INTERNATIONALLY ACCLAIMED FOLK ARTIST AND KENTUCKY TREASURER MINI ADKINS.

HISTORIANS EXAMINE THE HISTORY LESSONS FOUND IN THE PAINTINGS OF THOMAS NOVEL.

ENGINEERING AND ART COLLIDE.

THAT AND MORE ARE COMING UP.

STAY WITH US AS KENTUCKY LIFE STARTS RIGHT NOW.

>> ELECTRICAL OWE, I'M DOUG FLYNN AND WELCOME TO THIS SPECIAL EPISODE OF KENTUCKY LIFE.

FOCUSING ON THE ARTS.

ARTIST MINI ATKINS IS A TRUE KENTUCKY TREASURE.

YOU'LL RECOGNIZE HER ARTWORK THE MINUTE YOU SEE.

COLORFUL, UNIQUE AND OFTEN PLAYFUL.

MINI HAS RECEIVED MANY AWARDS AND HONORS AND ARTISTS FEATURES IN MUSEUMS, GALLERIES AND PRIVATE COLLECTIONS.

SOME MIGHT CLASSIFY IT AS FOLK ART BUT ACCORDING TO MINNIE, THAT JUST MEANS IT'S ART FOR EVERYBODY.

>> WELL, I GUESS IF I WERE TO WRITE JUST A LITTLE MINI BIOGRAPHY OF MINNIE, THE FIRST THING I WOULD SAY IS SHE IS A NATURAL BORN ARTIST IF GOD EVER MADE ONE.

SHE DOESN'T THINK ABOUT IT TOO LONG.

SHE DOESN'T AGONIZE OVER IT.

SHE JUST KNOCKS IT OUT.

AND HER INSTINCTS ARE RIGHT ON THE MONEY.

>> I WAS BORN IN KENTUCKY AND I STILL LIVE HERE AFTER 82 YEARS.

I STARTED WHITTLING AND CREATING SLING SHOTS, POP GUNS AND BOWS AND ARROWS WHEN I WAS ABOUT 10 YEARS OLD.

>> IF YOU LOOK AT HER ARTWORK, I THINK YOU CAN SEE A LOT OF HER CHILDHOOD IN IT.

I ASKED HER ONCE HOW SHE GOT STARTED CARVING AND SHE SAID WELL, I WAS ABOUT FIVE YEARS OLD AND I DIDN'T HAVE ANY TOYS TO PLAY WITH AND I WANTED SOME, AND SOME WAY I KNEW IF I HAD A KNIFE, I COULD MAKE MYSELF SOME THINGS TO PLAY WITH.

SHE HAD A FAVORITE UNCLE WHO CAME AND SHE WOULD BEG HIM TO BORROW HIS KNIFE AND HE SAID NOW IF YOU CUT YOURSELF, YOU KNOW I'M GOING TO BE IN BIG TROUBLE.

BUT HE WOULD GIVE IT TO HER AND SHE WOULD SLIP OFF TO THE BARN AND BEFORE LONG, SHE WOULD MAKE ANYTHING SHE WANTED BECAUSE SHE JUST HAD THAT GIFT AND SO THE FIRST THING SHE EVER MADE WERE TOYS FOR HERSELF.

>> AND IF I HAD TO DESCRIBE MY TITLE AS FOLK ARTIST OR OUTSIDER ART OR WHATEVER, I LIKE TO BE KNOWN AS A WOOD CARVER.

I USE BASS WOOD TO WHITTLE WITH.

IT'S A VERY SOFT WOOD.

SOME PEOPLE CALL IT LIN WOOD AND IT WHITTLES EASY.

>> SHE DOES IT SO FAST, IT'S ALMOST LIKE WATCHING SOMEONE SKETCH.

YOU CAN SEE THE FOX OR BEAR COME OUT OF THAT BLOCK OF WOOD.

>> THE ENERGY FEEDS ON ITSELF.

SHE GETS SUCH A GOOD RESPONSE FOR THE WORK FROM OTHER PEOPLE AND THAT FEEDS ITSELF ALL, THAT KIND OF BACK AND FORTH THAT YOU GET WHEN YOU MAKE THINGS THAT PEOPLE RESPOND TO.

>> WELL, IF I GET AN ORDER FOR 12 ROOSTERS, I USED TO GO TO THE WOODS AND GET ME 12 STICKS.

BUT NOW I HIRE THIS YOUNG MAN TO GO AND GET THEM FOR ME AND THEN I KNOW THAT I'M TO MAKE 12 ROOSTERS.

SO THEN I SAW THEM DOWN TO WHAT SIZE I WANT THEM TO BE.

I JUST NEED A SHARP KNIFE TO, YOU KNOW, START MAKING SOMETHING.

AND I CANNOT SHARPEN A KNIFE.

I'VE BEEN AT THIS DOWN THROUGH THE YEARS BUT CAN I NOT SHARPEN A KNIFE.

I HAVE TO GET SOMEBODY TO SHARPEN THE KNIVES.

SOME PEOPLE SAYS THEY CAN LOOK AT A PIECE OF WOOD AND IT SPEAKS TO THEM AND TELLS THEM WHAT IT WANTS TO BECOME.

I'VE WHITTLED ALL MY LIFE BUT IF I PICKED UP A PIECE OF WOOD AND IT STARTED TALKING TO ME, THAT WOULD SCARE ME REAL BAD.

I PICK UP A PIECE OF WOOD AND DECIDE WHAT I WANT TO MAKE WITH IT AND WHAT I WANT IT TO LOOK LIKE AND I TRY AS HARD AS I CAN TO DO THAT.

>> THERE IS A QUALITY ABOUT HER WORK, IF WOOD COULD BE MAGNETIC, HERS IS MAGNETIC.

I'VE SEEN PEOPLE WHO SHOWS THEIR WORK AND THEY WILL SCAN IT AND SEE HER THINGS AND THEY JUST GO TO IT.

>> BECAUSE THEY'RE HUMERUS, THERE IS AN INSTANT JOYOUS FEELING.

THAT'S THE FIRST IMPRESSION, I THINK.

YOU GET DEEPER INTO IT AND YOU CAN FIGURE OUT THAT THERE ARE THINGS THAT SHE IS SPEAKING TO THAT COME OUT OF HER IMMEDIATE EXPERIENCE.

>> IF I HAD TO DESCRIBE HER WORK JUST IN A SHORT PHRASE, I WOULD SAY IT'S ALIVE.

>> I WOULD JUST THINK OF WHAT THE ANIMAL, BEAR OR TIGER OR WHATEVER, AND WOULD I MAKE SOMETHING TO LOOK AS NEAR LIKE IT AS I THOUGHT I COULD.

>> I THINK SOME OF IT WOULD COME OUT OF HER LIFE EXPERIENCE.

A LOT OF IT IS HAVING GROWN UP IN THE VERY RURAL ISOLATED COUNTY, HAVING GROWN UP WITH ANIMALS AROUND HER, THAT KIND OF THING.

I THINK THAT HAS A LOT TO DO WITH THE IMAGERY SHE PICKS UP.

>> THE FUNNEST PIECE I'VE EVER CREATED OR I THINK IT'S REAL FUNNY, ART AND CRAFT FOUNDATION IN LOUISVILLE ASKED ME TO MAKE A DIFFERENT PIECE THAT NOBODY HAD SEEN SO I MADE THIS PURPLE CREATURE AND I GIVE HIM YELLOW TEETH AND PUT SEEDS IN HIS MOUTH THAT LOOK LIKE ROACHES AND I CALLED HIM A ROACH TERMINATOR.

HE GIVE ME A CASSETTE TAPE OF BRIGHT BLUE ROOSTER IT WAS CALLED.

A BRIGHT BLUE ROOSTER AND I COULDN'T GET IT OUT OF MY MIND SO I MADE IT AND SENT IT TO HIM.

HE SAID IF YOU COULD MAKE THE CHARACTERS TO MATCH ALL OF THAT, WE'LL PUT IT INTO A CHILDREN'S BOOK AND I THOUGHT THAT WAS FUN.

THEN WE MADE THE SUNNY THE MONKEY BOOK.

I MADE 1500 CARTOONS FOR SUNNY THE MONKEY AND BRIGHT BLUE ROOSTER.

WE WAS WORKING ON MOMMY GOOSE RIEMENTS FROM THE MOUNTAINS.

SO THE MOMMY GOOSE BOOK HAS CAUGHT ON REALLY, REALLY BIG I'M PROUD OF EACH ONE OF THEM BUT MY FAVORITE IS THE BRIGHT BLUE ROOSTER.

>> THE THESES SHE MADE FOR THE BOOK, THE ONE THAT IS SPECIAL FOR ME IS MOMMY GOOSE.

WHEN WE STARTED DOING THAT, I HAD SOME IDEAS OF A TRADITIONAL MOMMY GOOSE WITH A BAG MORE LIKE A GOOSE AND I ASKED HER BEFORE WE STARTED THE BOOK, I SAID DO YOU WANT ME TO SEND YOU SOME SKETCHES OR SOME PICTURES OF GEESE OR ANYTHING LIKE THAT AND SHE SAID NO, SHE SAID I'LL JUST, LET ME JUST COME UP WITH MY OWN.

AND SHE ALSO DOES BIBLICAL SCENES LIKE A NOAH'S ARC AND DANIEL IN THE LION'S DEP AND GARDEN OF EDEN.

WHEN I LOOK AT THOSE, I GET A VERY STRONG SENSE OF REVERENCE.

SO WHATEVER SHE DOES, WHEN YOU DO ART, YOU KNOW, THE RANGE OF HUMAN EMOTIONS ARE FROM LAUGHTER AND HUMOR TO REVERENCE AND EVEN SADNESS AND I THINK HER WORK COVERS ALL OF THAT.

>> I WHITTLE ALSO A LITTLE WOMAN, SUPPOSED TO BE, AND IT'S A SELF PORTRAIT OF ME.

AND THEY HAVE BECOME AS POPULAR AS MY ANIMALS ARE.

AND RED TOP AND BLACK BRITCHES AND BLUE SHOES THE REASON FOR THE RED SHIRT AND BLACK BRITCHES AND BLUE SHOES.

THAT IS THE FIRST ONE I MADE.

THAT'S WHAT IT HAD ON.

>> SHE PAINTS, SHE DESIGNS QUILTS SHE IS NOT JUST WOOD CARVING.

THAT'S HER PRIMARY MEDIUM BUT NOT THE ONLY ONE.

>> SHE IS VERY POSITIVE.

VERY GENEROUS, ALWAYS LOOKING FOR SOMETHING SHE CAN DO FOR SOMEBODY ELSE.

>> I DON'T THINK THAT SHE WOULD BE CONTENT IF SHE WEREN'T CREATING.

>> I WANT THEM TO BE HAPPY.

FOLK ART IS ART FROM THE HEART.

AND IT'S TO MAKE PEOPLE HAPPY AND IF THEY ENJOY MY WORK A LOT OF PEOPLE ENJOY IT.

A LOT OF PEOPLE DON'T LIKE IT, NOW, BUT THAT'S THE REASON WE HAVE ALL THESE DIFFERENT ARTISTS AND SO FOR SOMEBODY TO BUY SOMETHING FROM ME AND SEND A CARD BACK HOW THEY ENJOY IT AND A PICTURE WHERE THEY SET IT IN THEIR HOME, YOU KNOW, THAT'S AN UPLIFT TO ME TO KNOW THEY ENJOY WHAT I DO.

>> THE 1-9SDZth CENTURY PAINTER THOMAS NOVEL WAS BORN IN LEXINGTON IN 1835.

THE SUN OF PROSPEROUS LAND OWNERS RAISING HIM IN COTTON.

AS THE CIVIL WAR INDEPENDENTED, NOBLE BEGAN TO FEATURE AFRICAN AMERICANS IN A SYMPATHETIC LIGHT IN HIS PAINTINGS AS WELL AS DEPICT THE HORRORS OF SLAVERY.

CERTAINLY NOT THE ART YOU WOULD EXPECT FROM A FORMER CAPTAIN IN THE CONFEDERATE ARMY WHOSE FAMILY FORTUNE WAS BUILT IN PART UPON THE SHOULDER OF SLAVES.

>> THOMAS WAS BORN IN LEXINGTON KENTUCKY IN 1835 AND HIS FATHER WAS A PLANTATION OWNER AS WAS HIS GRANDFATHER.

HE IS BORN TO A WEALTHY FAMILY IN LEXINGTON, KENTUCKY.

I SAY WEALTHY ONLY IN THAT HIS FATHER WAS A SUCCESSFUL HEMP FARMER.

HE IS ALLOWED TO BE, TO EXPLORE THIS.

AND AS A CHILD HE HAS ALWAYS SHOWN AN INTEREST FOR ART AND LUCKILY FORTUNATE ENOUGH TO TRAVEL ABROAD TO STUDY AND DEVELOP HIS CRAFT MORE SO.

AND HE FINDS OUT FROM OTHER ARTISTS IN HIS LEXINGTON AND THEN ST. LOUIS MILLIEU THAT HE NEEDS TO GO TO PARIS.

HE IS IN PARIS IN THE LATE 1850s.

>> THOMAS NOBLE WAS VERY CONSISTENT IN HIS PAINTINGS IN HIS YOUTH UNTIL HE DIED.

HE WAS A CLASSICAL REALIST TRAINED IN THE TRADITIONAL MANNER.

>> HE TRAINS UNDER THE ERA WHEN THEY SOMETIMES EVEN CALLED IT ELEVATED GENRE.

MAY BE SEEN OF A REAL LIFE EVENT, HISTORICAL EVENT, PORTRAYED IN MAYBE SOMEWHAT ROMANTICIZED MANER.

>> THOMAS NOBLE PAINTED LIFE AS HE SAW IT DURING HIS LIFETIME.

HE DID MANY VERY BEAUTIFUL LANDSCAPES ON EARLY IN SOME OHIO RIVER SCENES.

>> WHEN HE CAME BACK TO THE STATES, IT WAS AROUND THE TIME THAT THE WAR BROKE OUT, THE CIVIL WAR.

>> CAME BACK TO THE UNITED STATES AND FOUGHT ON THE CONFEDERATE SIDE DURING THE CIVIL WAR.

HE WAS A CAPTAIN IN THE CONFEDERATE ARMY.

>> ALTHOUGH HE WAS NOT A CHAMPION FOR SLAVERY, HE BELIEVED IN HUFF-- HE WAS A STATESMAN AND BECAUSE OF HIS LOVE FOR KENTUCKY.

>> AND AFTER THE CIVIL WAR, HE DID SEVERAL PAINTINGS DEPICTING THE HORRORS OF SLAVERY.

>> HE DIGS INTO A GENERAL GENRE THAT HASN'T BEEN DONE BEFORE AND HE DIGS INTO IT IN A VERY MAJESTIC WAY WITH ELEVATED THEMES.

>> HE EARNED THE NAME THE RELUCTANT REBEL.

AND THAT FOR THE FACT THAT EVEN THOUGH HE DID FIGHT ON THE SIDE OF THE SOUTH, THROUGH HIS PAINTINGS HE SHOWED THESE SOCIAL AND POLITICAL PRESENTATIONS OF ENSLAVED PEOPLE LIVING IN THE UNITED STATES.

NO ONE WAS DOING WORK LIKE THIS AT THIS TIME PERIOD.

>> AND HE ALSO DID PORTRAITS AND FLORALS AND STILL LIVES AND JUST GENERALLY PAINTINGS OF LIFE.

>> THOMAS NOBLE USED HIS ARTWORK TO TELL STORIES, PARTICULARLY THE STORIES FOR THOSE WHO COULD NOT SPEAK FOR THEMSELVES.

HE TOLD THE STORIES OF ENSLAVED PEOPLE AND USED REAL LIFE SCENARIOS THAT WOULD ONLY PERTAIN TO THEM.

AND HE WOULD SHOW IT IN A WAY THAT SHOWED THEM AS THE VICTIM.

OFTEN TIMES THE VIEW POINT WAS THAT SLAVERY WAS TO HELP THEM.

BUT HE SHOWED THE FLIP SIDE OF IT TO SHOW THAT SLAVERY WAS DETRIMENTAL.

THESE ARE THE CAUSES OF SLAVERY AND I THINK THE ONE PIECE THAT SHOWS HOW DETRIMENTAL THAT WAS WAS THE PIECE CALLED THE MODERN MADEA.

THAT DEPICTS THE STORY OF MARGARET GARDENER.

>> THE PAINTING DEPICTS A BLACK WOMAN WHOSE CHILD SHE HAS JUST KILLED IS ON THE GROUND AND HER OTHER CHILDREN AROUND HER TRYING TO PULL HER BACK.

AND THESE WHITE MEN ARE COMING IN AND THEY'RE ANGRY AT HER BECAUSE SHE HAS DESTROYED THEIR PROPERTY.

HER CHILD.

AND SHE WENT INTO A RAGE.

BUT IT IS A VERY POWERFUL PAINTING.

>> WHAT THOMAS NOBLE DID THAT WAS UNHEARD OF AT THIS TIME, IT MAKES MARGARET GARDENER LOOK LIKE IN A SENSE, A HERO, IN THE SENSE THAT SHE IS CONFRONTING HER WOULD BE PERPETRATORS.

SO THIS TYPE OF DEPICTION WAS UNHEARD OF AT THIS TIME.

IT WAS VERY POWERFUL BECAUSE IT SHOWED THE PAIN AND PROBABLY THE SUFFERING THAT MARGARET GARDENER HAD TO FACE IN THAT MOMENT.

THOMAS NOBLE LOOKS AT THE LIFE OF JOHN BROWN AFTER HARPER'S FERRY AND BASICALLY ON HIS WAY TO EXECUTION, HE STOPS WHERE HE SEES AN ENSLAVED MOTHER AND HER CHILD AND OFFERS A BLESSING.

>> HE IS LEAVING THE COURTHOUSE AND CROWDS OF PEOPLE ARE GATHERED AROUND AND A MOTHER HANDS HIM A BABY AND HE KISSES THE BABY.

>> AND WITHIN THAT PICTURE, IT SHOWS THAT JOHN BROWN, ALTHOUGH INCOMPLETE IN HIS MISSION BECOMES A FAMOUS MARTYR OF THE CAUSE.

>> NOW STORIES TELL US THAT THAT DIDN'T REALLY HAPPEN; THAT THAT WAS PERHAPS AN EMBELLISHED SCENE.

STILL, IT BECOMES AN IMPORTANT PAINTING AND IS IN THE NEW YORK HISTORICAL SOCIETY COLLECTION TODAY.

>> SO ANOTHER PIECE WAS THE PRICE OF BLOOD.

AND THIS PICTURE DEPICTS A SLAVE OWNER SELLING HIS SON.

>> AND THERE ARE TWO MEN SITTING AT A TABLE WITH MONEY ALL OVER THE TABLE NEGOTIATING THE PRICE OF THIS YOUNG MULATTO YOUNG MAN WHO IS VERY STRONG AND BAREFOOT AND THESE TWO MEN ARE AT THE TABLE, HAGGLING OVER HIM AND THOMAS NOBLE WAS APPALLED BY THAT.

HE WAS VERY FOND OF THE BLACK SLAVES IN HIS HOME AND HE WAS ALSO APPALLED BY THE FACT THAT FAMILIES WERE SEPARATED, THE CHILDREN WERE TAKEN AWAY FROM THEIR MOTHERS AND SOLD.

>> AND SO THOMAS NOBLE HIGHLIGHTED THINGS THAT WERE VERY, VERY SERIOUS SOCIAL NORMS AT THE TIME, AND HE WAS TALKING ABOUT THEM THROUGH PAINTINGS.

>> 1868 IS A VERY PIVOTAL YEAR, NOT ONLY IS THOMAS NOBLE RIDING HIGH ON HIS REPUTATION AS THIS RISING STAR IN THE NATIONAL ACADEMY OF DESIGN, BUT HE IS ALSO THE FIRST CHOICE TO BE THE FIRST DIRECTOR AT THIS NEW DESIGN SCHOOL IN CINCINNATI.

>> AND THEN HE BECAME THE FIRST DIRECTOR OF THE SCHOOL OF DESIGN WHICH BECAME THE CINCINNATI ART ACADEMY IN 1869.

IN.

>> IN AMERICA, WE HAVE NO ART SCHOOLS OR ART COLLEGES, REALLY, UNTIL THIS TIME PERIOD.

HE HAS EXPLAINED THIS IS A NEW KIND OF SCHOOL, A SCHOOL OF DESIGN.

AND HOW-- HE IS THERE TRYING TO FIGURE THIS ALL OUT.

WHAT IS THIS NEW KIND OF SCHOOL?

WHAT NEEDS TO BE TAUGHT?

AND NOBLE RELIES ON HIS PAST EDUCATION.

HE KNOWS THEY NEED TO LEARN HOW TO DRAW.

THIS WHOLE IDEA THAT A TEACHER WOULD STAY IN THE CLASSROOM AND TEACH EVERY SINGLE DAY AS A CLASS SESSION IS A NEW PHENOMENA AND NOBLE LEARNS HOW TO DO THIS.

AND HE TEACHES HIMSELF HOW TO GET THERE.

>> THOMAS NOBLE, AS AN ARTIST, SPEAKING TO TOPICS ABOUT SOCIAL NORMS HE SHOULD NOT BE SPEAKING TO, WHAT COURAGE.

>> NOBLE CONTRIBUTED TO THE DESIGN SCHOOL MOVEMENT.

HE CONTRIBUTED TO THE DEVELOPMENT OF AMERICAN LANDSCAPE ART AT THE END OF THE 19th CENTURY.

AND AS WE LOOK BACK AT HOW WE EDUCATE ARTISTS IN THE 19th CENTURY, HE IS AN INSTRUMENTAL FIGURE.

>> KENTUCKY IS KNOWN FOR THEIR MUSICIANS AND WE WOULD ALL AGREE THE HAND CRAFTED INSTRUMENTS IS AN ART FORM IN ITS OWN REGARD.

NEIL KENDRICKS BACKGROUND IS IN ENGINEERING.

IT MAKES SENSE HE BRINGS AN ENGINEER'S CONCERN FOR PRECISION AND ACCURACY TO HIS GUITAR BUILDING.

THE CONSISTENCY HIGH QUALITY OF HIS GUITARS COMES FROM MORE THE 20 YEARS OF ATTENTION TO ALL THE DETAILS.

♪ ♪ ♪ ♪ >> NEIL IS THE BEST LUTHIER I HAVE EVER MET.

AFTER YOU PLAY ONE OF NEIL'S GUITARS, NONE OF THE OTHER GUITARS I PLAYED COMPARE IN QUALITY OR SOUND AND I'VE PLAYED THEM AGAINST MANY DIFFERENT GUITARS AND THERE IS JUST NO COMPARISON.

♪ ♪ ♪ ♪ >> THE WHOLE IDEA OF A GUITAR IS TO GET THE STRING VIBRATIONS TRANSFERRED TO THE INSIDE OF THE GUITAR SO THEY CAN RESONATE BACK OUT THE SOUND HOLE AT A MAXIMUM VOLUME AND A MAXIMUM TONE.

MOST OF MY CUSTOMERS ARE BLUEGRASS, SO THE WOOD OF CHOICE, IN MY OPINION AND MOST OF THEIR DESIRE, IS USUALLY EAST INDIAN ROSEWOOD AND THAT'S FOR THE BACK AND SIDES.

AND THE TOP WOOD IS VARIOUS SPRUCE WOODS.

MY FAVORITE IS LIKE A GERMAN SPRUCE FOR THE TOP.

I'VE HAD THE MOST SUCCESS WITH THAT FOR GETTING THE KIND OF TONE THAT I WANT.

AND I TRY TO ACHIEVE A GOOD BALANCE OF THE INSTRUMENT TO WHERE THE TREBLE SIDE VERSUS THE BASS SIDE IS NOT IMBALANCED TO WHERE YOU CAN-- YOUR EQUALIZATION WHEN THEY'RE RECORDED DOESN'T HAVE TO BE BOOSTED SO HIGH ON GAIN ON TREBLE SIDE AND THEN YOU GET AN OVER TONE ON THE BASS SIDE SO YOU GET A GOOD BALANCE OF THE INSTRUMENT.

AND TO MAKE AN INSTRUMENT THAT CAN BE HEARD WELL BY SOMEBODY JAMMING OUTSIDE AND STILL TAKE THE SAME INSTRUMENT AND GO TO THE STUDIO WITH IT AND HAVE A GOOD SOUND.

THAT'S MY ULTIMATE GOAL WITH AN INSTRUMENT.

♪ ♪ SO I PURSUE TRYING TO LEARN HOW TO DO IT THE RIGHT WAY.

AND THEN THERE WERE PEOPLE LIKE HOMER LEDFORD IN THE AREA THAT HAVE BEEN DOING THIS FOR MANY YEARS AND I CONSIDERED THE EXPERT IN THE SKILL OF LUTHERIE.

HE WOULD TAKE THE TIME TO STOP AND TALK TO ME ABOUT THE BUSINESS AND THE SKILLS AND THE PROCESSES THAT IT TAKES TO DO DIFFERENT TASKS WITH IT.

AND HOMER HAD ALREADY, HE BUILT THOUSANDS OF INSTRUMENTS, MORE THAN 6,000 INSTRUMENTS IN HIS LIFETIME, WHICH IS A LOT.

>> WE THINK OF HIM SO MUCH AS A DULCIMER MAKER, FORGETTING THE MANDOLINS, VIOLINS, GUITARS, HARPS, ALL KINDS OF INSTRUMENTS.

ANOTHER THING THAT MAKES HOMER RATHER REMARKABLE IS THE FACT THAT HE IS A PERFORMER AS WELL AS A CRAFTSMAN.

BY KNOWING THE SOUND THAT YOU WANT OUT OF AN INSTRUMENT AS A PLAYER, YOU ARE ABLE TO GO GET THAT SOUND FROM THE INSTRUMENT BY CRAFTING IT HIMSELF.

>> HOMER MAINTAINED A LOT OF OLD METHODS, YOU KNOW, A LOT OF THINGS BY HAND.

IN TODAY'S BUSINESS, A LOT OF THINGS ARE DONE BY CNC, YOU KNOW, AND NOT NECESSARILY BY HAND.

I LIKE TO STILL DO THINGS BY HAND TO CLAIM THAT IT IS A HAND BUILT INSTRUMENT, I EXPECT IT TO BE EVERYTHING BY HAND THAT I POSSIBLY CAN.

AND HOMER CARRIED THAT TRADITION ALL THE WAY TO THE END OF HIS METHODOLOGY AND HE WAS PRETTY MUCH A PIONEER IN SOME THINGS, TOO.

HE INVENTED THE DULCITAR THAT HE HAS A PATENT ON.

THE SMITHSONIAN HAS THREE OF HIS INSTRUMENTS.

THEY WERE IMPORTANT ENOUGH CULTURE FOR THEM TO HAVE ON DISPLAY IN THE SMITHSONIAN INSTITUTE.

WHEN YOU ARE SPEAKING ABOUT A NEIL KENDRICK GUITAR, WORDS WILL NEVER SUFFICE TO SAY WHAT NEEDS TO BE SAID.

UNTIL YOU PICK ONE UP, PLAY IT, HEAR IT, THEN THERE IS JUST-- YOU CAN'T SPEAK WHAT QUALITIES ARE THERE.

YOU CAN'T SPEAK TO THE SOUND.

YOU HAVE TO PLAY ONE.

BUT ONCE YOU'VE PLAYED A KENDRICK GUITAR, NONE OF THE OTHERS WILL COMPARE.

>> PROBABLY THE MOST NOTED BLUEGRASS PLAYER OF MY INSTRUMENTS WOULD BE JOSH WILLIAMS.

JOSH HAS BEEN LIKE THREE TIMES GUITAR PLAYER OF THE YEAR WITH IBMA.

I THINK 10 OR 12 TIMES WITH OTHERS AND PLAYS ON THE ROAD ALL THE TIME WITH RONDA VINCENT AND THE RAGE.

THEY'RE A PRETTY NOTED BAND AND THEY'VE GOTTEN ENTERTAINER OF THE YEAR SEVERAL TIMES.

THEY'RE REALLY IN THE SPOTLIGHT.

SO PEOPLE RECOGNIZE THAT NAME PROBABLY MORE THAN ANY.

♪ OUR HOPES ARE HIGH FROM... THAT AND MAGIC IS ALL IT WILL TAKE ♪ ♪ UP AND DOWN, TAKES ME BACK ONE MORE TIME ♪ ♪ IT'S HARD TO QUIT AS THE DAYS GO ROUND ♪ ♪ I DON'T WANT TO SIT STILL WHEN THE SUN GOES DOWN ♪ ♪ WHEN I HEAR GEORGE JONES SING OUT OF MY MIND ♪ ♪ I'VE GOT TO TRY JUST ONE MORE TIME ♪ ♪ THIS IS THE LAST SONG I'LL SING ♪ ♪ LAST ONE I'M EVER GONNA WRITE ♪ LAST SONG I'M EVER GOING TO PLAY ON THIS OLD GUITAR ♪ ♪ THIS OLD STAGE TONIGHT ♪ >> MY OTHER BACKGROUND IS ALSO IN ENGINEERING.

SO, YOU KNOW, FIT AND FINISH MAKES A BIG DIFFERENCE IN ANYTHING.

AND IT STILL HOLDS TRUE ALSO IN GUITARS.

THE PRECISION OF THE INSTRUMENT MAKES THE DIFFERENCE IN THE SOUND THAT YOU GET FROM THE INSTRUMENT AND ALSO THE LONGEVITY OF THAT INSTRUMENT OF IT STAYING TOGETHER AND BEING STRUCTURALLY SOUND.

I HOPE THAT 100 YEARS DOWN THE ROAD MY GUITARS ARE STILL IN TACT.

I WON'T BE AROUND TO FIND OUT, BUT WE HOPE THAT THAT RINGS TRUE.

♪ ♪ ♪ ♪ >> NO VISITS TO INSTRUMENT MAKERS IN KENTUCKY WOULD BE COMPLETE WITHOUT DROPPING BY TO SEE WARREN MAY IN BEREA.

I RECEIVED A BRIEF HISTORY LESSON ON THE DULCIMER FROM WARREN AND ACTUALLY JOINED HIM FOR A SHORT DUET.

SEE IF YOU CAN GUESS WHICH ONE OF US IS IN TUNE.

I'M DOUG FLYNN ENJOYING LIFE, KENTUCKY LIFE.

>> WELL, WE'VE HEADED SOUTH AND DOWN IN BEREA, KENTUCKY, TODAY, AND I AM THRILLED TO DEATH BECAUSE AS A LIFE LONG KENTUCKIAN, THERE IS NOTHING LIKE THE SWEET SOUND OF KENTUCKY MUSIC AND I'M HERE WITH WARREN MAY.

HE IS A MASTER WOODWORKER.

BUT YOU ALSO HAVE ANOTHER LITTLE HOBBY THAT KIND OF GOES BACK ABOUT 40 YEARS.

THE DULCIMER.

>> YES.

>> I HAVE BEEN LISTENING TO YOU PLAY THIS.

IT HAS SUCH A BEAUTIFUL SOUND.

TELL US A LITTLE BIT ABOUT THESE RIGHT NEAR HERE IN FRONT OF US AND THE HISTORY OF THE DULCIMERS.

>> THESE ARE BRAND NEW BUT I HAVE BEEN MAKING INSTRUMENTS 44 YEARS NOW.

STARTED IN 1972 DOWN IN RICKY SKAGGS COUNTRY.

BUT I WAS PLAYING GUITAR UNTIL I MADE A DULCIMER.

I COULD PLAY THE DULCIMER SO I MADE ABOUT A DULCIMER A DAY FOR ABOUT 44 YEARS NOW.

>> IT HAS A BEAUTIFUL SOUND.

THE DULCIMER WAS ORIGINALLY MADE IN KENTUCKY, CORRECT.

>> THIS IS THE ORIGINAL KENTUCKY STYLE, THE HOUR GLASS SHAPE.

I DO SOME OF THOSE AND SOME VARIATIONS ON THOSE.

THE PRIMARY KENTUCKY STYLE.

AND WE THINK THE DULCIMER CAME OVER AROUND 1700.

VERY FEW INSTRUMENTS IN THE MOUNTAINS.

SO ANY KIND OF BOX WITH STRINGS ON IT WILL ACTUALLY MAKE A DULCIMER AND THAT'S HOW IT ALL GOT STARTED.

>> NOTICE NOW YOUR TYPICAL GUITAR HAVE SIX STRINGS, SOME HAVE FOUR STRINGS.

THIS HERE YOU HAVE FOUR STRINGS BUT THEY'RE NOT EXACTLY PUT TOGETHER LIKE WOULD YOU SEE ON A GUITAR.

>> YES, THIS IS MUCH EARLIER THAN GUITARS.

REALLY YOU JUST HAVE TWO NOTES.

BUT THOSE ARE THE TWO MOST PERFECT NOTES IN MUSIC SO IF YOU ARE STRUMMING A DULCIMER, IF YOU ARE STRUMMING TICK TOCK HEART BEAT YOU HAVE PERFECT MUSIC AND YOU CAN ADD THE REAL NOTES ON THE FIRST STRING HERE.

>> IT'S THAT EASY?

>> THAT EASY.

>> WOW.

CAN YOU AND I PLAY A SONG TOGETHER?

>> SURE.

>> WHAT DO YOU WANT ME TO DO.

>> ALL RIGHT.

YOU DO THE RHYTHM PART.

TICK TOCK, JUST TICK, TOCK, TICK, TOCK.

♪ IN THE SWEET, BY AND BY.

♪ BY AND BY.

♪ WE SHALL MEET ON THAT BEAUTIFUL SHOW ♪ ♪ IN THE SWEET.

♪ IN THE SWEET,.

♪ BY AND BY.

♪ WE SHALL MEET ON THAT BEAUTIFUL SHORE ♪ >> THANK YOU, LADIES AND GENTLEMEN.