Monday, August 8, 2016

The Reality of Voting 3rd party in 2016

As this country chooses a President, we are faced with deciding between two candidates that both have historically high negative ratings. If you go anywhere near social media political posts you'll notice people are practically screaming their refusal to vote for either Trump or Clinton and will, instead, vote 3rd party. In most elections these well-intentioned voting protesters are brushed aside beside the 9/11 truthers and chemtrail conspiracy theorists. In some years, when a 3rd party actually influences an election, such as Perot in 1992 and Nader in 2000, the 3rd party voters rest easy thinking they've sent a strong message to the party elites that will fundamentally reshape the party, which, unfortunately, never seems to happen.

But in 2016, with serial-liar and sociopath Donald Trump one election mishap away from being able to launch nuclear weapons toward someone that insulted him on twitter, the 3rd party voting option becomes a matter of public safety (and for once we can use that phrase in the literal sense.)

Writer Clay Shirky has written the best piece about what 3rd party voting actually means that I've seen yet. Good writing has the power to alter your choice or behavior, great writing has the power to blow through the walls of the reinforcing narratives we continuously tell ourselves so we can make a more enlightened decision. This, I believe, is the latter.


There’s No Such Thing As A Protest Vote
(Italics emphasis mine)

We’re in the season of protest vote advocacy, with writers of all political stripes making arguments for third-party candidates (Jill Stein, Gary Johnson), write-in votes (Bernie Sanders, Rod Silva), or refusing to vote altogether (#NeverTrump, #BernieOrBust.) For all the eloquence and passion and rage in these arguments, however, they suffer from a common flaw: there is no such thing as a protest vote.

The authors of these pieces rarely line up their preferred Presidential voting strategies — third-party, write-in, refusal — with the electoral system as it actually exists. In 2016, that system will offer 130 million or so voters just three options:

A. I prefer Donald Trump be President, rather than Hillary Clinton.
B. I prefer Hillary Clinton be President, rather than Donald Trump.
C. Whatever everybody else decides is OK with me.

That’s it. Those are the choices. All strategies other than a preference for Trump over Clinton or vice-versa reduce to Option C.

People who believe in protest votes do so because they confuse sending a message with receiving one. You can send any message you like: “I think Jill Stein should be President” or “I think David Duke should be President” or “I think Park Eunsol should be President.”

Similarly, you can send any message you like by not voting. You can say you are sitting out the election because both parties are neo-liberal or because an election without Lyndon LaRouche is a sham or because 9/11 was an inside job. The story you tell yourself about your political commitments are yours to construct.

But it doesn’t matter what message you think you are sending, because no one will receive it. No one is listening. The system is set up so that every choice other than ‘R’ or ‘D’ boils down to “I defer to the judgement of my fellow citizens.” It’s easy to argue that our system shouldn’t work like that. It’s impossible to argue it doesn’t work like that.

This is frustrating, of course, but that’s how our Presidential elections are set up. Democracies alternate the coalition in power, but different systems do so in different ways. In multi-party systems, voters get the satisfaction of voting for smaller, ideologically purer factions — environmental parties, anti-immigrant parties, and so on. The impure compromises come when those factions are forced to form coalitions large enough to govern. The inevitable tradeoffs are part of the governing process, not the electoral process.

In America, by contrast, the coalitions are the parties. Our system also produces alternation of power, and requires compromises among competing interests, but those compromises happen within long-standing caucuses; issues come and go, but the two parties remain. This forces the citizens themselves to get involved in the disappointing tradeoffs, rather than learning about them after the fact. No one gets what they want in a democracy; two-party systems simply rub voters’ noses in that fact.

People who plan to throw away their vote on Option C usually argue that their imagined protest won’t be futile, by offering one of three theories of change: their protest will work as a boycott, or as a defection, or as a step to third-party victory.

The first theory of change, the boycott, assumes that if people simply refuse to vote, it will threaten the establishment with loss of legitimacy. This will in turn cause that establishment to become more responsive to the demands of the boycotters.

Boycotts can work in countries where voting is mandatory, because not voting can be an act of civil disobedience. In the United States, however, voting is not and has never been required. (Our elites have always preferred minimal participation, and laziness is a cheaper tool than suppression.) In Presidential elections, non-voters always outnumber voters who choose the winning candidate. With that much passive non-participation, active non-participation gets lost.

The second theory of change is defection, where voters believe they can force a loss on either the Democrats or the Republicans, and thus make that party adopt their preferred policies, rather than face another such loss in the future.

Damage from defection has sometimes happened, as with James Weaver taking votes from Benjamin Harrison in 1892, but the two most widely-discussed recent cases — Ross Perot taking votes from George H.W. Bush in 1992 and Ralph Nader from Al Gore in 2000 — are not clear cut. In Perot’s case, he drew votes from Clinton and Bush; in Nader’s case, it’s not obvious how many of his voters would otherwise have stayed home.

Furthermore, even in rare cases where there was the damage, the losing parties did not heed the defecting voters: the Republicans did not become notably friendlier to urban workers after Weaver, nor did the Democrats become more notably anti-corporate from the perceived threat of Nader.

The third theory of change from protest voting is the obvious one: outright victory. This has never happened. Third-party candidates come in third, for the obvious reason.

In two centuries of American politics, only 54 such candidates have ever received over one vote in a hundred. None won, and the only second place loss, Teddy Roosevelt, had already been President twice, before he ran as an outsider against his hand-picked successor, William Taft. He failed at the election, but succeeded in splitting the Republican vote so badly a Democrat became President for the first time in twenty years.

It’s clear why third-party candidates want votes, but it’s not clear why voters would want third parties. The Green Party, for example, hasn’t elected so much as a member of Congress, much less fielded a credible Presidential candidate, and their organization does no actual environmental work. Greenpeace helps the environment more in any given week than the Green Party has in its entire existence, a problem common to third parties generally. If you’re a Libertarian, you’re better off donating to Cato than voting for Gary Johnson. If you’re a paleoconservative, you’re better off donating to the Rockford Institute than voting for Darrell Castle.

This is the legacy of protest votes: None of the proposed theories of change change anything. Boycotts don’t work, since non-voting is a normal case. Defection elects the greater of two evils from the voter’s point of view — and that’s if it works — while doing little to the parties. And victory never happens; not one third-party candidate has ever won, or come close. Advocates of wasted votes don’t bring up this record of universal failure, because their votes aren’t about changing political results. They’re about salving wounded pride.

Throwing away your vote on a message no one will hear, and which will change no outcome, is sometimes presented as ‘voting your conscience’, but that’s got it exactly backwards; your conscience is what keeps you from doing things that feel good to you but hurt other people. Citizens who vote for third-party candidates, write-in candidates, or nobody aren’t voting their conscience, they are voting their ego, unable to accept that a system they find personally disheartening actually applies to them.

The people advocating protest votes believe they deserve a choice that aligns closely with their political preferences. With 130 million voters, hundreds of issues, and just two candidates, this idea doesn’t even make mathematical sense, much less political sense. No matter who you are, voting isn’t about you. You are not promised a candidate you love, or even like, because no one is guaranteed that. Presidential voting is an exercise in distinguishing the lesser of two evils. Making that choice is all that’s asked of us, and all that’s on offer.

Picking the lesser of two evils is an easy choice to dislike (who likes it?) but when a winning candidate has to appeal to 65 million or so citizens with diverse interests, that’s a forced move for most voters most of the time. People who choose Option C aren’t being purer about their political choices — they’ve abandoned politics altogether. (The strategy of voting third-party in safely red or blue states just makes this explicit; those voters only indulge their fantasy that their vote will make a difference if they’re guaranteed it won’t.)

None of this creates an obligation to vote, or to vote for one of the two viable candidates. It is, famously, a free country, and you can vote for anyone you like, or for no one. But if you do, don’t kid yourself — and certainly don’t try to kid anyone else — that you are creating some kind of positive political change. Noisily opting out as a way of demonstrating your pique is an understandable human act. It’s just not a political act. It’s an elaborate way of making the rest of us do the work of deciding.

__________________________________________________________________________

We don't need a 3rd party revolution, we need a voting revolution in the primaries and in the state and local races.  We need to support strong, principled leaders year after year, not the attention seeking political whores that only pop up every 4 years to suckle on the anger of the American people. I guarantee that if you make the effort you will find young, smart, hardworking people in your state legislature that are barely clinging on to their office because so few people vote in non-presidential years.  If you want a political revolution, that's where we should start.    

--Brian Paul Swenk

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Thursday, August 4, 2016

Top 5 Greatest Opening Ceremonies of the Olympic Games

Writer Aamna Mohdin ranked the top 5 opening ceremonies for Quartz.

From hundreds of riders on horseback dramatically galloping into the stadium to the thunderous beats performed meticulously by 2,008 tightly ranked drummers, host cities pull out all the stops to set the right tone for the Olympic Games.

The opening ceremony provides host cities the opportunity to put their culture and history on the world stage and these ceremonies have only grown more exorbitant over the years. This is Quartz’s guide to the top five ceremonies in modern Olympic history.

It’s Rio’s turn very soon–but how will compete with some of these?

5. Los Angeles, 1984

The 1984 Games were historic in many ways. They were the first not to be sponsored by the government and the only Olympic Games to have ever turned a profit. This dramatic change in the way the Olympics were financed, with public and private finances merged, brought in an unprecedented amount of corporate sponsorships, which had some impact on the ceremony.

The (perhaps biased) Los Angeles Times described it as the “greatest opening ceremony in Olympics history” and with a guy flying in with a jet pack, it’s easy to see why. Highlights of the ceremony include 84 pianists playing “Rhapsody in Blue” and composer John Williams’s theme for the Olympiad, “Olympic Fanfare and Theme”, which won him a Grammy and went on to become the signature musical theme for the Olympics.




4. Sydney, 2000

The ceremony began with a lone horseman galloping into the stadium, followed by another 120 horsemen flying the Olympic flags. The almost dream-like opening ceremony paid tribute to Australia’s natural beauty,provided indigenous Australians with their biggest-ever stage, and rocked the stadium with tap dancers moving to beats brought by immigrants from Africa, South America, and Asia.

The ceremony went down so well in Australia that one national journalist jokingly called for drug tests to be administered to “whoever conceived such an incredibly intricate and colorful arrangement.”




3. Moscow, 1980

Though only 81 nations took part in the 1980 Olympic Games the largest boycott in the history of the Olympic movement—the opening ceremony in the Soviet capital was a huge spectacle.

Over 16,000 athletes, as well as amateur and professional performers, participated in the performance. The opening included a mosaic sequence on the stadium’s eastern stands, created by thousands of participants holding sets of a painted panel, and an epic human pyramid.



2. London, 2012

The London opening ceremony was watched by an estimated worldwide television audience of 900 million. It was, as one American journalist put it, “the world’s biggest inside joke.” With a surprise-acting debut from a sky-diving queen—accompanied by her corgis and James Bond—a tribute to the state-run National Health Service, and a swarm of Mary Poppins, the opening ceremony was a tongue-in-cheek take of what it means to be British—and the people loved every moment of it.

One politician labeled it “leftie multicultural crap” and demanded more Rollings Stones and Shakespeare—he was swatted down by his own prime minister.


1. Beijing, 2008
What else was it going to be?


The Beijing opening ceremony was—without a doubt—the greatest spectacle in Olympic history. At 8 o’clock sharp, the ceremony began with a spectacular performance by 2,008 drummers—all perfectly in-sync. It also included a minor scandal as a cute girl singing was revealed to be lip-syncing, after the real singer was revealed to be unattractive enough to broadcast to the world.

The ceremony highlighted China’s greatest inventions and sent a clear message to the rest of the world: we’re powerful, we’re rich, and we’re daring you to beat what many described as “the greatest show on earth.” No-one has yet to match it.



--Brian Paul Swenk

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Wednesday, August 3, 2016

Ep. 11 of LBC Podcast--Lee Crumpton of Home Grown Music Network

**If you're new to podcasts, check out the explanation at the bottom of the page**

In this episode we talk to Lee Crumpton, the owner of Home Grown Music Network. Lee has been one of the most influential people in the southeastern music scene for the last 20 years. He talks about chasing down his passion for music by becoming a DJ--both the party and radio kind--at an early age and how that led him to forming a record label and working with some of the best bands in the nation.

We also talk about what it takes for bands to expand their reach beyond just a couple of states, as well as what he sees for the future of his company.


We listen to three songs:
"Damn!" by The Motet
"The Shadow" by The College Conservatory of Music featuring Fareed Haque and the music of Garage Mahal
"Roll River" by the first band Lee ever worked with, Purple School Bus

Download from iTunes here (and subscribe in your podcasts app!)
Android phones download from Stitcher
Or stream from Soundcloud below

________________________________________________________
We want to thank our two sponsors this week:
The Photobooth: by Andy Cox Photography
This is a full-service mobile portrait studio. Unlike those other "touch-screen" boxes they offer a professional studio photography experience with a professionally trained photographer. Prints are produced within minutes of a portrait session so that guests can leave after a session with a souvenir.

Front Porch Fest:  Sept 2-4 near Stuart, VA.
Headliners include Zach Deputy, The Hip Abduction, Laura Reed, Trongone Band and Big Daddy Love.

--Brian Paul Swenk

If you enjoy, please sign the email list on the left and follow:
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***If you are new to podcasts here is a quick explanation. Podcasts are basically a recorded radio/audio show that can be downloaded and/or streamed to your phone, tablet, or computer.  If you have an iPhone, you have a podcast app on there already. Open it and search "lonesome banjo chronicles." If you click "subscribe" the latest episode will download automatically when you're connected to wifi, or you can manually download any episode whenever you like. If you have any other type of phone, download the Soundcloud app, search for Lonesome Banjo Chronicles and you can stream from there.  Hope this helps. Thanks for the support!***

Thursday, July 28, 2016

Sarah Jarosz's new album Undercurrent is a pivotal marker in her career

Sarah Jarosz could possibly be tired of Gillian Welch comparisons (although probably not), but her music is so emotionally complex and sonically mature there just aren’t many other comparisons to be made. Her latest, Undercurrent (Sugar Hill Records), shows a singer/songwriter that’s willing to explore the depths of life, both internal and external, and craft timeless melodies around her discoveries. The bluegrassy roots out front in her early work are used sparingly here, heard more as subtle foundations, which allows her voice and raw melodic approach to carry the songs. What is out front is Sarah’s confidence and ease of exposing the nerve endings scraped raw by the ephemeral nature of young love, both true and forbidden.

I guess I'll stand right here and hold my tongue
Maybe I'm not the only one
'Cause do you feel this undercurrent
And the changing of the tides?
When I'm with you, baby
We've got everything to hide

--Everything To Hide


One of her most impressive abilities is to take under-represented acoustic instruments; such as an octave mandolin, cello, and open-back banjo, and bring forth sonically fresh sounds that are directly in the Americana music landscape, but also weave in and out of the terrestrial and angelic. (Again, there’s only one other musician comparable here--it must be lonely at the top for these two.)

Jarosz’s singing voice, which, in my opinion, seems to be overshadowed by her songwriting and instrumental abilities, is so full and natural that it easily carries the stripped down nature of these songs. In “Take Another Turn” her voice exudes the confidence of an eternal seeker “What does it mean to be hungry? / Hungry and hunting and wild / And only the best will allow you to rest / till you’re hungry again come the morning time”

In the tracks “Back Of My Mind” and “Comin' Undone” Jarosz slyly introduces us to her electric side with a pedal steel, an electric guitar, and a B3 organ, all composed and played with such taste and patience you’d be forgiven for not being consciously aware of their presence. The effect is an underlying sense of young American angst with all the genuine honesty you’d expect out of the 25 year old Jarosz.


Undercurrent is not an album about love, it’s an album that confronts the loss of love as coming-of-age requirement to be faced head-on before any possibility of real love can be realized. It’s an album that knows nothing real can ever be gained through starry-eyed romanticism, but that only embracing and understanding the depths of heartbreak can we learn who we truly are and where we are going. The realism of the emotional revelations and the surprising reminder of how much “new” can still be found within these “old” instruments makes this album not just a success, but a pivotal marker in Sarah’s long career ahead.

--Brian Paul Swenk

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______________________________________________________________


Be sure to check out the Lonesome Banjo sponsors:
The Photobooth: by Andy Cox Photography
This is a full-service mobile portrait studio specializing in festivals and private events. Unlike those other "touch-screen" boxes, they offer a professional studio photography experience with a professionally trained photographer. Prints are produced within minutes of a portrait session so that guests can leave after a session with a souvenir.

FloydFest-- July 27-31st takes place right off the blue ridge parkway near Floyd VA
Featuring Greg Allman, Warren Haynes, Bruce Hornesby, Nathaniel Rateliff, Greensky Bluegrass, The Wood Brothers, Shaky Graves. And Leftover Salmon

Front Porch Fest -- near Stuart VA, Sept 2-4. Headliners include Zach Deputy, The Hip Abduction, Laura Reed, Trongone Band and Big Daddy Love

Tuesday, July 26, 2016

The Groove and Fusion of Hip Bones' new album "The Moose Lodge Sessions"

This review was written for HomeGrown Music Network.  Buy the Hip Bones latest album, The Moose Lodge Sessions here.  

While many bands in today’s music scene claim cross-cultural and multi-genre influences, few pull it off with the ease and mastery of Hip Bones. They proudly promote some of the more interesting and apt descriptions of their music: renegade jazz, psychedelic funk, and monsters of the mashup. If you look closely, you’ll notice the album is put out on “Groosion Records,” a playful mashup of “groove” and “fusion,” the groove being the most apparent in the first 5 seconds of hitting play.

Hip Bones is made up of sax man and flutist Gary Schwantes, who also is co-producer and writes their original material; drummer Robin Tolleson, a co-producer and top drummer in the Asheville, NC scene (as well as a writer for Modern Drummer Magazine); and two bass players, Jake Wolf and Shannon Hoover. Wolf and Hoover share the touring and recording load and at times can be seen together on-stage deep in a double-bass blowout.

The opening of the album features drums and bass so solid and groovy that you can rightly assume the entire album will be something special. The opening track, “P-Stomp” (Stream this song at bottom of the page) is a Schwantes original and establishes the vision of this work as one that flirts around jazz structure and melodies without losing the danceable and very engaging rhythm and funk foundation.

It’s hard to pick out a highlight of an EP this solid, but the cover of Radiohead’s “High and Dry” could be the leading contender. While rhythmically staying true to the original laid-back vibe, Schwantes’ soprano saxophone work exposes the delicate melody to be even stronger than the Radiohead original. Some say that to cover a song you have to make it better than the original, which is not always true; to cover a song you have to find some aspect of the song and make it better, which is exactly what Schwantes does here with his punctuated phrasing of the melody. “One of the things that's always been a trademark of Hip Bones,” says Tolleson, “is to borrow from popular music and deconstruct it with a jazz attitude. We've had Beatles, Cream, Hendrix, Sting, the O'Jays, and Stevie Wonder covers on previous CDs. I like it when people don't quite get what it is at first but know it in a way--then when they realize what the song is it's like they're rewarded twice.” As a testament to the “fusion” of their “groosion,” they bring in Columbia, SC rapper Preach Jacobs to lyrically dance around the chorus and verse. The effect is subtle but seems to be the final missing piece of the puzzle, one that you didn’t even know was missing until it appears--artistry at its finest. (See Soundcloud link below)

To reach into the other side of the southern music spectrum they bring in banjo player Andy Pond (Snake Oil Medicine Show, Future Man) for some backup rhythm work on “Country Chicken,” another Schwantes original tune. Schwantes’ original songs walk a fine line of jazz phrasings that will keep the interest of earnest jazz fans, with driving, danceable grooves that’s easily accessible for fans of rock and funk. One of the cohesive factors of the musicians in Hip Bones seems to be the ability to play over everyone’s head without the need to. “We've kind of always wanted to camouflage [our jazz chops] in Hip Bones, writing and arranging with strong melodic content and keeping the rhythms strong, solid, and funky, even danceable frequently. Simplicity is beautiful. Emotion. That's what I love. Creative ways to play strong grooves. We try to avoid traditional jazz forms too -- it's interesting to vary it, interact, but remember we're playing for people,” says Tolleson.

The album ends with the monumental Grateful Dead classic “Dark Star,” featuring legendary soul singer Sidney Barnes (The Rotary Connection) on vocals. The tight drum/bass connection that starts the album and remains a constant foundation throughout jumps to the forefront on this track. Much like “High and Dry,” they find and explore an aspect of this song, the deep looping bass line and pulsating groove of the drums, that is not fully realized in the original. The combination of the flute and sax, along with Barnes’ soulful and very respectful rendition of the verses, results in a rendition that stays true enough to the original to satisfy the purist Deadhead while still being new and refreshing.

The Moose Lodge Sessions is an album that you only need one button for: play. The length of the EP is just over 34 minutes and every moment seems to be played with ease and soul. To find out more about Hip Bones and their first three albums, visit www.hipbones.net.

---------------------------------------------
Be sure to check out the Lonesome Banjo sponsors:
The Photobooth: by Andy Cox Photography
This is a full-service mobile portrait studio specializing in festivals and private events. Unlike those other "touch-screen" boxes, they offer a professional studio photography experience with a professionally trained photographer. Prints are produced within minutes of a portrait session so that guests can leave after a session with a souvenir.

FloydFest-- July 27-31st takes place right off the blue ridge parkway near Floyd VA
Featuring Greg Allman, Warren Haynes, Bruce Hornesby, Nathaniel Rateliff, Greensky Bluegrass, The Wood Brothers, Shaky Graves. And Leftover Salmon

Front Porch Fest -- near Stuart VA, Sept 2-4.   Headliners include Zach Deputy, The Hip Abduction, Laura Reed, Trongone Band and Big Daddy Love

--Brian Paul Swenk

If you enjoy, please sign the email list on the left and follow:
Facebook
Twitter













Tuesday, July 12, 2016

Ep. 10 of LBC Podcast -- Sam Calhoun from FloydFest

**If you are new to podcasts, check out the explanation and instructions at the bottom of the page**

In this episode we talk to Sam Calhoun about being one of five full time, year-around employees of FloydFest.

Download from iTunes here (and subscribe in the Podcast app on your phone!)
Or stream from Soundcloud at the bottom of the page


Sam Calhoun with co-founders Erika Johnson and Kris Hodges
Between being a stage actor in NYC, putting on hippy music festivals in Boone, NC, and trying to single-handedly change the mission of a small town newspaper, Sam's experience within the American arts and culture scene is both unique and expansive.

He talks about what happens behind the scenes at the festival, what it costs to pay all the bands, and how FloydFest almost became too commercial one year and how they've made changes to not let that happen again.

We check out three bands playing the festival this year:
Nathaniel Rateliff and the Night Sweats "SOB"   32:32
Con Brio   "Never Be The Same"   49:53
Femi Kuti "Dem Bobo"   1:16:32

Download from iTunes here (Subscribe in the podcast app on your phone!)
Android phones download from Stitcher
Or stream from Soundcloud below.

The beautiful timber-framed Main Stage set within the Blue Ridge Mountains
_________________________________________________________________________________
A big thanks goes out to the main sponsor of this show, Photobooth: by Andy Cox Photography

Andy Cox Photography is a proud sponsor of FloydFest for the second year, and will be located on the left-hand side of the main stage of vendor row. They will be offering three different instant print products: classic photostrips, a 4x6 photo collage, and single 4x6 prints, all branded with the FloydFest logo and artwork. VIP's should look for their free print coupons in their VIP swag bags!

And don't forget to check out these Lonesome Banjo Chronicles partners:
The Big What? Festival:  July 21-23 near Mebane, NC

The Front Porch Festival: Sept 2-4 near Stuart, VA.

--Brian Paul Swenk

If you enjoy, please sign the email list on the left and follow:
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***If you are new to podcasts here is a quick explanation. Podcasts are basically a recorded radio/audio show that can be downloaded and/or streamed to your phone, tablet, or computer.  If you have an iPhone, you have a podcast app on there already. Open it and search "lonesome banjo chronicles." If you click "subscribe" the latest episode will download automatically when you're connected to wifi, or you can manually download any episode whenever you like. If you have any other type of phone, download the Soundcloud app, search for Lonesome Banjo Chronicles and you can stream from there.  Hope this helps. Thanks for the support!***

Tuesday, July 5, 2016

Ep. 9 of LBC Podcast-- Nick MacDaniels of Big Something and The Big What? Festival

**If you're new to podcasts, there is an explanation at the bottom of the page**

In this week's episode we talk with Nick MacDaniels, singer and guitarist from the Burlington, NC band Big Something.

Nick talks about what it takes to balance the growth of a band as well as running their festival, The Big What?.
He describes how the festival got started and what it's like behind the scenes. He also talks about what's the most important lessons he's learned, and why he thinks The Big What? experience is unique for both fans and musicians.

He also tells us about the worst moment Big Something has had onstage and how they overcame it.

Nick chose three bands from this year's festival to feature:
Turkuaz from Brooklyn, NY -- "X.Y.Z" 15:21
Dr. Bacon from Asheville, NC -- "When I'm Gone" 29:16
Spiritual Rez from Boston, MA -- "Bring It On" 40:52

We also listen to one of the first Big Something songs ever written, "A Simple Vision" 53:24

Download from iTunes here (subscribe in the podcast app on your iPhone!)
Android phones download from Stitcher
Or stream from soundcloud below

A big thanks to Floyd Fest for making us an official partner last week! Floyd Fest is consistently voted as one of the best southeastern experiences by numerous publications every year.
This year's headliners include: Greg Allman, Bruce Hornsby, Greensky Bluegrass, The Wood Bros, Warren Haynes, Railroad Earth, Femi Kuti and Positive Force, and many others.
This year's festival is July 27-31st. Check out www.floydfest.com for more info.

A spotify playlist highlighting bands both past and present from the festival: The Big What? 

--Brian Paul Swenk

If you enjoy, please sign the email list on the left and follow:
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***If you are new to podcasts here is a quick explanation. Podcasts are basically a recorded radio/audio show that can be downloaded and/or streamed to your phone, tablet, or computer.  If you have an iPhone, you have a podcast app on there already. Open it and search "lonesome banjo chronicles." If you click "subscribe" the latest episode will download automatically when you're connected to wifi, or you can manually download any episode whenever you like. If you have any other type of phone, download the Soundcloud app, search for Lonesome Banjo Chronicles and you can stream from there.  Hope this helps. Thanks for the support!***