Rodgers II TB-4 - History

Rodgers II TB-4 - History

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Rodgers II

(TB-4: dp. 142 (n.); 1 l60'; h. 16'l"; dr. 5' (mean); s. 25 k.;
cpl. 20; a. 3 1-pdrs., 3 tt.; cl. Foote)

The second Rodgers (TB-4) was laid down by the Columbian
Iron Works & Dry Dock Co., Baltimore, Md., 6 May 1896; launched 10 November 1896, and commissioned 2 April 1898 Lt. J. L. Jayne in command.

Fitted out at Norfolk, Rodgers began training in Chesapeake Bay in mid-April. On the 24th Congress declared war on Spain and 5 days later the torpedo boat got underway for the Caribbean. Arriving at Key West 9 May, she jomed the blockading vessels off Havana on the 21st, remained with them through the 23d, then sailed to join the fleet cruising off the north coast of Cuba to prevent the Spanish fleet from reaching the blockaded eity from the east. Employed primarily as a dispatch boat, she returned to Key West in early June, only to depart again on the 15th to earry mail to the fleet convoying Major General Shafter's army to Santiago. Making rendezvous on the 16th she remained with the force until the 21st when she moved along the coast to Guantanamo Bay to deliver dispatches. On the 22d she returned to Santiago for picket duty at the harbor entrance but returned to Guantanamo Bay for repairs 23 June 22 Juiy. A short dispatch run preceded another repair period, 24 July-14 August, by which time Rodgers had received orders back to the United States. At Hampton Roads by the 26th, she continued on to New York, arriving on the 31st for a yard overhaul.

The torpedo boat remained in port for much of the next 8 years, occasionally commissioning for short periods of active duty with the 3d Torpedo Flotilla and the East Coast Squadron. In the sorinz of 1906 she was transferred to the Reserve TorDedo Flotilla and on 1 November she Decommissioned at Norfolk.

Shifted to Charleston in 1908, Rodgers was assigned to the Massachusetts Naval Militia 14 May 1910. From 8 June, when she was delivered to that organization, until 1916, she conducted training cruises out of Boston along the southern New England coast. Between 1916 and 1918, she extended her range of operations and performed coastal patrol duties as far north as the Maritime Provinees.

Renamed Coast Torpedo Boat No. 2, 1 August 1918, she was decommissioned for the last time 12 March 1919, struck from the Navv list 28 October 1919, and sold to the U.S. Rail & Salvage Corp., Newburgh, N.Y., in 1920.

Rodgers (DD-170) was renamed Kalk (DD-170) on 23 December 1918.

Rodgers II TB-4 - History

"For those who think that all the significant architecture produced in Florida in the 1920s and 1930s can be found in Miami, Miami Beach, Coral Gables, or Palm Beach, the McClanes' book adds a new city--Winter Park--and another architect--James Gamble Rogers II--to the mix. Rogers left an architectural legacy of style, sophistication, and real substance."--Donald W. Curl, author of Mizner's Florida: American Resort Architecture

"The 'magical pencil' of Gamble Rogers makes a fine art of architecture his story builds a community and gives soul to Florida's architecture. Anyone who reads this book will want to move to Winter Park and live in a Gamble Rogers-designed house."--Elsbeth K. Gordon, author of Florida's Colonial Architecture

This well-illustrated book illuminates the life and career of one of Florida's premier architects, whose elegant homes and design aesthetic shaped the architectural character of Winter Park and influenced urban development throughout central Florida.

James Gamble Rogers II (1901-1990) created homes known for their human scale and proportion and for their suitability to the environment. This work highlights twelve of these residences designed for Winter Park, the beautiful small city adjacent to Orlando and the headquarters of the Rogers family architecture firm, Rogers, Lovelock, and Fritz, which exists today under the leadership of Rogers' son. Ingeniously meeting the special needs of Florida's climate--heat, humidity, termite control, and air circulation--the residences incorporate details from a variety of historical styles, including ecletic and authentic features that emulate vernacular Spanish farmhouses and villas.

The book includes critiques of each design and its evolution, particulars about the site, and stories about the lives and tastes of the clients--men and women of wealth and status who influenced the heady era of the Florida land boom in the 1920s and 1930s. Numerous floor plans, modern and historical photographs, and Rogers' own drawings augment the discussion.

The book also presents an entertaining biography of Rogers, with information on his schooling, a history of the firm he founded, and his familial connections with the architectural profession (his uncle and namesake designed more than 20 buildings for Yale University). It describes his success in the areas of governmental, military, and university architecture, including his designs for buildings at Rollins College in Winter Park, and evaluates his impact on 20th-century architecture in Florida and throughout the nation.

Coauthors Patrick and Debra McClane have studied Rogers' original drawings, toured his homes, and interviewed clients and family members Patrick McClane worked at the Rogers firm during the architect's last years there and brings a personal connection to this work. Their book documents an exceptional contribution to Florida's architectural heritage, the life and work of a man who created stylish and desirable homes and distinctive public buildings.

With a detailed appendix that lists dates and addresses for nearly 275 houses, most of them still extant, the work will serve as the definitive guide to Rogers' work in Winter Park.

Patrick W. McClane is a principal architect with Smith and McClane Architects in Richmond, Virginia. Debra McClane is a private consultant in architectural history and historic preservation.

No Sample Chapter Available

"An interesting and informative book that you might want to take along for a driving tour of Winter Park."
--The Villages Daily Sun

"An exemplary biographical study of a notable regional architect." "Highly recommended."

"This well-researched text will delight the novice interested in architecture as well as the more knowledgeable reader." "The authors of this text . . . bring with them a practical as well as an aesthetic approach . . . [and] have a solid understanding of all of the aspects which make up the evolution of a particular architect's style as well as the realistic necessities of working with clients."
--H-NET Book Review, H-Florida

9 Smallpox

When Europeans first arrived in the New World during the late 15th and early 16th centuries, they used advanced military techniques to conquer North and South America with haste. But they also brought smallpox, which played an instrumental role in killing Native Americans.

Europeans from the Old World had a long history of living in close quarters with domesticated animals as well as eating and drinking from similar sources. This led to the spread of many diseases. But those who survived developed an impressive immunity to otherwise deadly pathogens. These individuals were among America&rsquos first settlers, who brought smallpox to the continents as early as 1520.

In conjunction with other Old World diseases like the flu and measles, smallpox went on to kill almost 90 percent of the Native American population, far outpacing the damage done by late medieval warfare. Smallpox was also a vicious deforming agent, leaving those infected with noticeable sores across their bodies. [2]

Fast-forward several centuries, and smallpox is one of just two diseases (the other is rinderpest) to be fully eradicated from the human population due to vaccination efforts. Today, smallpox can only be found in exceedingly guarded laboratory settings.

Rodgers & Hammerstein

Indelible contributors to the Great American Songbook, composer Richard Rodgers and lyricist Oscar Hammerstein II were one of the most popular and influential songwriting teams in Broadway history. They each had high-profile careers with other writing partners before teaming up for the groundbreaking, Pulitzer Prize-winning stage musical Oklahoma!, which opened on Broadway in 1943. Following the example of 1927's Showboat (which featured lyrics by Hammerstein), it helped to define the "book musical" by placing character-driven songs in the context of a dramatic, high-stakes plot. In poignant contrast to the prior era's operettas, musical revues, and light musical comedies, they addressed serious social issues such as racism, classism, and sexism in much of their work, including such stage classics as South Pacific (1949), The King and I (1951), and The Sound of Music (1959). Along with Rodgers' sweeping, memorable melodies and Hammerstein's natural yet highly structured lyrics (Rodgers would write music to Hammerstein's words), these and other hit Rodgers & Hammerstein musicals were turned into blockbuster Hollywood films. Some of their best-known songs include "My Favorite Things," "Getting to Know You," Some Enchanted Evening," "You'll Never Walk Alone," and "Edelweiss."

Before joining forces with Oscar Hammerstein II, Richard Rodgers spent over 20 years as half of Rodgers & Hart with Lorenz Hart. Their many Broadway musicals included such classics as A Connecticut Yankee (1927), Babes in Arms (1937), and Pal Joey (1940). "Blue Moon" and "My Funny Valentine" were among their dozens of hit songs. In the meantime, Hammerstein produced hits with composers including Jerome Kern, a stated influence of Rodgers. With contributions from co-lyricist P.G. Wodehouse, Kern and Hammerstein's biggest hit together was 1927's Show Boat, based on the Edna Ferber novel. Two film adaptations of Show Boat followed within the next ten years, and the songwriting team won an Academy Award in 1941 for "The Last Time I Saw Paris" from the movie Lady Be Good.

Due to Hart's declining health in the early '40s, Rodgers partnered with fellow New York City native Hammerstein for the musical Oklahoma! The two had previously collaborated during their days as students at Columbia University, including on the 1920 Varsity Show Fly with Me. Oklahoma! opened at Broadway's St. James Theatre on March 31, 1943. The show ran for over five years and 2,000 performances (a record at the time), winning a special Pulitzer Prize in 1944. During that time Rodgers & Hammerstein followed up with another Broadway hit, Carousel, and the musical film State Fair, both in 1945. State Fair, the only musical Rodgers & Hammerstein ever wrote for film, included "It Might as Well Be Spring," which went on to win the Academy Award for Best Original Song. Like many of their songs, it was a Top Ten hit that year, this time charting with recordings by Dick Haymes, Sammy Kaye, and Paul Weston with Margaret Whiting. In contrast to the box-office success of their first two Broadway shows, their lesser-known third stage musical, Allegro, opened in October 1947 and closed the following July. In June of 1948, Rodgers & Hammerstein were guests on the first episode of Ed Sullivan's long-running variety show (then called Toast of the Town), alongside Dean Martin and Jerry Lewis.

In 1949, the songwriting team returned to Broadway with South Pacific. Based on James Michener's novel Tales of the South Pacific, it confronted racial prejudice, most notably with the song "You've Got to Be Carefully Taught." Their first musical to be eligible for Tony Awards (established in 1947), the production won Best Musical, Best Score, Best Libretto, and all four acting categories. Rodgers & Hammerstein shared the 1950 Pulitzer Prize for Drama with South Pacific co-writer Joshua Logan.

Candidly exploring racism as well as sexism, The King and I, an adaptation of Margaret Landon's novel Anna and the King of Siam, followed in 1951. It took home five Tonys, including Best Musical and Best Featured Actor for Yul Brynner. They followed it with the less successful Broadway musicals Me and Juliet in 1953 and Pipe Dream in 1955. After Oklahoma! was adapted for the big screen in 1955, the 1956 CinemaScope film version of The King and I saw Brynner reprising his role in an Oscar-winning performance. A film adaptation of Carousel also saw release in 1956.

The only musical they wrote specifically for television, Rodgers & Hammerstein's Cinderella aired on CBS on March 31, 1957, the 14th anniversary of Oklahoma! It starred Julie Andrews, who was nominated for an Emmy for her performance on the TV special, as was Richard Rodgers' score. Back on Broadway, Rodgers & Hammerstein premiered Flower Drum Song, a musical featuring an Asian cast, in 1958. It marked Gene Kelly's stage directing debut. That year, South Pacific was made into a Hollywood film starring Rossano Brazzi and Mitzi Gaynor.

Arguably Rodgers & Hammerstein's most beloved musical, The Sound of Music would prove to be their final collaboration. Set against a backdrop the Austrian Anschluss of 1938, it opened on Broadway in 1959 and went on to win five Tony Awards, including Best Musical. "Edelweiss" became the last song the team wrote together when Oscar Hammerstein died of stomach cancer in August 1960. A film adaptation of Flower Drum Song saw release in 1961 before the film of version of The Sound of Music arrived in theaters in March 1965. Starring Julie Andrews as Maria, it was the highest-grossing film of the year and won five Academy Awards, including Best Picture.

Richard Rodgers continued to compose songs after 1960, producing musicals with Stephen Sondheim (1965's Do I Hear a Waltz?) and Martin Charnin (1970's Two by Two), among others, until his death in 1979. Rodgers & Hammerstein were honored with a U.S. postage stamp in 1999, and their songs endure as oft-performed American standards. Their legacy in theater can be illustrated with Broadway revivals of, among several other productions, The Sound of Music in 1998, South Pacific in 2008, The King and I in 2015, and Oklahoma! in 2019.

Legislation creating the Women’s Army Corps becomes law

On May 15, 1942, a bill establishing a women’s corps in the U.S. Army becomes law, creating the Women’s Auxiliary Army Corps (WAACs) and granting women official military status.

In May 1941, Representative Edith Nourse Rogers of Massachusetts, the first congresswoman ever from New England, introduced legislation that would enable women to serve in the Army in noncombat positions. Rogers was well suited for such a task during her husband John J. Rogers’ term as congressman, Rogers was active as a volunteer for the Red Cross, the Women’s Overseas League, and military hospitals. Because of her work inspecting field and base hospitals, President Warren G. Harding, in 1922, appointed her as his personal representative for inspections and visits to veterans’ hospitals throughout the country. She was eventually appointed to the Committee on Veterans’ Affairs, as chairwoman in the 80th and 83rd Congresses.

The bill to create a Women’s Auxiliary Army Corps would not be passed into law for a year after it was introduced (the bombing of Pearl Harbor was a great incentive). But finally, the WAACs gained official status and salary𠅋ut still not all the benefits accorded to men. Thousands of women enlisted in light of this new legislation, and in July 1942, the 𠇊uxiliary” was dropped from the name, and the Women’s Army Corps, or WACs, received full Army benefits in keeping with their male counterparts.

The WACs performed a wide variety of jobs, “releasing a man for combat,” as the Army, sensitive to public misgivings about women in the military, touted. But those jobs ranged from clerk to radio operator, electrician to air-traffic controller. Women served in virtually every theater of engagement, from North Africa to Asia.

It would take until 1978 before the Army would become sexually integrated, and women participating as merely an 𠇊uxiliary arm” in the military would be history. And it would not be until 1980 that 16,000 women who had joined the earlier WAACs would receive veterans’ benefits.

Historical Snapshot

The North American Aviation T-6 Texan two-place advanced trainer was the classroom for most of the Allied pilots who flew in World War II. Called the SNJ by the Navy and the Harvard by the British Royal Air Force, the advanced trainer AT-6 was designed as a transition trainer between basic trainers and first-line tactical aircraft. It was redesignated T-6 in 1948.

In all, the T-6 trained several hundred thousand pilots in 34 different countries over a period of 25 years. A total of 15,495 of the planes were made. Though most famous as a trainer, the T-6 Texan also won honors in World War II and in the early days of the Korean War.

The Texan evolved from the company&rsquos BC-1 basic combat trainer, which was first produced for the U.S. Army Air Corps with fixed landing gear in 1937 under a contract that called for 177 planes. North American designed the NA-49 prototype as a low-cost trainer with many of the characteristics of a high-speed fighter.

Although not as fast as a fighter, it was easy to maintain and repair, had more maneuverability and was easier to handle. A pilot&rsquos airplane, it could roll, Immelmann, loop, spin, snap and vertical roll. It was designed to give the best possible training in all types of tactics, from ground strafing to bombardment and aerial dogfighting. It contained such versatile equipment as bomb racks, blind flying instrumentation, gun and standard cameras, fixed and flexible guns, and just about every other device that military pilots had to operate.

6. Las Vegas Raiders

Packers get: QB Derek Carr, 2022 first-round pick, 2022 second-round pick, 2023 first-round pick

Raiders get: Rodgers, 2023 fourth-round pick

In some ways, the Raiders make sense as a landing spot for Rodgers. Jon Gruden has called not drafting him in 2005 with the Bucs "one of the greatest regrets in my lifetime." The Raiders have pass-catchers to work with in Darren Waller, John Brown and 2020 first-rounder Henry Ruggs. While Carr hasn't been the problem with their team, Rodgers is a different caliber of quarterback. Moving to Vegas would bring him within a short flight of Southern California, where fiancée Shailene Woodley works and where "Jeopardy!" is taped. If Rodgers actually did want to simultaneously quarterback an NFL team and host a game show, Vegas would be the next-best location short of Los Angeles proper.

At the same time, though, I'm not sure the Raiders fit what the Packers would want outside of moving Rodgers to the AFC. There's not much on the Las Vegas roster that they would want back in a trade. The Raiders have a few players they won't want to trade away (Waller and their recent high draft picks) and a bunch of free agents who haven't looked good on their current salaries. Vegas can offer draft picks, but a trade would imply that those picks will come back somewhere in the 20s.

"I can't fathom [Aaron Rodgers] not being in Green Bay," Packers coach Matt LaFleur said on Saturday. AP Photo/Morry Gash, File

Carr would head back to the Packers, in part because there isn't a place for him to go elsewhere. Every team in the league is either locked into a veteran quarterback or a young passer on a rookie deal. The only exceptions might be the rival Broncos, who aren't likely to make an intradivisional trade, and the Saints, who can't afford Carr. He has two years and just under $40 million left on his deal, so the Packers could go with Carr in 2021 before moving to Love in 2022. Carr could have some trade value next year if he plays well in Green Bay, but he really wouldn't be worth more than a late-round pick as part of this deal.

I think the Packers would only do this if they were truly convinced that Rodgers wasn't going to ever play for them again. Carr would give them a shot at staying competitive in 2021 if they don't think Love is ready, but this would most likely be a one-year rental of a pretty good quarterback and a bunch of late first- and second-round picks. Other teams have more interesting quarterbacks, players the Packers would want at other positions, and/or more exciting draft picks to send to Green Bay. If Rodgers had a no-trade clause, it's possible he could steer his way to Las Vegas. As is, unless they want to just blow away the competition and offer years of first-round picks, I don't think they're in position to make the best offer imaginable.

Please note this is an archived topic, so it is locked and unable to be replied to. You may, however, start a new topic and refer to this topic with a link:

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So I thought it would be fun to see which banjos in our lifetimes have been the absolute best and the absolute worst, plus those which "spoke" to us as no other banjo did.

The worst banjo I owned or played was my first, which, at the time that I bought it, I thought was THE best beginner banjo. This was the bottlecap Oscar Schmidt OB-5. I got it largely in part because of a girl I knew who played the banjo, namely Randyl McKinney from Moundridge KS. I also owe a great deal of credit to her as the main inspiration behind my wanting to and eventually becoming a halfway decent sounding banjo player.

Anyway, this Oscar Schmidt OB-5 was such a lousy instrument that I wonder how I ever got anywhere with it. The hooks were junk. Start tightening the nuts, and the hook starts straightening out immediately following. I was not sorry to let it go.

Second worst was another bottlecap, a Melody plus openback which I fashioned flange pieces (similar to the Deering Boston) for, and put a resonator on it. I gave it away to a friend of mine. After this, the banjos I got/owned improved in quality as I learned more about what to look for and to avoid in otherwise "great" bargains.

Fourth best was the 1980 Deering Intermediate which I sold earlier this year. This was my first real glimpse at good old USA quality from the Deering Banjo Company. I got this banjo off eBay, from a lady in Agra, OK, and I souped it up with Keith tuners from Derek Easter, and a Shubb sliding capo, and even put a customized RK rim in it (I have no idea if the RK rim is still in it.)

The funny thing is that the BHO member which I sold it to, had said that he "kinda wanted one too" in the thread which I posted prior to becoming the (previous to him) owner, on Sept 23, 2015. I was surprised and pleased to sell it to him. I am sure he is enjoying it as much as I did.

Third best was the Deering Maple Blossom Prototype which I bought last year, and which is currently in Greeley, CO. This was a custom banjo (one of five) which was built by Landon Unruh from stock Deering/Gibson parts, at the Walnut Valley Festival in Winfield KS, several years ago. I purchased a Tenn. 20 ring for it from Mike Mason and that ring sure improved the banjo. I also put an RK resonator on it and a set of Peters D-tuners (from BHO member Klegra.)

Second best is my 1966 Gibson Epiphone, which I have (and still am) scoured the web for any historical information on. This banjo has a lot of interesting, and, at times, confusing history behind it. It had several owners from Michigan and Mass., and changed parts (even the pot assembly was swapped a couple times, and I have no idea or inkling where the original assembly is or was, or why it was taken out (!)) over the years prior to my owning it for over a year now (Nov. 30, 2017 was when it arrived.) The UPS driver almost drove away with it I had to ask him if there was anything for "Luke Myers" in the truck! Thankfully, he found the box (covered with a fine layer of dust from bumping around) and I got the banjo! It was like I was opening a time capsule when I opened the case, and I felt as if I was looking back to a whole different time, as the banjo had been unplayed for a while. All the metal parts were tarnished, but I got them looking good in short order.

The Epiphone is currently equipped with gold-plated Keith tuners and spikes on the 7th-10th frets.

See thread "The History Page for Kalamazoo Epiphone, Serial #427538" for more info on this banjo.

And finally, the first best is a banjo which I just finished, a Sigma Martin SB-800/Epiphone MB-500/Deering Goodtime hybrid Masterclone. This banjo was originally (and with its original parts) owned by an individual who went to the 25th and 27th Walnut Valley Festivals, in September of 1996 and 1998. I found this banjo (in its unaltered, original condition) at a local pawnshop and was able to trade one of my banjos for it.

As of right now, it has the Sigma Hearts and Flowers neck (and resonator) on a customized birch/maple multi-ply Deering Goodtime pot (cut just last Friday for a OPF and tone ring) which has the JLS #12 ring installed, and a Purcell 5/8 Gym Floor bridge, plus spikes and normal (not gold-plated) Keith tuners from Tim Davis. The only Chinese parts (!) are the flange, nuts, hooks and tension hoop and tailpiece from the MB-500.

This banjo is better than any I have owned before, and it sure has a great sound. This banjo has been dedicated as a tribute to the great work which Arthur Hatfield has done for many happy Hatfield banjo owners.

As to the best banjo I do not own but have played, that would have to be the Deering Golden Era. It is one nice banjo.

For those who may be wondering why I don't know as much about Gibsons as some, the reason is that my location has never been a hotbed of Gibson flathead owners, not to mention prewar Gibson owners. The only Gibson I have ever played is my 1966 Epiphone, and the only Masterclones/Mastertones I have owned are the Maple Blossom Prototype, the Deering "Golden Classic Copy" which I traded for the 66 Epiphone (the best trade I ever made), the banjo which came along with my Epiphone (this banjo was a Gibson parts banjo with a black thin rim which did NOT belong to the Epi as originally thought), a Gold Star GF-85 which I owned very, very briefly, the 1966 Epiphone, a custom Gibson prewar conversion (using a prewar plectrum pot) and my current custom Masterclone.

I have owned, in no particular order:

Two non-functioning homemade banjos (either burned or parts missing), Oscar Schmidt OB5 (bottlecap), Melody Plus Openback (bottlecap), Fender FB-54, 1980 Deering Intermediate, Hondo Masterclone (not a very good clone!), Iida 231 TPF banjo, prewar Gibson plectrum, Prewar Gibson plectrum conversion, Deering Maple Blossom Prototype, Gold Star GF-85, Recording King RK-20, Japanese Epiphone EB-99, Johnson starter banjo, Epiphone MB-250, Contessa banjo, Custom Deering Boston banjo, Deering Golden Classic Copy, Epiphone MB-500, Sigma SB-800, older Deering Goodtime (the MB-500, SB-800, and Deering Goodtime are all part of my newest custom banjo), and a Gibson parts banjo. 23 banjos in all.

Edited by - bluegrassbanjopicker on 12/02/2018 18:34:30

Paul R - Posted - 12/02/2018: 17:57:41

This isn't an easy choice. I had a few banjos that were given to me, all four-string. Two of them "disappeared" from my school. One was a Slingerland banjo-uke with a cracked fretboard. Maybe the worst was my first banjo, a pre-bottlecap "Lero" five-string open-back with a narrow neck, but it could have been made to sound half-decent. I put it out on the lawn when we moved from Toronto in '02. Oddly enough, a few years ago I bought a Silvertone for fifty bucks, and it has a pretty decent sound

I made a huge mistake when I traded in the best, an early Jake Neufeld open-back, with a neck wide enough to play easily. My current best is the Liberty parts resonator banjo that replaced the Neufeld. It's set up for Old Time playing.

dfwest - Posted - 12/02/2018: 18:18:27

Worst: 1960s era Kay. The best I can say about it is that it was playable.

Best: Bob Flesher Quadrille open back. I still own this one.

The banjo I most regret selling was a very old Dobson in excellent condition.

pjfolino - Posted - 12/02/2018: 18:37:54

Best: Tie between 2013 Stelling Staghorn (sold it, sadly) and my current 2018 Stelling Sunflower.

2nd best: Tie between 1964 TB100 conversion and a 2012 RK35 - still own both.

Worst: I've never played a banjo I thought was totally awful. Anything set up well is not too bad, generally. My Deering Eagle II wasn't as good as it should've been for the price, IMHO.

revellfa - Posted - 12/02/2018: 20:27:56

Best I've ever owned. that's tough. But I'd say.

#1 1927 PB-4 Conversion with no hole archtop ring. The tone and power was awesome.

#2 2004 Deering Golden Wreath--this banjo played itself, and it sounded pretty good as well.

#3 2012 Nechville Vintage model. Best combo of tone and playability I've ever seen. Stayed in tune from the day I got it until I get rid of it and rocked a mic and a studio like nobody's business.

I've never played a banjo I didn't like. They all have something to offer. I'll have to think about this one though. I'm sure I've had a lemon or two.

jswkingsfield - Posted - 12/02/2018: 22:37:28

Worst -- hah, that's the easy answer, my first one, starter level bottlecap Fender FB-54. Good enough to begin learning and want to sound better, but its limitations clear after about 8 months. At least it was the least expensive of my banjo acquisitions. Not really the instrument's fault, that's really all it's meant to accomplish.

"Best" is a toughie. I have several that I rotate, depending on mood, each is a little different. Tried a bunch of excellent instruments which got moved out for one reason or another, but none of them were bad. The one I miss is a 2004 Gibson RB-4, such a sweet walnut sound, but back couldn't handle the extra mass of that one.

Edited by - jswkingsfield on 12/02/2018 22:38:19

dr4dpet - Posted - 12/03/2018: 00:16:51

I only own two banjos, but I didn't consider my $300 starter MasterCraft, Chinese import bad.

Yet there is no question that the better of the two, by far, is the Recording King R80 that I picked up used eight months after I started playing. I guess it could be considered a parts banjo because the original owner told me that he had swapped tone rings. The RK ring was replaced with a gold plated Huber HR30, he said Arthur Hatfield did the work for him. Also, he swapped out the stock hooks and nuts, arm rest, and tail piece for gold plated ones. I like the contrast between the gold and nickel parts. (I have yet to disasseble the pot to verify the ring is what he said. :-> )

Edited by - dr4dpet on 12/03/2018 00:19:46

phb - Posted - 12/03/2018: 01:09:25

Easy! The worst is my first, a Rover RB-35, which I thought was the Recording King RK-35 which everybody praised so much. The best is my 2nd banjo, a Recording King RK-75.

The best banjo I almost played was Bruno van Hoek's Gibson (RB-1). I didn't dare touch it when he offered me to play it, hence the "almost" (I really don't feel I could make such a great banjo justice with my playing). We did a blindfold test at the "Banjoree" this year with many great banjos in the lot and even though they all sounded really good, I selected his as the clear winner (I think we had ten banjos, I rated them all the same except for Bruno's which was notably better and one which I rated worse which turned out to be an open back).

RB3WREATH - Posted - 12/03/2018: 03:50:48

the worst was an old english banjo with a tunnel 5th string and the best are the pre war RB flatheads

pickn5 - Posted - 12/03/2018: 04:05:12

My first banjo was a Hondo, however, it was free and got me started.

My current banjo is also the second one I've owned. Its a 2007 Deering Sierra I bought used. So far, its a keeper.

hoodoo - Posted - 12/03/2018: 04:25:02

The worst was by far the first one that I owned, an entry level "Alabama". The hooks on the rim fell off regularly, the strings were a real pain to change.

beegee - Posted - 12/03/2018: 04:35:28

I will not own a bad banjo. Among the ones I own, My 28 Granada is my favorite, but I like to swap around among them all.

There are plenty of terrible banjos out there. I try to avoid playing any of them.

Texasbanjo - Posted - 12/03/2018: 04:47:20

Worst: my first banjo. An entry level Iida, no tone ring, tinny sound, hard to keep in tune, but it did help me learn. A friend gave my husband a Bentley banjo. Another entry level, no tone ring, awful sounding.

Next best: Dale Small made me a banjo years ago that had a neck that was 3" shorter and narrower and thinner than a normal banjo. Worked great for me while my arthritis was acting up. Had a good tone ring, good workmanship and sounded pretty good. I still have it.

Best: My Stelling Masterpiece, of course. So far, I haven't played anything that compared except another Stelling.

mhammer - Posted - 12/03/2018: 08:37:42

I have not owned a bad banjo.

My first banjo was an open-back Vega, but it didn't fit 3 finger style (to me at least).

Next Best: There are several that are close, but I have traded many away. Right now, it's a Yates custom, inspired by Crowe's "Banger".

Best: 1929 TB3 Double Conversion with a Burlile Ring Added.

RB3 - Posted - 12/03/2018: 09:26:23

The worst was my first banjo. The name on it was "Kent". I suspect it was made somewhere in Asia. I bought it in a pawn shop in 1966 for $40.

I worked on Cripple Creek for about 6 months, but it never sounded quite like the Cripple Creek on the records I owned. One day I went into the Hocking Valley Music store in Athens, Ohio. There was a nice looking Ode displayed on a music stand and I asked the proprietor if it was okay to play it. He said it was okay as long as I didn't scratch the resonator with my belt buckle. That was the first time that I actually recognized that I was playing Cripple Creek. That was a real epiphany.

The best is the banjo that I have now. It's a Gibson RB3 flat head made in the thirties.

I can't even remember what happened to the "Kent".

CW Spook - Posted - 12/03/2018: 10:06:26

I suppose the worst banjo was my first a long-neck, brand I don''t remember, that I bought at the BX in Hakata, Japan. I never was able to teach myself much of anythng and had no local teacher, so I ended up trading it for some ham radio equipment after I got back to the states a couple of years later. Second worst was the banjo that actually got me started picking again an unremembered name, aluminum pot Asian that I bought from the local pawn shop for $50.

My 'best' banjo from a traditional standpoint is my Deering Hartford that was my 3rd banjo. I still have it. When I bought it I thought I wanted to do Scruggs style picking, but my tastes changed after a trip to Merlefest. I set the Hartford up for a better old-time sound, with Nylgut strings and a John Balch skin head. It's a great banjo, but heavy for me, so it doesn't get played as much as my 1930 Vega Little Wonder with a Jeff Menzies/Wyatt Fawley flush-fret neck. Then I've got a couple of minstrel-style banjos, one by Jay Moscella, and a very early Brooks Masten. I expect my truly best banjo will be the one Ken LeVan is building for me a 12", A-Scale lightweight. Can't wait to get my hands on it.

Judgejeb - Posted - 12/03/2018: 13:17:54

Worst- old kay with a skin head that had been through a fire (my first)
Best- 1990 Gibson RB-4 that I own now.

doryman - Posted - 12/03/2018: 13:18:15

Sometimes it's not that a banjo is "bad" or the "worst," it's just that we (hopefully) get better and the banjo becomes a limiting factor. That's not to say that there aren't bad instruments out there. I remember my first guitar my father bought for me when I was a boy. It was actually unplayable. I think the strings were about half an inch above the frets! I didn't know any better at the time and I thought it was me until I took a lesson and had the opportunity to play my teacher's guitar (Pro-tip and key to a happy life, never play an instrument you can't afford and never look through a rifle scope you can't afford either). I still own my very first banjo (a Kay I bought used in 1981), and while it is my "worst" it's actually not a bad banjo. Great action, but very quiet. Even now, I could play it all day and still learn something from it, but it's too quiet for any jam and it became limiting in that sense.

rcc56 - Posted - 12/03/2018: 14:13:05

I find it interesting that few open-back players have contributed to this thread.

The weakest banjo I ever owned was my first, a Harmony Bakelite banjo. I think they call it a Res-o-tone. But it was still a functional banjo, nothing wrong with it at all, and a good starter instrument.

My favorite banjo is a Bacon ff Professional #1, a plain model, but made by Fairbanks/Vega. I have had others that were fancier, but the Bacon #1 is my "keeper." I won't say that it's the best banjo ever made. It just seems to fit me the best.

The "best" Gibson I ever played was a TB-6 with an original heavy weight flat head tone ring and a 2 pc. flange [a rare instrument indeed]. I played it against some other original flat heads, and thought the 6 was the best. So much for conventional wisdom.

Edited by - rcc56 on 12/03/2018 14:15:22

SaxManiac - Posted - 12/03/2018: 16:50:24

Worst: Hondo II. I was banjo-less and jonesing for a banjo so i bought the first thing I found. It was a t*rd.

Best: TB2 conversion with Ryan ring.

Most regrets: Selling a Stelling Golden Cross I'd gotten from a friend. It hurt his feelings that I sold it. It just never sounded the way I wanted even though it probably had the best neck I'd felt up until then. The friend passed on about 15 years ago, and I still feel bad about hurting him. I will never again sell a banjo built by or bought from a friend.

5 String - Posted - 12/03/2018: 17:00:44

The worst banjo I ever owned was a 1980 Gibson RB-800. Biggest POS that ever come out of the Gibson factory. I'll leave it at that.

The best banjo I ever owned was a 1980 Stelling Bellflower which I fortunately reacquired this past January and have had it completely refurbished. I bought this banjo new in Feb 1981 and sold it in Jan 1985 to help fund the purchase of a new Stelling Staghorn. Now that I have reacquired the Bellflower, I will never sell it again. It is now my main go-to banjo for gigs and practices.

The next best banjos are the other Stellings I own.

Edited by - 5 String on 12/03/2018 17:06:06

Bill Rogers - Posted - 12/03/2018: 17:13:47

Worst—the 1961 Kay I started with. Best—the ca. 1915-25 Essex Concert Grand that has been my main player since 1969.

gbisignani - Posted - 12/03/2018: 19:53:48

my worst is the first banjo I bought in about 1973. I was trying to fingerpick on a tenor when I found out about 5 string banjos. I don't remember if this banjo had a name.

I then bought a Japanese Kasuga that I played for about 4-5 years. It was a great banjo for someone who knew nothing ! I don't even know what I did with it. I kinda wish I still had it.

I now play open back banjos.
My favorite(s) now are my Dean Robinson walnut with Bacon tone ring and believe it or not my Gibson RB 170. This Gibson is loud, easy to play, and stays in tune better than any banjo I've ever owned. It's the only Gibson I have ever owned. I also love my Bacon Special #1 5 string conversion played as an open back and playing in open C tuning.

Rawhide Creek - Posted - 12/03/2018: 20:46:25

The worst: My first, a Harmony.

The best: An Ome Juggernaut that I should never have sold.

Hawk54 - Posted - 12/05/2018: 02:38:33

The best banjo I have ever owned is a maple 2005 Osborne chief . This is why I still have it . It has great tone and playability

O.D. - Posted - 12/05/2018: 10:12:56

Had pretty bad no name and a Saga kit banjo

The rest being all pretty good

Stand outs being a 81 Crowe Goldstar

27 tb 4 conversion ( current)

Edited by - O.D. on 12/05/2018 10:13:50

MacCruiskeen - Posted - 12/05/2018: 10:26:44

I only have one banjo. Not sure yet if it is my best or worst.

A Nobody - Posted - 12/05/2018: 12:46:14

I'll come at this from another direction, leaving out the starters and/or beginning banjos and just talk about the good and the bad after I figured out what a banjo is supposed to be and do.

The worst is easy, it was a Stelling Staghorn from the late 70's. Was supposed to have belonged to Baucom at one time, if so I know why he got rid of it. It was heavy, shrill and harsh. I got it in on a trade for a custom built that I had is the ONLY reason I owned it. and that wasn't for very long.

The best is a LOT harder to say. I have been SO fortunate to have had some killer banjos in my day. But, the three that stand out immediately are the flathead that I own now, the flathead that I sold to help fund the one that I have now and my Skillethead. Those three banjos are my favorites and on any given day it would be almost impossible for me to say which is the absolute best.

jwold - Posted - 12/05/2018: 13:07:34

Worst: Hondo II. I was banjo-less and jonesing for a banjo so i bought the first thing I found. It was a t*rd.

Best: TB2 conversion with Ryan ring.

Most regrets: Selling a Stelling Golden Cross I'd gotten from a friend. It hurt his feelings that I sold it. It just never sounded the way I wanted even though it probably had the best neck I'd felt up until then. The friend passed on about 15 years ago, and I still feel bad about hurting him. I will never again sell a banjo built by or bought from a friend.

Jeez. find that banjo and buy it back. let your 'banjo souls' be at rest!

CW Spook - Posted - 12/05/2018: 13:15:23

I guess the best (or at least most unique) banjo I ever played was the one-of-a-kind Deering Banjosaurus. Greg happened to have it back in the shop for promotional pictures the day I toured the factory back in the early 90s.

Shmockiebaby - Posted - 12/07/2018: 07:03:29

OK, open back player here. First of all, the one I thought was best (and is best made) - my Reiter A scale. Sounds and plays great, just incredibly well built.

But. I picked up a banjo assembled by another Hangout-er earlier this year that has become my favorite player for around the house - cherry block rim, with Zach Hoyt neck. Also a short scale. But with the larger 12" pot and wider fingerboard, it gets a better (fuller?) sound, and the wide fingerboard is easier to play with stiff older hands.

My "worst" has turned out far better than I thought. I was looking around at a pawn shop in NC just a few weeks ago during a trip to the family farm, and quickly looked at a 1970s Kay reso banjo, all blond with the eagle on the reso. Then I looked at a Recording King guitar that needed a minor repair. When I tried to get a discount on the guitar, the salesman said "I'll give it to you for $200 and throw in that banjo I saw you looking at". I thought the price was right, and the banjo was junk, but I took it.

Brought that old Kay home, cleaned it up, adjusted the truss rod, tightened the head, found the right bridge, and. I can't put it down. Plays great. Not a bad tone, either. A friend has been following my adventures learning to play banjo over the last couple of years, and he recently said "you need to find me a banjo!". I think I may let him have the Kay, but I'll miss it.

My first was a Harmony Reso-Tone tenor. Played it for a while, then it sat in a closet. Sold it to an Irish guy in town for NAMM at a guitar show in Orange County 25 years ago, and he loved it.

So I'm in agreement with the earlier post - there is no such thing as a bad banjo.

But I guess that the "best" banjo I own, and the only one that I can 100% guarantee that I will never sell is a 1937 Stromberg-Voisenet / Kay gumby headstock 5 string reso that I inherited from my mother-in-law's cousin. It was her father's, and he ordered it new from Sears catalog in 1937. It was a big day in the family when had to go down from the mountains top where they lived to Elkins WV to pick it up when it arrived (she just turned 90, and remembers the day her father got the banjo). She said she wanted it to go to a clawhammer player, and that's what drove this guitar player to learn banjo. I played for her this past summer, and I came home with that banjo. String spacing is too narrow, but it cleaned up nice, original skin head sounds great, and neck is straight. It's just special. Only gets played once in a while, however. I've told this story here before, but I never get tired of it.

Their all good banjos, in their own way. Just need the right owner or player!

Edited by - Shmockiebaby on 12/07/2018 07:05:28

Tom Meisenheimer - Posted - 12/07/2018: 12:41:44

Odd, isn't it? O.D.'s worst banjo is my best (sound quality and ease of playing) a Saga "kit". My worst is a Deering Good-time but its not really that bad. Another good banjo I have is also a Saga (not a kit).

As for the Saga kit, I like the odd cast aluminum hoop with tone ring and I use Nylegut strings. I bought it back in 1972.
I posted me playing Dixie on my Saga kit. Give it a listen.

O.D. - Posted - 12/07/2018: 13:44:54

Odd, isn't it? O.D.'s worst banjo is my best (sound quality and ease of playing) a Saga "kit". My worst is a Deering Good-time but its not really that bad .Another good banjo I have is also a Saga (not a kit).

As for the Saga kit, I like the odd cast aluminum hoop with tone ring and I use Nylegut strings. I bought it back in 1972.

I posted me playing Dixie on my Saga kit. Give it a listen.

I have one of those vintage Saga banjos from the 70s I guess. Wood rim, flathead tone ring.

Rather light weight. Plays nice and sounds pretty darn good.

Has bowtie in lays and fiddle peghead.

SimonSlick - Posted - 12/08/2018: 04:53:31

In terms of tone or voice, banjos are not best or worst - only different. The only objective difference is in the craftsmanship as concerns intonation, the accuracy of the pitch up and down the neck. Everything else is preference or prejudice.

Veerstryngh Thynner - Posted - 12/31/2018: 10:04:23

I only ever owned two tenor banjos. One was a birthday present, the other its successor

The "Marma" (the birthday present) has been with me for nearly half a century. The "Morris" for a little under half a century. So I can honestly say that I never had a bad banjo, really.

On my search for a replacement for the "Marma", which I outgrew at some point, I came across some pretty bad instruments, though. And let me tell you this: at the low end as well as at the high end. But often enough this worked the other way round as well: instruments tagged at thousands of $ sounding like a dead horse being flogged and under-$50 cheapskates singing like you wouldn't believe.

Unless tested out for real, there's no way of telling "good" from "bad". Not by sight alone, anyway, in my experience.

lazlototh - Posted - 12/31/2018: 10:28:33

Great Thread. My worst, was my first. A Kay. Got it in 1966. It actually sounded great once I tweaked it. The problem was the action was awful and the neck was too narrow.
It hurt to play. I did not know how to adjust the action and was suspicious of the particle board pot. Like I said, it did sound really good.

Best is whatever one I feel like playing. All of my banjos are a bit different and fit the particular place my musical head it at at that moment.

Probably the best sounding one is a Lakefront that my wife dislikes. She has issues with it because it is LOUD. I do play quietly sometimes with it. She is also afraid of knocking it over when she dusts it. It is a heavy one. She will not let dust rest. (They are never dusty!)


steve davis - Posted - 12/31/2018: 10:40:48

Worst has to be my 1951 Sears 5 string.Narrow neck,no tone and hard to fret.
Best has to be my '29 tb-2 conversion.
I still own both of these banjos.

Owen - Posted - 12/31/2018: 10:45:49

Not particularly good: pawn shop "Austin."

Good / Better: Morgan Monroe MNB-1W / Gold Tone BG250-FW

As one has probably gathered, I started with the Austin. while working on a fly-in reserve. I used it for several months, but had the GT waiting for me in Winnipeg, when the school year ended. With the Austin as my basis for comparison, the GT sounded "funny," so hoping my $ wasn't wasted, I took it into a music store. The dude there strummed it, did a roll or two and handed it back with "Yep, sounds like a banjo." He went on to explain that that was how a banjo was supposed to sound, and that I'd likely never need to upgrade. so far he's right on both counts.

FWIW, I'm happy with both the GT and the MM. both stay in tune very well. the MM is about 5 lbs. lighter [I still have all 3, but if anyone really wants the Austin, you could probably talk me into letting it go.]

Edited by - Owen on 12/31/2018 10:56:00

AaronATL - Posted - 01/06/2019: 13:43:06

After 20 years playing electric bass and guitar in a few bands, I decided to pick up the banjo at age 35. I don't really have a "worst" banjo, so mine are good to better/best.

The first one I purchased was the Deering Goodtime Special in maple. This was a great starter banjo, and I appreciate the quality of it. Buying a couple more high-end banjos really made me appreciate the nuances of this banjo more. That said, it was a starter banjo for me and I desired more.

The second banjo I purchased was a Hatfield Special from Arthur Hatfield in Glasgow, KY. I bought this based on several great reviews and the reasonable price. This is a walnut banjo, and the tone is great. Arthur's necks are finished with many coats and very high gloss, but the feel is great.

The most recent banjo I purchased was a Yates RB-75. This is a mahogany beast. The tone is great, and the volume is very powerful. It's an amazing banjo all around.

My go-to is the Yates, but the Hatfield is great to mix up the tone. I don't play the Deering as much as I used to, but it's still impressive when I pick it up.

I have a Cedar Mountain Banjo on order so I can dabble in clawhammer, but my next bluegrass banjos will be Stelling and Huber.

And yes, my wife is very forgiving when it comes to banjos!

KD Banjer - Posted - 01/06/2019: 15:39:12

WORST: I've never had a really horrible sounding banjos (although I've played some dogs at the Guitar Center and at some banjo stores). I'm sure that a basic setup would have drastically improved any or all of those banjos. But, perhaps the closest to "Worst" of what I own is my Deering Vega Old Thyme Wonder open back, but only because it doesn't come close to a bluegrass sound that I wanted when I was trying to play bluegrass with it. I'm sure it would sound fine if I played clawhammer with it.

BEST: Naming the best is a tough one also. One interesting thing is that the banjo I like best seems to change over time (don't know if that is changes in the banjos because of weather, or just changes in my ear and picking. It's definitely not a definitive best, but what I have been really liking over the week or so is my Sullivan roasted maple festival. I hadn't played it for a while (because I've been playing and digging other banjos), but when I came back to it this week it blew me away with its tone, clarity and power. The interesting thing is that I originally purchased the Festival as my "travel" banjo, and paid the least for it (than any of my other resonator banjos): $2,100. But, the banjo that I am drawn to playing the most changes during the year, and I don't quite know why that is. It must be my ear and/or brain.

warpdrive - Posted - 01/07/2019: 09:41:02



banjoman3 - Posted - 01/07/2019: 10:34:29

Best- would have to be my Morgan Monroe Cascade. I absolutely love the tone and the feel and the looks.
Worst- Any fender banjo lol

SimonSlick - Posted - 01/07/2019: 10:36:15

The best I have owned is a Stelling Staghorn I bought from the shop in the late 70's. My second best is one of those "dreaded first run honey colored Earl Scruggs" described by warpdrive as a POS. Here's a clip of that 1984 Gibson ES POS (serial 197) that I dare not try to sell.

spoonfed - Posted - 01/07/2019: 10:51:33

sweetest POS I ever saw/heard, just goes to show "different strokes !"

mbuk06 - Posted - 01/07/2019: 10:51:54

The underlying premise of this thread is based on the idea that the banjo makes the difference: 'best' or 'worst'. That is the realm of hardware obsessives. Sure, a badly set up instrument will frustrate but similarly owning X or Y banjo won't make the owner a musician. Music is not a brand or a commodity that can be bought. Musicality is an expressive and adaptive aspect of the person.

A musician will pick up your 'worst' banjo and compel you to listen rapt to their playing.

Edited by - mbuk06 on 01/07/2019 10:52:58

spoonfed - Posted - 01/07/2019: 11:14:50

I read the OP as a simple best or worst banjo you have owned lighthearted kind of a question.

mbuk06 - Posted - 01/07/2019: 11:23:25

I read the OP as a simple best or worst banjo you have owned lighthearted kind of a question.

Maybe, but if you quietly consider the vehemence of some of the posts they really do read as if the banjo is at 'fault' - a 'POS'. My point is that musicianship attached to that 'POS' can flat-out disprove that label in terms of music.

It's nice to play a nice banjo, but I'm interested in the way that younger or less experienced players can get influenced by these type threads and how they contribute to a materialistic 'hardware culture' little different to how some folks relate to cars. It's music. We do better to develop our ability and musicianship whichever - decently set-up - banjo we play.

Edited by - mbuk06 on 01/07/2019 11:28:19

spoonfed - Posted - 01/07/2019: 11:29:28

well FWIW Mike, if I had access to this forum 30 years ago I would not have thrown much of the money I did at some of the truly awful cheapos that I have owned on my long journey to owning what I do today.

dmiller - Posted - 01/07/2019: 11:48:07

Originally posted by mbuk06

I read the OP as a simple best or worst banjo you have owned lighthearted kind of a question.

Maybe, but if you quietly consider the vehemence of some of the posts they really do read as if the banjo is at 'fault' - a 'POS'. My point is that musicianship attached to that 'POS' can flat-out disprove that label in terms of music.

It's nice to play a nice banjo, but I'm interested in the way that younger or less experienced players can get influenced by these type threads and how they contribute to a materialistic 'hardware culture' little different to how some folks relate to cars. It's music. We do better to develop our ability and musicianship whichever - decently set-up - banjo we play.

Same way with guns. Some shoot better than others/ some are more accurate/ some feed ammo better than other pistols/ and some have zero "failure to fire" or "failure to eject"/ and some don't. The same goes with banjos. Some are equal to the task and live up to expectations, and some don't. Period. If the owner decides it is is a "POS to them" from what they expected out of it, that is their prerogative to call it such - - not yours.

Edited by - dmiller on 01/07/2019 11:50:55

mbuk06 - Posted - 01/07/2019: 17:09:28

Originally posted by dmiller

Originally posted by mbuk06

I read the OP as a simple best or worst banjo you have owned lighthearted kind of a question.

Maybe, but if you quietly consider the vehemence of some of the posts they really do read as if the banjo is at 'fault' - a 'POS'. My point is that musicianship attached to that 'POS' can flat-out disprove that label in terms of music.

It's nice to play a nice banjo, but I'm interested in the way that younger or less experienced players can get influenced by these type threads and how they contribute to a materialistic 'hardware culture' little different to how some folks relate to cars. It's music. We do better to develop our ability and musicianship whichever - decently set-up - banjo we play.

Same way with guns. Some shoot better than others/ some are more accurate/ some feed ammo better than other pistols/ and some have zero "failure to fire" or "failure to eject"/ and some don't. The same goes with banjos. Some are equal to the task and live up to expectations, and some don't. Period. If the owner decides it is is a "POS to them" from what they expected out of it, that is their prerogative to call it such - - not yours.

There's no logic to what you just wrote, because I'm not asking for a naming 'perogative' - I'm not the one referring to a banjo as a 'POS'. An owner can call his banjo his Aunt Nelly as far as I'm concerned. It makes no odds.

Some may read this thread and be falsely influenced to think that their cheaper banjo is not fit for purpose. Some may actually be playing the models that are referred to so negatively here. Is it helpful that they should be made to feel that they need to hurl their 'worthless' banjo in the nearest dumpster and spend more money? No. My guess is that if soundfiles of these alleged 'POS' were available the real issue identifiable to discerning and experienced ears might not be entirely the banjo. We can deflect and blame and convince ourselves of pretty much anything if it suits us.

Celebrating Mr. Rogers at the National Archives

WASHINGTON, March 20, 2019 — Fred McFeely Rogers, more fondly known as Mr. Rogers by several generations of children and their parents, became an American icon through his long-running television show. Born on this day in 1928, in Latrobe, Pennsylvania, Rogers was a pioneer in children’s programming for more than 50 years. He worked on several other children’s television shows prior to his most famous—Mister Rogers’ Neighborhood—which catapulted him to legendary status.

Fred Rogers was awarded the Presidential Medal of Freedom by President George W. Bush on July 9, 2002, for his service to the nation and dedication to the education of children.(National Archives Identifier 7431400)

In celebration of Rogers’ birthday, the National Archives and Records Administration highlights several records from our holdings—housed at the National Archives at St. Louis—including Rogers’ draft card and his selective service records, as well as a letter he wrote to the U.S. Commissioner on Education.

Rogers registered for the draft in Greensburg, Pennsylvania, in 1948. When he registered, Rogers was just 20 years old. He was classified as “1A,” meaning he was available for military service. However, his status was changed to unqualified for military service following an Armed Forces physical on October 12, 1950. His World War II draft card and a Selective Service roster, which lists Rogers as number 122, can be found in the image gallery below this article.

Although Rogers did not serve his country in the armed services, he served through his dedication to its children and their education and emotional growth. Rogers was the creator, composer, producer, head writer, and host of the preschool television series that ran for 895 episodes from 1968 to 2001. Viewers became accustomed to his zipped cardigan sweaters, sneakers, and the “Won’t You Be My Neighbor” song that he sang at the start of each episode.

On July 9, 2002, President George W. Bush awarded Rogers the Presidential Medal of Freedom for this service to the nation and contributions to children’s education. Over his lifetime, Rogers received 40 honorary degrees, four Emmy Awards, and a Peabody Award. He was inducted into the Television Hall of Fame in 1999 and was recognized in two congressional resolutions in 2003. Rogers passed away on February 27, 2003.

Watch the video: Behind The Screens: #4 Bennie Rodgers II. BLACKPINK