Why Teach Little Ones To Play Copperhead Road?

This year is the 30th anniversary of the release of Copperhead Road by Steve Earle. The song works on several levels--powerful song, full of drive, causes outbreaks of dancing if one is given to such things, simple, blunt lyrics, but most of all, extraordinary social analysis.

I know of no song that better illustrates the ties between poverty, violence, crime, substance abuse, and war. Listening to the song and reflecting deeply on its meaning gives one an opportunity to do what great lyrics always do--to be picked up and put in another place at another time.

Transcending time and space can only be accomplished with art in its purest form. These simple lyrics are art in its purest form. But is the song appropriate for kids to learn to perform? It is never too early for a kid to begin to understand other people and their struggles. It is never too early for a kid to begin to learn about compassion and empathy. It is never too early for a kid to learn to seek solutions for social pain instead of merely assigning blame. For the moment it is fine for a little one to only think of that song as the one with the neat set of notes at the end of each line. Eventually they will either ask what it means, or they will figure out on their own what it means when the protagonist sings, "They draft white trash first round here anyway."

Music has more than one purpose. There is a place for frivolity in music. There is a place for the beauty of instrumentals with out lyrics at all, but music achieves its highest value when it teaches wisdom.

How old should a child be before it begins to understand  that the world is filled with unspeakable suffering? I suggest that it be at the same age that the child is taught that it is the child's obligation to do everything in its power to reduce that suffering. That means learning to share, to stand up to bullies, and to stand up for those who are bullied.

These lessons cannot be taught too soon. If we want kids to grow up to be moral, ethical, compassionate adults we cannot keep them on a constant ration of artistic baby food.

 Mary would not have had that little lamb if someone  had dropped napalm on it.

The Tools That Help Tell The Story

Going from left to right--a wooden five string banjo that my father and I made in the 90's, a three string wooden Neely banjo made in Damascus, Virginia in the 80's, an Appalachian dulcimer, an Oscar Schmidt autoharp, a bouzouki, and a Sigma guitar. We have added to this by having three fiddle players, a mandolin player, a ukulele player, a tenor banjo player, a dobro and wash tub bass player, a developing Cajon player , a washboard player and an occasional harmonica.

But it is the lyrics that matter most. These old songs often tell stories and these instruments don't distract from those stories. No jazz inspired instrumentals--just a lot of hammers, pull offs and slides to both follow, and at time lead, the human voice as it seeks to find the sound that goes best with each word that tells that story.

I always keep my eyes open for instruments that transform the spoken word to music. The one below should arrive this week.