmental action and conversations about sustainability.

In this time during a devastating pandemic, where each day seems to last a year in itself, thinking about sustainability can be difficult. However, we in the museum community still need to look towards the future and plan to meet that challenge. First, as museum professionals our job is to preserve and interpret cultural objects or intangible heritage – from vintage sheet music to the tune and lyrics themselves. This is why we exist, receive donations, and are funded by tax dollars, corporate monies, and private contributions. The mission of a museum is to hold the public’s trust utilizing ethical, educational, and sustainable methods, and to measure plans for the future so as to never lose that public trust and support.

Second, in a world besieged with climate change, water shortages, trash pile ups, and other environmental impacts, museums need to look to the future to further assist their communities – and to preserve their own holdings – by demonstrating proactive sustainable measures. As a representative of their town, city, or other local area, museums must do their part and continue their role as public educator.

So what things can we do to help while working in a museum? First, a few simple things, amongst others: recycle, use less water, watch our paper use (e-newsletters are our friend!), reuse what we can (wash the plastic forks after an event), make good choices in our supplies, and monitor our electricity usage as far as possible – for instance, using LED lights in exhibit cases not only conserves energy but it helps to preserve artifacts. And sustainability can also be addressed in larger ways. For example, some museums are being redesigned to be more environmentally friendly, or in some cases completely carbon-neutral such as the new science museum being built in Lund, Sweden.

Looking up towards the glass ceiling of the building, the photo shows several colorful birds (blue, green, pink, orange, and red) in flight made of plastic bottles.

This display called Birds of a Feather is by Patti Lawrence. Made out of reused plastic bottles, it highlights environmental issues. Photo courtesy of Kingsport Office of Cultural Arts and the City of Kingsport Higher Ed. Center

And as central educational centers for the public, what we do to lessen our environmental impact is viewed by our public. Those of us whose mission intersects with the natural and scientific world can, of course, produce programming and exhibits that teach environmental care and principles. But even if our mission is not focused that way – for example, a music museum like us – leading by example is another pathway to sharing sustainability goals and actions with our community. We can even use what we know to assist those in our community take similar steps. For instance, through BCM’s festival branch, our Green Team works to make green changes and encourage recycling at our annual music festival.

And so, museums today are working on a better future environmentally and taking what steps we can to help. But besides this, what other goals can museums express for sustainability? We hold collections of culture, science, and art – tangible and intangible – and educate the public on their value, for those here now and for generations afterwards. But to continue to exist and be relevant, we need to be responsive to changes in our world. In what ways can we do this? To answer this, museums are going to need to fully open their doors, all too often appearing, at least to some, as intrusive monoliths in a city’s landscape compared to the daily activities performed around them. For instance, the Georgian-styled archives, the Greek Revival art museum, etc. A redesign is needed by many institutions, not just of their façade, but of how the community views the museum itself.

We in museums have to ask many, many, questions. Who is our audience? What are their expectations? Where do we fit in our community? And how can we help? How can we sustainably preserve the history, art, and cultural heritage for future generations? How can we make our mission resonate with different ethnic, religious, and cultural groups? How do we not become obsolete in a quickly changing world?

A picture of the Louvre's front facade with the glass pyramid Louvre extension in front of it.

The Louvre Museum and Pyramid, a temple next to a modern interpretation of a temple.
Photo by Yeo Khee on Unsplash

Even during this time of Covid-19 taking over our “normal” lives, museums are proving how necessary they are. Yes, most – if not all – are closed, but still they are active in their communities. Some are offering their large parking lots for testing or food pickup. Many museum professionals are assisting with supply gathering or sewing of masks. Museums are using social media and their own websites to offer activities for children (and adults) now at home full time, or to demonstrate science experiments, or to show virtual exhibits. And the public is responding and consuming all this extra content with gusto. And while doing so, museums are still deemed important and needed, even when closed. Hopefully, due to these creative and innovative ways museum professionals are still interacting with their audiences, people will return when we open back up.

And our communities will continue to support us as we evolve with our community. Sustainability is based on change, resilience, and an understanding that normal can shift to something new in the face of different attitudes, resources, situations, and perspectives. This can be seen right now as we are all dealing with the uncertainties of this pandemic – in the midst of this, museums are proving that they can work with other organizations and community partners to help and be relevant, even with their doors closed to the public. The future is more uncertain than ever right now, but we museum professionals are on the front lines and will continue to assist our communities in many diverse ways.

And so, on this 50th anniversary of Earth Day, we will continue to search for other methods we can help lessen our negative impact on the environment and plan for future changes our museum can do such as updating an HVAC system or using natural light to illuminate and heat the museum. But as well, we will reach out to our community, and the community of museums, schools, libraries, and other institutions, to set programs and exchange ideas on how we can have a better impact on our audiences and – well, the whole earth – to sustain our importance and social need. 

For more information, here are some great resources: Principles for Sustainable Museums; Sustainability and Museums; and Museums, Environmental Sustainability, and Our Future.

Be a Part of the Birthplace of Country Music at Home!

We are living in extraordinary times right now, making many feel unsettled and anxious as we face a host of uncertainties. For me, music often acts as a balm to troubled thoughts and worries, and so while the museum is closed and we are all working to protect each other, we wanted to share a variety of ways that you can experience the Birthplace of Country Music at home by connecting with us through music, stories, activities, and history!

Radio Bristol

While our DJs aren’t able to come into the studio for live broadcasts, we are still sharing new segments of most of our Radio Bristol programs via the dial at 100.1FM, our smartphone app, and the website. Radio Bristol is the perfect place to get your music and history fix. We’ve got daily shows like Early Morning Americana and On the Sunny Side; shows focused on regional music such as Old Kentucky Bound, Appalachian Travels, and Born in the Mountain; shows that delve into different musical genres such as Grass Cuttin’ Time, Folk Yeah!, Transmissions Under the Wire, and Hillbilly Wonderland; shows that share deep dives into music history and Appalachian tales like Mountain Song and Story, Ozark Highlands Radio, and Sound Sessions from Smithsonian Folkways; Radio Bristol’s old-fashioned radio variety show Farm and Fun Time via the Farm and Fun Time Noon Show and Farm and Fun Time Weekly; and more. For a full list of Radio Bristol offerings, including archived shows, check out this link and start listening – you are sure to find your musical nirvana!

The official graphic for Bailey George's Honky Tonk Hit Parade shows an image of Bailey wearing cowboy-style shirt and hat.

Bailey George’s Honky Tonk Hit Parade is another genre-specific Radio Bristol show. © Birthplace of Country Music Museum

Listen While I Tell

The BCM blog – Listen While I Tell: From Bristol’s Birthplace of Country Music & Beyond – is a great place to explore BCM’s work and content further. Sharing several posts each month, the blog brings you behind-the-scenes views into the work that we do each day at the Birthplace of Country Music Museum, Bristol Rhythm & Roots Reunion music festival, and Radio Bristol; content-driven stories related to early country music history; features on instruments and musicians; and explorations of the continuing music traditions in this region. For instance, you can check out our “Instrument Interviews” where different and sometimes famous instruments are asked 10 interview-style questions. Or perhaps you want to learn more about some of the artists who performed in Bristol in 1927. You can find out about our DJs’ favorite songs, albums, and musicians through “Pick 5” or “Off the Record,” or hear stories from our annual music festival. We also dig deep into our collections with our “From the Vault” posts, share insights into exhibit content and educational programming, and sometimes just look at some quirkier things. Check out the blog today – and feel free to let us know if there’s a topic you’d like to see us cover in the future!

The blog's landing page on the website has the title above, a featured post below, and then several links to recent posts underneath that.

The landing page for the Listen While I Tell blog. © Birthplace of Country Music
The BCM banjo coloring sheet includes information about the banjo's origins along with the picture for coloring in.

A BCM coloring sheet: the banjo. © Birthplace of Country Music

Museum Content

Obviously, the best way to engage with the museum’s content is to come through our doors and spend time in the permanent exhibits. However, when that’s not possible, we wanted to be sure that people had the chance to learn more about the Birthplace of Country Music Museum and the history we celebrate – and so we have created a series of content-focused videos that share short introductions into aspects of that history, enough to whet your appetite for visiting us in the future! You can check these out on the BCM YouTube channel or as they are released onto our social media pages. We are also in the process of creating some virtual content related to our current special exhibit – Real Folk: Passing on Trades & Traditions Through the Virginia Folklife Apprenticeship Program – which opened only two weeks before the museum closed due to COVID-19. We hope to have that ready that soon!

Educational and Fun Activities

Along with the content-focused videos, we’ve also started sharing educational and fun resources on our website. We have downloadable coloring sheets and activities, along with videos of a mini banjo-making craft and 78 record trivia. Check out this link to access these. And keep checking back as we hope to share more puzzles, coloring sheets, and other fun items in the future.

Radio Bristol Book Club

Each fourth Thursday of the month, four readers from the museum and the Bristol Public Library come together for a live on-air conversation about a book that ties into the museum’s content, regional and wider music heritage, and Appalachian culture and stories. Since the Radio Bristol Book Club started in 2019, we’ve read children’s and adult books, fiction and non-fiction, and all of the discussions have dug deep into the themes and questions raised in the books, the author’s style and voice, how it connects to our community or our own histories, and more. Each episode also includes related music, and we sometimes also get the chance to talk to the author! You can access several of our previous book club shows here, and we invite you to start reading with us and listen in to future shows, including Rocket Boys by Homer Hickam Jr. (April 23), Clapton’s Guitar: Watching Wayne Henderson Build the Perfect Instrument by Allen St. John (May 28), Halfway to the Sky by Kimberly Brubaker Bradley (June 24), and Charlatan: America’s Most Dangerous Huckster, the Man Who Pursued Him, and the Age of Flimflam by Pope Brock (July 23), to name just a few of the next book picks.

The four readers for the July 2019 book club are pictured around the Radio  Bristol studio mic; three readers are holding the book up.

July 2019’s book club read Will You Miss Me When I’m Gone? about the Carter Family. © Birthplace of Country Music

On-Line Performances

As a music organization, we are able to share some wonderful performances via our YouTube channel. Over the past few years, we’ve uploaded a whole host of videos of artists and bands who have performed at the museum, on Radio Bristol, and at our festival and other venues. You can access these performances here. We are also sharing Quarantine Sessions – while Bristol Rhythm and Roots Reunion is still months away, festival artists are getting together to contribute music for these special performances. You can view the videos on our YouTube channel, and subscribe and share from there! And our downtown partner Believe in Bristol is also sharing Facebook Live performances from a variety of local and regional favorites via their Border Bash Social Distancing Series. These are just another way music is bringing us all together during this time of uncertainty. Don’t forget to support these hardworking and talented artists by buying their CDs and merchandise online.

A close-up of Davina playing the keyboards, dressed all in black and with a hat. The band's trombonist is seen in the background.

Davina and the Vagabonds on the museum’s Performance Theater stage during Farm and Fun Time. © Birthplace of Country Music; photographer: Billie Wheeler

Social Media

Be sure to connect with us on social media for daily content from all three branches of the organization – the museum, festival, and radio station are all active on Facebook, Instagram, and Twitter. All of our platforms are great places to learn about “this day in country music,” the legacy of Bristol Sessions and related musicians, early links to many of our other online resources, and more.

A close-up of one of the Smithsonian garden displays where the plants have been chosen and arranged to look like an under-sea coral reef, including metal fish sculptures.

One of the many Smithsonian gardens along the National Mall in Washington, DC. Image by René Rodgers

Smithsonian Resources

The Birthplace of Country Music Museum is a Smithsonian Affiliate, and as such, we want to honor that connection by sharing just a few of the free digital resources that are available through the Smithsonian. The Smithsonian Learning Lab has a whole host of distance learning opportunities. Our personal favorite is their Smithsonian Learning Activities Choice Board, which provides several fun and educational activities related to science, social studies, culture, and the arts. There is a new issue released each week – check out Issue 3 to find one of our contributions, a songwriting mad lib, in the culture section! Another great resource is the National Museum of American History’s O Say Can You See blog, filled with great reads about American history and the amazing items and stories found in the Smithsonian collections. The Smithsonian’s newest museum, the National Museum of African American History & Culture, has created several “collections” via the Learning Lab that explore history, art, life, and culture through the African American lens. And while you’re stuck at home, it’s a great chance to grow your very own flowers and vegetables – Smithsonian Gardens has some classroom resources that can help.

Thank You!

Not being open to visitors is a strange experience for us – we miss welcoming the public through our doors to explore the museum’s exhibits, participate in our public programs, enjoy live performances, and more. While we are closed, we are committed to sharing great online content with you, a little respite from the day-to-day uncertainties. We hope that it brings a smile to your face and that you learn something new – if so, please share with your friends and networks and give us a “like.” That will give US a smile! And in the meantime, thank you for being an important part of the Birthplace of Country Music community.

A special thanks to the many museums out there creating amazing digital content while their doors are closed, especially the Field Museum whose “Experience the Field at Home” inspired this blog post.

The Origin Project: Children Telling Appalachian Stories

Every people has to have its own stories…
If we don’t have our own stories then we don’t have our own soul:
we don’t have our own deepest possession, which is ourselves and our own unfolding…
Unless we cherish and savour our own [stories],
then we’re not going to know who we are and…we’ll become strangers to ourselves…
We’ve got to hold up a mirror to ourselves and create our own stories.
                                                                        ~ Leonard N Cohen

Writing is a valuable, sometimes vital, tool in human endeavour. 

Story writing is a particular talent: the memorialisation of personal experiences, tales, and narratives bequeathed by family or friends, teachers or mentors. 

The Origin Project is an in-school writing program co-founded by best-selling author and film director Adriana Trigiani and myself, an education advocate and long-time friend. It sprouted six years ago from the idea that Appalachia’s stories are national treasures, and its children should celebrate their roots. Our program inspires young people to discover and liberate their inner voices through the craft of writing about their unique origins; it celebrates diversity and inclusion. The Origin Project provides young people with the literary tools and confidence to harvest their unique heritages; it galvanizes their curiosity about, and respect for, each other.

Left: Adriana Trigiani standing on stage at the Barter Theater with an audience full of school children. Center: Three 4th-grade students holding Cynthia Rylant's book and copies of the school project lap books. Right: Adriana Trigiani posing with a young student in the Barter Theater.
Left and right: Adri and The Origin Project students at the Barter Theatre Kickoff Celebration in 2018. Center: Flatwoods Elementary School 4th-grade reading students with lap books made in response to When I Was Young in the Mountains by Cynthia Rylant. Photographs courtesy of Linda Woodward

Starting from 40 students in Big Stone Gap, Adri’s hometown, The Origin Project has grown organically to serve more than 1,500 students in 17 schools. We regularly import renowned authors – so far, David Baldacci, Meg Wolitzer, Margot Lee Shetterly, Mary Hogan, and Laurie Eustis – to meet with the students and share their personal writing experiences. 

Each fall, our students are given a personal journal and thereafter work on multiple projects or stories that speak of and to their heritage. Their work is professionally published at the end of the year in an anthology, presented to each student and made available in school and public libraries. The Origin Project is integrated with the Virginia Standards of Learning curriculum and collaborates with each student at her/his skill level to conceive, develop, and hone ideas into short stories, poems, plays, interviews, or other art.

The cover of The Origin Project Book Four (2018), which looks like a stained glass view of the Blue Ridge Mountains.
The Origin Project Book Four, published May 2018. Photograph courtesy of Linda Woodward

It is a joyful surprise to read our students’ work, witness their growth, and observe the budding of their self-esteem. Through their creative writing with The Origin Project, our students “hold up a mirror” to themselves and thereby reclaim their “own deepest possession”: themselves and their “own unfolding.”

When Adri asked me to join her in founding The Origin Project, I had never been to Appalachia; upon my arrival, I even mispronounced its name. Over the past six years, I have fallen in love with the rolling blue mountains framing this extraordinary place that is home to magical people with unique stories to tell. Listening to students share tales of their heritage – of celebrations of Mamaws and Papaws and of personal successes and heartaches – has enriched my own life. I believe other readers of our annual anthologies experience similar reactions. Virginia has become my home-away-from-home.

Nancy sitting in a rocking chair in a school classroom, surrounded by 2nd-grade students as she reads to them.
Reading Lorraine: The Girl Who Sang the Storm Away by Ketch Secor to Flatwoods Elementary School 2nd graders. Photograph courtesy of Linda Woodward

Last year The Origin Project embarked on a collaboration with the Birthplace of Country Music. We brought a group of our students to the Birthplace of Country Music Museum to tour For All the World to See: Visual Culture and the Struggle for Civil Rights, a temporary special exhibit made possible through NEH on the Road, a special initiative of the National Endowment for the Humanities, and Mid-America Arts Alliance. The experience provided a unique opportunity for our young writers to discover, through imagery portraying eye-opening events, some of the history of the Civil Rights movement in Appalachia and beyond. As Head Curator René Rodgers guided and informed our students, we learned that much of what was portrayed in this exquisite exhibit was rarely read or discussed in their curriculum. The culmination of the visit to the museum was a poetry workshop led by Langley Shazor, poet and president of The Casual Word. Langley provided the students with typewriters to drop them into the timeframe of the exhibit, and after a lesson on how to operate them, the students created emotional, profound poems that will be published in this year’s anthology.

Left: Langley Shazor, wearing a cloth cap, and Rene Rodgers, in a plaid flannel shirt, standing in front of the opening panel to For All the World to See (a picture of Gordon Parks with his camera). Right: Langley stands behind several students working on typewriter's in the museum's Learning Center.
Left: Langley Shazor and René Rodgers talk to The Origin Project students about For All the World to See and using the exhibit’s visual imagery for inspiration. Right: Students use old-fashioned typewriters to tap into their creativity after visiting the exhibit. Photographs courtesy of Linda Woodward

In the weeks ahead, we look forward to exposing as many of our students as possible to Reading Appalachia: Voices from Children’s Literature, another temporary special exhibit on loan from the East Tennessee Historical Society and currently on display at the museum – one that will provide a priceless opportunity for them to “walk into the pages of a story of childhood in Appalachia!”

Eagerly awaiting the arrival of The Origin Project Book Five, we are busy planning five unveilings to celebrate the creations of our published authors. We are thrilled and excited to hold one of these events at the Birthplace of Country Music Museum in May. We are deeply grateful to these new partners and friends, and look forward to many collaborations in the future!

Past Music Heritage, Present-Day Learning and Fun, Future Musicians: Pick Along Summer Camp with the Birthplace of Country Music

As a group of campers were finishing up lunch one day, I was preparing to take everyone to the park for some recreation time and a bit of a mental break from their hard work. As I was about to ask who wanted to carry the sidewalk chalk, a few students approached me with a request.

“Miss Erin, instead of playing games, can we bring our instruments to the park so we can practice?”

The first time I heard this question, I was surprised and impressed by the desire of our Pick Along students to continue playing instruments rather than a game of kickball. But as the days and weeks continued, I begin to receive this request over and over again. In hindsight, I realize that it is not surprising at all that a child would want to play their instrument over other activities. Learning a musical instrument is engaging. It is a connection to others. It’s actually…A LOT of fun.

Campers enjoy the fresh air – and playing their instruments – during a break at Cumberland Square Park. © Erin Dalton

Each summer for the past four years, the Birthplace of Country Music has welcomed aspiring young musicians with an eagerness to learn more about traditional folk instruments and regional music history to our annual Pick Along Summer Camps. This is my third year working as director for these camps, and I am thrilled to share a bit about what we do here in June and July.

Pick Along Summer Camps offer an option of beginner or intermediate instruction on the camper’s instrument of choice: acoustic guitar, banjo, or fiddle. Campers are given a wonderfully engaging introduction to the old-time music that is so closely bound to the history of this region. They play and sing songs that are not only ballads and folk songs passed down through generations, but also many that were a part of the 1927 Bristol Sessions.

Throughout the camp week, campers get familiar with their instruments and playing techniques, learn to play a variety of songs, and work together as a “band.” © Erin Dalton

We start our beginner weeks by having an “instrument zoo,” where campers are given a brief introduction to each instrument offered for study. They are then assigned to their groups for the week and spend the mornings learning skills in technique, chords, melodies, and group collaboration. In the afternoons, they work with staff from the museum’s radio station, Radio Bristol, in creating their own radio program, which is recorded and played at their final group performance, which is open to their families, BCM staff, and museum visitors.

The week wraps up with performance opportunities, including the most popular one – “busking” at Blackbird Bakery. They perform tunes for all of the visitors grabbing baked goods and doughnuts. We have a great time playing and singing, and we always have requests to play more regularly! And, of course, they get a sweet treat for themselves!

Last summer, in a twist of good fate, Radio Bristol’s Farm and Fun Time program lined up with the same week as our intermediate camp. The campers created their own Farm and Fun Time Junior program and were asked to perform it during the live broadcast that Thursday evening. You can watch their stellar performance here.

One Friday, during a rare moment of downtime, several of the beginner students asked if they could share songs they had written that week. One of our special guest instructors had asked the students to try their hand at telling a story through song, which proved to be inspiring! To perform this song publicly was optional, so I was impressed with the handful that chose to stand in front of their fellow campers and not only play, but also sing their own words and music.

Campers also get the chance to play live on-air for the
weekly On the Sunny Side show. © Erin Dalton

Many of these students take their excitement and love of music outside of our Pick Along camps with continued private instrument lessons, playing local open mic nights, volunteering for BCM’s Family Fun Days, and attending community jams, including the one held monthly at the museum. Some of our campers have also been invited to play with Tyler Hughes at Bristol Rhythm & Roots Reunion and at the Southwest Virginia Cultural Center & Marketplace (formerly Heartwood) in Abingdon, Virginia (now Southwest Virginia Cultural Center & Marketplace). A handful of return campers have also worked with us as Junior Counselors, assisting instructors and working with beginner camp attendees.

Each week of camp creates its own stories and memories. There are quiet, subtle breakthroughs, and there are the exciting, flashing lights-type of moments. In the process of learning music, one is just as important as the other. I’m very grateful to be a part of this arts education program that sets the stage for big and small victories – and for a lifetime of loving to learn and play music.


It was the last day of our Pick Along Camps, and our final program had just finished. I was walking out of the museum when I spotted one of the campers walking with her family.

“Well, we’re headed to the guitar store now,” the mother called out. “We told her we would look at getting a guitar if she enjoyed playing it at camp. She couldn’t wait, so we are on our way now!”


If you are interested in signing your budding musician up for Pick Along Summer Camps, click here for more information and the application.

High-Tech Vintage: Technology and the Delivery of Old-Time Sound

January 6 is National Technology Day – and so it seemed the perfect time to explore some of the Birthplace of Country Music Museum from the technology side of things! We’ve picked five elements of the content or the museum itself that tell just a little of the technology story here:

Recording and Playback Machines

The museum shares the story of the 1927 Bristol Sessions, but it also explores how sound technology shaped their success and evolved over the years. Inventions such as recording and playback machines played important roles. For instance, in 1877, Thomas Edison invented the phonograph, which was instrumental in distributing music in the early 20th century, including the songs recorded at the 1927 Bristol Sessions. Writing an article in 1878 on “The Phonograph and its Future,” Edison listed other possible uses for his invention beyond playing music, including elocution and other educational lessons; audio books (before Audible and iTunes!); to create sound effects for children’s toys; and most intriguingly, “family records,” where the last words of dying family members could be saved for posterity, like that of other great characters of the day.

Other innovators contributed to the development of this type of playback technology. In 1881, Alexander Graham Bell invented the graphophone, an improved version of the phonograph developed by Edison, and in 1894, Emile Berliner invented the disc gramophone method, which used different machines to record and then to play back the sound. Where earlier recording and playback machines used cylinders, either coated in tin foil or wax, Berliner’s gramophone used flat disc records.

Left: Large room filled with musical instruments, a large phonograph and other equipment and furniture; center: A cylinder phonograph with rose red horn with cylinders and another machine nearby; right: A close-up showing the needle on a record disc.
Left: Thomas Edison’s Phonograph Experimental Department in the early 1890s; Center: A cylinder phonograph with rose red horn; Right: Record playing on a disc phonograph. Images are Library of Congress, Prints & Photographs Division, [reproduction number, e.g., LC-USZ62-90145] (left) and © Birthplace of Country Music (center, right)
Acoustic Design

The museum is a high-tech, interactive experience, one that is filled with music and sound. And because of that, it had to be designed strategically and carefully in order to provide the best possible experience to our visitors. For instance, the acoustic engineer advised the architects and exhibit designers on ways to define walls and ceilings to contain sound or keep it from bouncing around the open gallery spaces or the theater. The firm also worked closely with the technology team and media producers to define how the sound of each audio or audio/video production is delivered into the space. The goal was to provide an immersive experience, yet minimize unwanted “bleed” of sound between programs. Innovative acoustic wall panels and fabric mean that the acoustic technology is seamless and becomes a part of the museum experience itself, while speakers embedded underneath the pews in the chapel theater space mean that visitors feel like they are right in the middle of the congregation and they can often even feel it in their seats!

Left: The curved wall of the timeline with an oval white disc hanging above it; center: Several patrons sit in the pews of the chapel as they view the chapel film; right: The acoustic tile is a light beige color with several cut-out dots in a variety of patterns on its surface.
Left: A hanging acoustic panel above the timeline in the museum’s atrium exhibit space focuses the soundscape down towards visitors who stand in this area; Center: The sound design in the chapel helps patrons to feel like they are part of the congregation as they watch the film; Right: High-tech acoustic tile in the museum’s Performance Theater helps to make the sound experience in this space truly special. © Birthplace of Country Music, photographer: Neil Staples; © Hillmann & Carr; © Birthplace of Country Music

Orthophonic Technology

Orthophonic reproducers were an outgrowth of the electric microphones being used to record performers in the late 1920s. Electric recording captured a wider range of sound frequencies and produced recordings in which the instruments and voices sounded much more like live instruments and voices than they had on previous acoustic recordings. These reproducers were designed to be more sensitive to the nuances in the electric recordings, making the listener’s experience more pleasurable and true-to-life. The Bristol Sessions in 1927 were recorded using this process and many claimed that the Orthophonic recordings sounded even better than the live performances! Electric recording and Orthophonic machines, like later compact discs or HDTV, were a technological revolution that helped change the shape of the music industry.

Two sides of an Orthophonic reproducer -- one looks like the front of an old-time microphone, while the other bears the name Victor Ortophonic. Both sides are made of silver metal.
These Victor Orthophonic reproducers (front and back), donated by Bob Bledsoe, are the pieces of the Orthophonic Victrola that connected the record to the sound horn. A listener would insert a needle into the reproducer, which would follow the groove on the record. The groove created vibrations that were made into sound waves by the reproducer and amplified by the sound horn. © Birthplace of Country Music

The Radio Station

During the planning stage of the museum, the exhibit content team discussed ways to make the space focused on radio history into an engaging experience for our visitors. The result? Radio Bristol, a live radio station! With help from a team of radio industry advisers, BCM applied to the FCC for a low-power FM license, secured the antennae, transmitter and equipment necessary for broadcasting, and created a working radio studio in the museum. And that’s where the technology gets really interesting because the station uses vintage equipment from older Bristol radio stations, refurbished and repurposed for today. For instance, a Raytheon console from 1940s WCYB Radio, sourced from local radio buff and collector William Mountjoy, was rebuilt by engineer Jim Gilmore, retired engineer from TNN. One of the mics in the radio studio is from local station WOPI and was used by Tennessee Ernie Ford when he was a DJ there. And there are numerous ways to deliver music in the station – from a record turntable to a live recording booth to the digital ease of tablets and MP3s. The station is what we call high-tech vintage!

Left: A view of the radio station from outside the booths showing a DJ in the smaller room to the left and a band recording live in the larger space to the right; center: A view of the console, turntable, and other equipment in the DJ booth; Right: A musician on banjo plays while Martha Spencer flatfoots live on the Farm and Fun Time stage.
Left and center: The radio station in the museum has a booth for the radio DJ and a larger room for performers and musicians to record live; the DJ booth is fitted out with 1940s equipment upgraded to digital capability. Right: Live performances in the Performance Theater, such as this Farm and Fun Time show, can also be broadcast live from the museum and streamed on Facebook. © Birthplace of Country Music (left and center); © Birthplace of Country Music, photographer: Billie Wheeler

Technology Lessons

Finally, sometimes the technology isn’t an object from our collections or an innovative way to present the museum’s content. Rather it is found in educational programs where we share the story of that technology. For instance, for the past two years, museum staff and volunteers have participated in the Kingsport Mini Maker Faire where we have presented information about the museum’s exhibits and engaged in a variety of sound demonstrations, including an example of amplification and a homemade Chladni plate! We also offer a “History of Listening” lesson, available in the museum and to schools and other groups. Throughout history music has been experienced in a variety of ways, especially as advances in technology have developed over time. This lesson explores these technological changes and then compares how listening to music transitioned from being a mostly community-based activity, often through live performance, to listening either alone or together in person via technology and the virtual environments of cyberspace.

Left: A young girl listens to an explanation of amplification while looking at the equipment held by the head curator; Top right: A metal plate covered in blue sand sits between a museum volunteer and a young girl in one picture while the second shows the geometric pattern formed by the sound from the sound waves that have been directed to the metal plate; Bottom right: A drawing of the acoustic and electric methods of recording on a white board at a school in the first pic, while the second pic shows two tables bearing a variety of different playback machines such as a record player, a CD player, a tape player, and several cylinders and records.
Left: Museum head curator Rene Rodgers demonstrating sound amplification to a young visitor at the Kingsport Mini Maker Faire in 2017. Top right: Museum volunteer Matt Wood explains the Chladni plate to a child at the Kingsport Mini Maker Faire in 2018; the resulting pattern produced by sound waves. Bottom right: A basic drawing (very basic!) to differentiate the acoustic and electric recording methods during the “History of Listening” lesson at a local school; museum staff and volunteers demonstrate the lesson to teachers during a summer in-service. © Birthplace of Country Music



Reading is Music to the Ears!

Each year on September 6, bookworms across America celebrate National Read A Book Day. Though this is a fine thing to celebrate, reading is, of course, important and pleasurable every day of the year. If one wants to learn more about country music history, what better place to start than with a book? While you can find all of the selections below through online sellers, these and other fine selections can also be found at the Birthplace of Country Music Museum in our museum store – so stop on by and pick one up. Here are just a few of my favorites to get you started!

Cover image of Country Music Originals showing the title and two pictures of country music singers/bands.

Country Music Originals: The Legends and the Lost by Tony Russell

If you want to learn more about the important players in the world of country music, Tony Russell’s Country Music Originals is a great place to start. World-renowned scholar Russell presents biographies of figures in country music from the earliest days of recordings until the late 1940s. Highlighting superstars such as Jimmie Rodgers and The Carter Family and celebrating obscure figures such as Bernard “Slim” Smith and John Dilleshaw, Russell provides articles that are short enough to be approachable for the casual reader, but also in depth enough to spark interest for further reading. It’s a great place to start your country music reading journey!

Cover image of Don't Give Your Heart to a Rambler showing title and the author with Jimmy Martin.

Don’t Give Your Heart to a Rambler: My Life with Jimmy Martin, the King of Bluegrass by Barbara Martin Stephens

While bluegrass music is widely regarded as having been born in late 1945, one could argue that the music did not achieve the “high lonesome” sound until a young guitar player and singer from Sneedville, Tennessee, joined Bill Monroe’s Bluegrass Boys in late 1949. Jimmy Martin is widely regarded as “The King of Bluegrass” and is one of most charismatic and controversial figures in bluegrass. Don’t Give Your Heart To A Rambler was written by Barbara Martin Stephens, Martin’s longtime partner and the driving force behind his rise to success in the music business. Barbara spares her readers no gritty details as she gives an inside look into life with the King. Through all the abuse and hardship she suffered in her personal life, Barbara was still able to become the first female booking agent on music row. Nothing short of inspiring, this book is a must-read for all bluegrass fans and those interested in women in country music.

Cover image of Dixie Dewdrop showing title and Uncle Dave Macon playing the banjo.

Dixie Dewdrop: The Uncle Dave Macon Story by Michael D. Doubler

Uncle Dave Macon is one of the most iconic figures of early country music, and his style of banjo playing and showmanship has inspired countless musicians – and so Dixie Dewdrop tells the story of one of country music’s first stars. Michael Doubler, the great-grandson of Uncle Dave, spins a narrative that ties together Uncle Dave’s personal life and the music and culture of the world in which Uncle Dave lived, giving readers a glimpse into a different side of this legendary performer. If you’re curious about this book and Uncle Dave Macon, you can join Doubler at the Birthplace of Country Music Museum at 1pm on Sunday, November 4 for a special talk and book-signing.

Cover image of In Tune showing title and pictures of Charley Patton and Jimmie Rodgers.

In Tune: Charley Patton, Jimmie Rodgers and the Roots of American Music by Ben Wynne

Before record companies began marketing music to specific audiences, music flowed across cultural lines, and the line between traditional African American and white rural music was blurred. With the wonderfully informative In Tune, Ben Wynne compares and contrasts these two giants of roots music within that context. Both men were born in Mississippi around the same time, and both passed away much too early in their musical careers and their lives, dying within a year of each other. Though from separate sides of a deeply segregated society, these men lived hard lives and had experiences that were remarkably similar. This book provides commentary on the social dynamics that shaped country music, and it gives readers a detailed look into the lives and legacies of these two important figures.

Cover image of Linthead Stomp with title and picture of banjo player.

Linthead Stomp: The Creation of Country Music in the Piedmont South by Patrick Huber

Geography and country music go hand-in-hand, and regionalisms are part of what makes early country music so diverse. Bristol with its significant music history is heralded as the “Birthplace of Country Music,” but in reality, American roots music was shaped all across the nation. Patrick Huber explores the impact of textile mills in the Piedmont region of the Carolinas in Linthead Stomp. With a high population of displaced rural southerners seeking work in the mills, a new market for early country music entertainment was opened. Rural music moving to town also changed the music, and the changes that were taking place in the 1920s and 1930s in the Piedmont set the stage for country music as we know it. This book is a must-read for anyone interested in the commercialization of country music.

Cover image of Country Music Records with pictures of various record labels and the title.

And finally a “special mention”: Country Music Records: A Discography, 1921–1942 by Tony Russell

All of the books previously mentioned are easily digestible reads for the casual country music fan. However, if you find yourself hungering for all the facts about early county music records, this is the book for you. Roughly the size of your local phone book and twice as dense with information, this book contains the dates, locations, and personnel of every commercial country record recorded before 1942. A must have for any diehard country music fan and connoisseur of fine shellac.

So…I’ve given you my favorites. Now tell us: what are your favorite music reads?!