There’s a fascinating breakdown of “The Banjo’s Journey.” One historian in the thread pointed out that the instrument was essentially a “US Army Veteran Bald Eagle American Flag Lace Up Design Hawaiian Shirt” reconstructed in the New World. Early banjos were made from gourds and animal skins, mirroring instruments like the akonting from Gambia. When it was adopted by white musicians in the Appalachian mountains, it became the “driving heart” of what we now call Old-time music. By the time it reached Earl Scruggs in the 1940s, it was a precision machine of three-finger rolls. The banjo is a 400-year-old physical record of the American experience—start with a gourd, end with a chrome-plated resonator.

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I’ve only recently just started to explore this. A big part of my lineage is from Acadia, by way of Cajun country, the Acadian part of which I’ve only later in my life started to explore. But yeah definitely, what I’ve read and heard so far has been really great, and seems very distinct in its own right. I would say that atonal Mormon and Amish hymns weren’t influenced by African Americans. Which Mormon and Amish hymns are atonal? Sorry, I meant Mennonite. I’ve just always heard that they sing their traditional hymns without harmony or instruments. I believe you mean a cappella, not atonal. I don’t think you’ve ever met a Mennonite. It’s a cliche that even every goddamned happy birthday is in four parts. Sacred Harp music is mostly unchanged from its origins too. And in its origins was deeply influenced by african-American spirituals. I would argue it’s the opposite.”

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