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Earl Scruggs and Foggy Mountain BreakdownThe Making of an American Classic$
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Thomas Goldsmith

Print publication date: 2019

Print ISBN-13: 9780252042966

Published to Illinois Scholarship Online: September 2020

DOI: 10.5622/illinois/9780252042966.001.0001

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PRINTED FROM ILLINOIS SCHOLARSHIP ONLINE (www.illinois.universitypressscholarship.com). (c) Copyright Illinois University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in ISO for personal use.date: 31 July 2021

The Number-One Banjo Player

The Number-One Banjo Player

(p.72) 10 The Number-One Banjo Player
Earl Scruggs and Foggy Mountain Breakdown

Thomas Goldsmith

University of Illinois Press

Bill Monroe’s opposition meant that for years Flatt and Scruggs would lack the coast-to-coast coverage of Opry station WSM’s 50,000-watt signal. Instead, they played stints at regional stations. By 1953, they once again were being heard over WSM radio, though not on the Opry. Through the second half of the 1950s, the factors for another level of stardom came together for the band—a new record company, repertoire, songwriting, performance, band lineup, presentation, publicity, and business operation. By mid-decade, Louise Scruggs was managing the band from the family home on Donna Drive in the Nashville suburb of Madison. Scruggs’s banjo work gained thoughtful, skilled followers such as Ralph Stanley and Sonny Osborne from country backgrounds and Mike Seeger and Eric Weisberg from the city side.

Keywords:   Earl Scruggs, banjo, Murray Nash, Bill Monroe, Foggy Mountain Breakdown, Josh Graves, Paul Warren, EP Tullock, Mike Seeger, Ralph Stanley

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