Jerron Paxton

and had to leave Joe's instruments behind then, so nobody too much younger than her, which she was the oldest, which, shoot, that includes everybody. Nobody younger than her really remembers Joe playing any instruments, but she remembers seeing a banjo on the wall and hearing the sounds of it and guitars and fiddles and things like that.

I don't know how great a musician he was, but she knows he played them.

I don't know how great a musician he was, but she knows he played them.

I don't know how great a musician he was, but she knows he played them.

This banjo I brought with me here is one I've been playing for a while. It's an 1848 model banjo, a stickter model banjo, as they call it. They don't know how popular these things got, but I like the way they're constructed. They tend to produce a mighty sound.

This banjo I brought with me here is one I've been playing for a while. It's an 1848 model banjo, a stickter model banjo, as they call it. They don't know how popular these things got, but I like the way they're constructed. They tend to produce a mighty sound.

This banjo I brought with me here is one I've been playing for a while. It's an 1848 model banjo, a stickter model banjo, as they call it. They don't know how popular these things got, but I like the way they're constructed. They tend to produce a mighty sound.

All right. The stroke style is what they called in books published at the time is I guess what they call claw hammer banjo now or frailing or whatever. And I think most of those words can be traced back to none other than the great New Yorker Pete Seeger. Pete Seeger had a big influence on banjo culture, much bigger than he's given credit for.

All right. The stroke style is what they called in books published at the time is I guess what they call claw hammer banjo now or frailing or whatever. And I think most of those words can be traced back to none other than the great New Yorker Pete Seeger. Pete Seeger had a big influence on banjo culture, much bigger than he's given credit for.

All right. The stroke style is what they called in books published at the time is I guess what they call claw hammer banjo now or frailing or whatever. And I think most of those words can be traced back to none other than the great New Yorker Pete Seeger. Pete Seeger had a big influence on banjo culture, much bigger than he's given credit for.

which I think includes finding those words and making them ubiquitous among banjo players. But the stroke style is you stroke the string with the tops of your fingers rather than picking it like that with each individual finger. You hit it with the top. And you can hear, like, the difference between picking and...

which I think includes finding those words and making them ubiquitous among banjo players. But the stroke style is you stroke the string with the tops of your fingers rather than picking it like that with each individual finger. You hit it with the top. And you can hear, like, the difference between picking and...

which I think includes finding those words and making them ubiquitous among banjo players. But the stroke style is you stroke the string with the tops of your fingers rather than picking it like that with each individual finger. You hit it with the top. And you can hear, like, the difference between picking and...

Each one of those stroke notes have a little bit punchier sound and you combine that with the way you play with your thumb and you get a nice cross-cultural reference here.

Each one of those stroke notes have a little bit punchier sound and you combine that with the way you play with your thumb and you get a nice cross-cultural reference here.

Each one of those stroke notes have a little bit punchier sound and you combine that with the way you play with your thumb and you get a nice cross-cultural reference here.

Well, I'd had trouble with my peripheral vision my whole life. But then I had two different eye diseases that start to mess with my central vision. And once that started to happen, the problems with my peripheral vision got to be bigger. pretty unavoidable and, you know, in some places got to be a little bit hazardous, you know.

Well, I'd had trouble with my peripheral vision my whole life. But then I had two different eye diseases that start to mess with my central vision. And once that started to happen, the problems with my peripheral vision got to be bigger. pretty unavoidable and, you know, in some places got to be a little bit hazardous, you know.

Well, I'd had trouble with my peripheral vision my whole life. But then I had two different eye diseases that start to mess with my central vision. And once that started to happen, the problems with my peripheral vision got to be bigger. pretty unavoidable and, you know, in some places got to be a little bit hazardous, you know.

I don't know if you know, but people from South Central, especially during the day and time I grew up, we didn't move too much. And Los Angeles being a big driving culture, you sure didn't walk any place. You know, I left as an 18-year-old having, I think, maybe walked a mile in my neighborhood and could count the times I did that on one hand.