For the better part of the last three decades, G. Love (aka: Garrett Dutton) and his band Special Sauce have been crisscrossing America with its signature blend of hip-hop, blues and jazz.

Coming up through the 1980s hip-hop scene in Philadelphia, G. Love soon found himself a young street busker in Boston, eventually taking his intricate rapping skills, old-time harmonica and folk guitar stylings into the studio for the group’s groundbreaking 1994 self-titled debut album. 

Clocking in at over 16 hours, the new Ken Burns documentary “Country Music” is an extremely detailed and intricate look at the genre through the lens of our nation and the wide variety of its citizens that inhabit it.

The film lays down the foundation and continual evolution of country music. It’s a portal and rabbit hole into this never-ending melodic history and its artists, a true sense of discovery of self — of time and place — through songs about heartache and redemption.

Atop a hill on the western edge of downtown Waynesville, just past the invisible line where the delicious smell of down home food stops wafting from nearby Bogart’s Restaurant & Tavern, sits a picturesque century-old home. 

With a fresh cup of coffee in hand one recent sunny morning, Joe Sam Queen sat in a rocking chair on the side patio of his serene abode and reminisced about the Smoky Mountain Folk Festival. 

The 50th annual Smoky Mountain Folk Festival will be held on Aug. 30-31 at the Lake Junaluska Conference & Retreat Center. Both nights will include a rich variety of the region’s finest fiddlers, banjo players, string bands, ballad singers, buck dancers and square dance teams as well as the marvelous sounds of dulcimer, harmonica, Jew’s harp, bagpipes, spoons, saws, and folk ensembles.

Heartbroken and stunned. That’s about all I can say or feel at this moment with the tragic passing of singer-songwriter and guitarist Neal Casal. 

It’s one of the most recognizable voices in all of American music.

When Richard Sterban famously coined the “oom-pa-pa-oom-pa-pa-mow-mow” bass solo during The Oak Ridge Boy’s crossover 1981 smash hit “Elvira,” he not only forever solidified his tone in the halls of country music, he also became a lifelong pop culture icon in the process. 

It was 50 years ago this past weekend that Max Yasgur, a 49-year-old conservative Upstate New York farmer, stood onstage at Woodstock in front of 400,000 youthful faces of the counterculture and simply proclaimed, “You’ve proven to the world that a half million young people can get together and have three days of fun and music and have nothing but fun and music …”

Now syndicated on PBS stations from coast to coast, “David Holt’s State of Music” has become a beacon of traditional music and worldwide exposure for countless local, regional and national acts hailing from Western North Carolina and Southern Appalachia.

It’s around midnight, early Tuesday morning. Just sitting here, thinking. Finally getting around to drinking a cold beer on a recliner in an apartment that I’ve barely called home this spring and summer. 

In bluegrass, there are pioneers and there are pillars — Becky Buller is both.

A beloved singer/fiddler, the Minnesota native left the Midwest as a teenager for Southern Appalachia, all in search of that “high, lonesome sound.” And in her lifelong quest to immerse herself in bluegrass music, Buller has become a legend in her own right.