The National Old Time Fiddlers' Contest and Festival Oral History Project, 2017-2022

This oral history interview with Kent Craig, conducted with the participation of Karen and Wendell Ader, captures personal recollections, musical demonstrations, and community memories tied to the old-time fiddling traditions of Weiser, Idaho. Across two sessions, the conversation blends performance and storytelling, touching on Craig's experiences with fiddle contests dating back to 1958, his involvement with groups like Tater and the Tots and the Gem State Fiddlers, and his legacy as a fiddle teacher for youth. Anecdotes highlight community events, humorous mishaps, and the significance of intergenerational music-making. Interviewees reflect on notable artists who passed through the area—such as Rose Maddox and Marty Robbins—and offer candid thoughts on how musical styles and the contest scene evolved over time. The interview closes with discussions of Weiser's changing venues, the cultural importance of the National Oldtime Fiddlers' Contest, and the urgency of preserving local musical heritage through oral history. Multiple fiddle tunes are performed live, including "Ragtime Annie," "Over the Waves," and "Faded Love."

This oral history captures Bruce and Cindy Campbell's reflections on organizing the National Oldtime Fiddlers' Contest, highlighting both historical developments and behind-the-scenes challenges. Topics include the evolution of competition divisions, gender equity debates during the Title IX era, the introduction of double-staging and expanded schedules, and the influence of rising young talents like Mark O'Connor. The Campbells recount humorous anecdotes about competitors, judges, and organizational mishaps—such as a contestant forgetting to wear pants or a judge oversleeping after a night of jamming. They also discuss broader concerns, including declining participation numbers, the importance of financial and community support, and the enduring sense of camaraderie among attendees. The interview provides valuable insight into the infrastructure, traditions, and evolving culture of one of the most prominent fiddle contests in the United States.

In this oral history interview, Rod Panike reflects on his long-term involvement with the National Oldtime Fiddlers' Contest in Weiser, Idaho. Topics include local attitudes toward the influx of visitors during fiddle week, memories of prominent musicians such as Big Jim DeNoon and Jimmie Widener, and thoughts on the contest's past and future. Panike discusses logistical changes over time—such as the controversial move from a central stage in the gymnasium to the auditorium—and weighs the cultural and economic impacts of the contest on the town. He expresses optimism about younger generations sustaining the tradition and offers suggestions for expanding programming to include bluegrass and non-competitive performances. Anecdotes about longtime attendees and humorous mishaps lend warmth to this record of community memory and change.

This oral history interview, conducted at Crescent Brewery in Nampa, Idaho, features reflections by John Larsen and Charlie Simmons on the Weiser National Oldtime Fiddlers' Contest and Festival. The conversation covers their personal musical backgrounds, memories of notable performers (including Dick Barrett, Herman Johnson, and Sam Bush), and changes in both the competition and broader festival culture. Topics include the decline of the Washington Hotel jam scene, the rise of Texas-style fiddling, and the emergence of Stickerville as a countercultural hub for open jamming. Anecdotes range from fond memories of communal performances to humorous stories about colorful characters from past festivals—including a moment involving a biker silencing rock music with a pistol. The interview also offers critical commentary on the growing professionalization of contest performances and advocates for broader, more inclusive programming to sustain audience engagement and community participation.

This interview with Paul Anastasio, conducted as part of the National Oldtime Fiddlers' Contest and Festival Oral History Project, explores the multifaceted culture surrounding the contest and broader fiddle music traditions. Anastasio reflects on the dominance of Texas-style fiddling in contests west of the Mississippi, the camaraderie and jamming at Stickerville, and his teaching experiences at festivals like the Festival of American Fiddle Tunes. He shares anecdotes about notable musicians, such as Johnny Gimble and Johnny Frigo, while lamenting the decline in attendance at traditional fiddle contests and the aging demographic of participants. The discussion also delves into efforts to sustain interest through diversification, including swing contests and workshops. Anastasio underscores the importance of preserving the music's heritage, fostering community, and maintaining the joy of jamming, even as the contest culture evolves. The interview took place in Slocum Hall during the National Oldtime Fiddlers' Contest and Festival.

In this interview, Julie and Frank Eisenhower share their rich memories of the National Oldtime Fiddlers' Contest and Festival, recounting how they first became involved in 1966 and reflecting on the festival's evolution over several decades. They discuss their roles, including organizing square dances, coordinating record sales, and ensuring smooth stage transitions for performers. The Eisenhowers describe the festival's growth, changes in the venue setup, and the impact of the 50th anniversary celebration, where the stage was presented "in the round." They reflect on the generational aspect of the festival, highlighting the continued involvement of families and the importance of maintaining traditions. Their insights underscore the sense of legacy and pride that the festival fosters, making Weiser a focal point for traditional music and family gatherings each year. This interview was conducted at Slocum Hall during the National Oldtime Fiddlers' Contest and Festival.

In this interview, Lawrence Smart shares his memories of the National Oldtime Fiddlers' Contest and Festival, particularly his experiences with Stickerville, an offsite camping area associated with the festival's more bohemian side. Smart describes the vibrant music community that has developed over the years, noting the shift from large group jams to more intimate gatherings and the enduring sense of camaraderie that music fosters among attendees. He also discusses the festival's evolution, the blending of musical styles, and his hopes for the future, emphasizing music's power to transcend political and social divides. His reflections highlight the festival's unique role in nurturing a sense of community and continuity in American string band traditions. This interview with Lawrence Smart took place at Slocum Hall during the National Oldtime Fiddlers' Contest and Festival.

This interview captures Jim Weaver's reflections on the National Oldtime Fiddlers' Contest and Festival, emphasizing the evolution of the festival's community and atmosphere. Weaver discusses Stickerville's history, the sense of belonging among attendees, and his vision for the festival's future growth while preserving its informal, inclusive character. His stories highlight how Stickerville serves as a retreat from daily life, where music and unity transcend outside tensions, fostering a rare sense of optimism and fellowship. This interview took place in Slocum Hall during the National Oldtime Fiddlers' Contest and Festival.

This interview, conducted by Camille Sleight-Price at Slocum Hall in Weiser, Idaho, documents Duane Boyer's reflections on his long-term involvement with the National Oldtime Fiddlers' Contest and Festival. Boyer discusses his introduction to the festival in 1965, his role as a participant, and his experiences accompanying and mentoring fiddlers. He provides insight into the festival's changes over the years, including the evolution of musical styles, community dynamics, and challenges in maintaining traditional regional influences amidst the dominance of Texas-style fiddling. Boyer also shares his concerns about the future of the festival and the dwindling attendance at contests. The interview offers a personal view of the festival's cultural significance and Boyer's contributions to the fiddling tradition. This interview took place at Slocum Hall in Weiser, Idaho.

This interview explores Vivian Williams' experiences and insights into the National Oldtime Fiddlers' Contest and Festival. Williams reflects on the evolution of the festival, from its early years as a central community gathering to a more diversified and stylistically varied event. She discusses changes in fiddling styles, contest judging, and the cultural dynamics within the festival, including the emergence of various participant groups over the years. Her anecdotes highlight the impact of changing traditions on the festival's community and underscore her dedication to fostering a wide appreciation for diverse fiddling styles. This interview took place at Slocum Hall in Weiser, ID.

This interview captures Mabel Vogt's reflections on her journey as a fiddler and her longstanding involvement with the National Oldtime Fiddlers' Contest and Festival. Vogt discusses the evolution of the festival, her advocacy for integrated competition categories, and her observations on shifting music styles, particularly her fondness for Canadian influences. She also provides insight into the festival's role in the Weiser community, the impact of generational shifts on the event, and her hopes for preserving traditional fiddling skills for future generations. Interview took place at Slocum Hall, Weiser, ID.

This interview with Jana Jae, conducted as part of the National Oldtime Fiddlers' Contest and Festival Oral History Project, explores her deep connections to the festival as both a contestant and a judge. Jae reflects on her transition to professional music, her mentorship roles, and her efforts to establish and expand festivals inspired by Weiser's model. She discusses the contest's evolution from its square-dancing roots in the 1950s to its current status as a festival incorporating diverse styles and musicians from around the world. Highlighting the strong sense of community at Weiser, particularly in the campgrounds, she emphasizes its unique ability to bring together musicians and foster creativity. Jae also speaks to the contest's global impact and enduring legacy, noting the dedication required to sustain it and expressing her hope for its continued success. This interview offers rich insights into the festival's history, organization, and cultural significance. This interview was conducted during the National Oldtime Fiddlers' Contest and Festival in Slocum Hall, Weiser, ID.

This interview with Duane Stephens at Slocum Hall in Weiser, Idaho, captures the reflections of an award-winning fiddle player and long-time participant and judge at the National Oldtime Fiddlers' Contest and Festival. Stephens discusses his personal history with fiddle music, starting from childhood accompaniment on the piano to his extensive participation in the festival since 1965. He shares insights into the evolution of the festival, including the transition from regional to national prominence, changes in fiddle styles, and the development of the festival's community atmosphere. Stephens also reflects on the challenges of preserving traditional music in a modern context and the camaraderie that keeps him returning to the festival. This transcript, proofed by the interviewee, offers a rich perspective on the cultural and historical significance of the festival and the enduring love for fiddle music.

This oral history interview with Hal Cannon captures a wide-ranging reflection on the cultural dynamics and evolution of the National Oldtime Fiddlers' Contest and Festival in Weiser, Idaho. Cannon discusses his early experiences attending the festival in the late 1960s and 1970s, including the vibrant jam culture, the Mortimer Island countercultural scene, and music-centered social rituals involving sheepherder wagons, tavern sessions, and late-night gatherings. He later returned to Weiser as a more mature musician and folklorist, participating in Stickerville's more intergenerational environment and developing a deeper appreciation for the contest itself. The conversation explores themes of inclusivity, regionalism, artistic diversity, and the role of folklore in shaping public understanding of tradition. Cannon offers a critical yet thoughtful perspective on the dominance of contest-style fiddling (particularly Texas style), the fading of regional variations, and the absence of broader cultural representation from African American, Latinx, and Basque communities. Drawing on both personal memory and public folklore practice, Cannon advocates for a more expansive, welcoming, and environmentally rooted vision of music-making at Weiser and beyond.

This oral history interview with Judy and Gary Parsons documents their multi-decade involvement with the National Oldtime Fiddlers' Contest in Weiser, Idaho. They recount changes in the contest's format, audience, and social atmosphere, reflecting on the decline of public interaction between contestants and the broader community. Topics include festival infrastructure, local business engagement, the emergence of countercultural elements like Mortimer's Island, and the economic dynamics between visitors and local merchants. The Parsonses share humorous and affectionate stories about past attendees, emcees, and fiddlers, including memories of nude bathing at Mortimer's Island, moonshine-fueled laughter in the office, and the charisma of "fingerless fiddler" Ray Thackerson. They also discuss nostalgia for earlier iterations of the festival when downtown Weiser served as the hub of musical and carnival activity. Their account illustrates the interwoven histories of civic pride, small-town identity, and grassroots cultural tradition that have shaped the Weiser contest over the years.

This oral history interview captures an informal conversation among Michael Bond, Doug Jenkins, and Gary Eller, reflecting on decades of musical involvement surrounding the Weiser Fiddle Festival. The discussion explores stylistic shifts in contest fiddling, including the rise of Texas-style dominance, and contrasts it with the inclusive, freeform spirit of Stickerville's jam culture. Anecdotes range from humorous stories of bluegrass legends—like Bill Monroe eating lasagna at Bond's house and Kenny Baker offering to buy Jenkins's fiddle—to reflections on the challenges of contest accessibility and declining participation. The interview also highlights bluegrass's underrepresentation in Idaho, their personal memories of touring bands, and the role of Weiser as both a musical destination and a site of community formation. Suggestions for sustaining the festival's future include diversification, relocation, and balancing structure with spontaneity. The recording is rich with humor, nostalgia, and grassroots perspectives on what gives the Weiser tradition its enduring character.

This interview with Greg Boyd, conducted as part of the Weiser Fiddle Festival Oral History Project, provides a detailed and colorful account of his experiences with the festival over the years. Boyd, a musician and participant, reflects on his first journey to Weiser, hitch-hiking with his banjo, and the camaraderie and spontaneity of jam sessions that characterize the festival. He shares insights into the evolution of the festival, including shifts in fiddle styles, the rise of progressive Texas swing, and the challenges faced by traditional old-time players. Boyd also discusses the social dynamics of the festival, its impact on the town of Weiser, and the contrasting attitudes of community members toward the event. His anecdotes about festival traditions, memorable performances, and the weather's unpredictability add a rich, personal dimension to the history of this cultural landmark. The interview was recorded in Weiser, Idaho, and captures Boyd's passion for music and concern for the festival's future amidst changing cultural and economic landscapes.

This transcription documents a roundtable discussion held during the National Old-Time Fiddlers Contest and Festival in Weiser, Idaho. The discussion features three panelists—Vivian Williams, Duane Boyer, and Alex Chavairra—moderated by Emma George, a graduate student from Utah State University. The panelists share memories of the festival's history, their personal experiences, and reflections on its significance to the old-time fiddling community and the local Weiser community. Topics include the evolution of the contest and festival, changes in audience and musical styles, and the importance of preserving traditions for future generations. The discussion also explores the cultural bridges created through music, festival anecdotes, and challenges faced in sustaining community involvement. Audience participation adds additional historical anecdotes and perspectives.

A roundtable discussion moderated by Emma George. Panelists include Diana Thomas, JayDean Ludiker, Ken Jorgensen, and Rue Frisbee, with contributions from audience members. Topics discussed include the evolution of the National Old-Time Fiddlers Contest and Festival, the preservation and future of the festival, generational participation, and the role of the community. Panelists share personal stories, reflections on changes over time, and ideas for sustaining interest and attendance. The discussion provides insights into the significance of the contest for both musicians and the community of Weiser, Idaho.

This roundtable discussion was held as part of the National Old-time Fiddlers Contest and Festival. Moderated by Emma George, the panel featured longtime participants Doug Jenkins, Alvin Hutteball, Grant Wheeler, and Dan Randleman, with contributions from audience members. The discussion explores the history, cultural significance, and evolution of the festival, including personal memories, changes in audience dynamics, and reflections on the festival's challenges and future. Topics include the rise and decline of audience attendance, youth participation, volunteerism, and the role of the Weiser community in sustaining the event. Rich anecdotal details highlight the camaraderie, performances, and iconic figures such as Benny Thomasson and Cherokee Jones, emphasizing the festival's importance to the fiddling tradition and rural American culture.

This interview features Robert Parsons, who has been attending the Weiser Fiddle Festival since the late 1960s, beginning as a child. Parsons shares his experiences growing up in a musical family in Idaho Falls and discusses the festival's enduring atmosphere over the decades. He reflects on the sense of community and the festival's role as a gathering space for musicians and friends. Parsons emphasizes that while some logistics and locations have changed, the spirit of the festival has remained constant, fostering connections through music. The interview also touches on his hopes for the festival's future and his observations of its evolution.

This interview with J.D. Webb, a retired bluegrass musician formerly of the Downstate Ramblers, captures his experiences as a professional musician and his long-standing connection to the Weiser Festival. Conducted by Emma George outside Webb's motorhome, Webb discusses his musical career, his role as a host of bluegrass jam sessions at the festival, and his philosophy of inclusivity in music spaces. He also shares personal stories about life on the road, reconnecting with his bandmates, and the significance of Weiser as a "recharge station" for musicians. The interview provides insight into Webb's humor, storytelling, and contributions to the bluegrass music community.

In this oral history interview, Mike and Donna Bond reflect on their musical careers, particularly their experiences with the Buckhorn Mountain Boys and their long-standing involvement in the Weiser fiddle festival scene. Topics include band dynamics, memorable tour anecdotes—including a humorous visit to a Nevada brothel—shifts in genre representation at Weiser, the changing nature of the jam scene, and the evolution of festival culture over time. They comment on the decline of open, inclusive jamming, the rise of contest-driven Texas-style fiddling, and the emergence of Stickerville as a countercultural space for old-time and bluegrass musicians. The interview offers both personal reflections and wider commentary on the transformation of music communities in the American West.

In this wide-ranging oral history interview, Boots Gibson recounts his life as a working-class musician, fundraiser, and community member. He discusses inventive fundraising strategies such as Chinese auctions, his discovery of long-lost family in Oklahoma, and the personal and musical journey that led him to Weiser, Idaho. Gibson reflects on changes in the Weiser fiddle contest and festival environment, including the decline of local merchant involvement and the fading of downtown events like public dances and bandstands. He speaks warmly about intergenerational musical transmission in his family and shares insights into Native American traditions, including the symbolic meaning of the drum in Cherokee culture. The interview balances humor and heartfelt storytelling while offering an insider's view of grassroots music communities in the Intermountain West.

In this oral history, Roberta Pearce reflects on her lifelong connection to the National Old Time Fiddlers' Contest and Festival in Weiser, Idaho. She recounts her early musical development as a deaf child learning to fiddle by vibration, her immersion in Idaho's old-time music scene, and her evolving role from competitor to mentor and teacher. Pearce shares vivid memories of Weiser in the 1970s, including the influence of figures like Manny Shaw and the vibrant, communal atmosphere created by musicians, hippies, and families alike. She discusses generational continuity in her own family, her hopes for the future of the contest, and the impact of COVID-19 on the community. Her narrative highlights both personal resilience and the enduring magic of the Weiser gathering.

In this oral history, Gary Shuh reflects on his decades-long relationship with the National Old Time Fiddlers' Contest and Festival, which began when he was a sixth grader traveling to Weiser with his teacher JayDean Ludiker. He recounts early experiences of camping, recording tunes on cassette, and the sense of freedom and safety the festival provided for young musicians. Shuh discusses the evolution of the event, changes in musical style, and the ways the community has adapted through shifts in technology, including livestreaming and remote competition. He describes Weiser as a family reunion and emphasizes its role in connecting musicians across the country. As a board member, Shuh articulates a sense of responsibility to preserve and pass on the traditions that shaped his own musical journey.

In this interview, George Sinclair reflects on over six decades of involvement with the National Old Time Fiddlers' Contest and Festival. He recalls its early days, when music filled downtown Weiser and street dancing was commonplace. A passionate defender of the festival's cultural value, Sinclair expresses concern about the contest's perceived decline and changes in local support, while affirming his belief in its resilience. He discusses his own musical contributions as a singer and songwriter, including encounters with performers like Mark O'Connor and Buck Owens. The interview captures Sinclair's strong feelings about preserving the festival as a representation of American heritage and his enduring love for the sense of community it fosters.

In this interview, Clark Skeans shares his enduring connection to the National Old Time Fiddlers' Contest, beginning with his first exposure to fiddle music while attending for square dancing. He recounts how deeply and immediately he was drawn to the sound, ultimately marrying a fiddler and becoming a devoted member of the Weiser festival community. Skeans reflects on the importance of preserving the contest's fairness and in-person camaraderie, especially amid changes prompted by Covid-19 and evolving technologies. He describes memorable jam sessions, early reel-to-reel recording setups, and interactions with notable fiddlers like Benny Thomasson, Dick Barrett, and a young Mark O'Connor. Skeans expresses both concern and hope for the future of the contest, emphasizing the importance of community, fairness, and shared tradition.

In this reflective and wide-ranging interview, John Thomsen shares stories from his decades of engagement with the music and community of the Weiser fiddle festival. He recounts the transformative experience of hearing folk and country music while in the Navy, learning guitar later in life, and finding kinship through music. He discusses the centrality of informal jam sessions and musical friendships over the contest itself, noting that reconnecting with people year after year is what makes Weiser special. The conversation also drifts into folk scholarship, forest work, tree spirits, traditional ecological knowledge, and reflections on illness and recovery. Throughout, Thomsen expresses a deep reverence for music, nature, and human connection as interwoven forces in his life.

In this deeply personal and emotive interview, Sheila Wright recounts her long history with the National Old Time Fiddlers' Contest and Festival, from her first competition in 1968 to watching her grandchildren take the stage. She shares memories of a bygone Weiser—where the entire town buzzed with music, dancers snaked through the streets behind bagpipers, and her family became locally known as "Sheila Wright's dad" and "the tub lady." Wright reflects on how the festival has changed over the years but insists its heart remains: the intergenerational community, the camaraderie among fiddlers, and the familial atmosphere. Through humorous anecdotes and moments of heartfelt emotion, Wright emphasizes how central the Weiser festival has been to her life, describing it as a kind of musical family reunion that shaped her identity and connected her across generations.

Jeremy Garrett is a Grammy Award-winning fiddler, vocalist, and songwriter known for his work with The Infamous Stringdusters and earlier with The Grasshoppers. Raised in Idaho, he developed his musicianship through contest fiddling and informal jam circles at the National Old Time Fiddle Contest in Weiser. He studied commercial music at South Plains College in Texas before moving to Nashville, where he played with multiple bands and helped form the Stringdusters. Garrett's musical roots include gospel, swing, and traditional bluegrass, shaped by a tight-knit musical community in the Treasure Valley region.

In this interview, Mary and Gary Moore recount their decades-long involvement with the National Old Time Fiddlers' Contest and Festival in Weiser, Idaho. They reflect on its evolution from a small, local event to a large-scale gathering, sharing memories of family camping traditions, jam sessions, performances, and changes in musical culture. The conversation touches on personal anecdotes, shifts in contest style, the atmosphere of past decades, and the importance of music in elder care and community life.

In this interview, Alex Chovarria shares his lifelong perspective on the National Old Time Fiddlers' Contest and Festival in Weiser, Idaho. Born and raised in Weiser, Chovarria recalls the cultural dynamics of the festival in the 1960s and 70s, including its countercultural flair, economic impact, and evolution over time. As the owner of a local online newspaper, he discusses community attitudes toward the event, the importance of marketing it inclusively, and the need to protect both the contest and the broader festival experience for future generations.

In this interview, Larry Lee reflects on a lifetime of involvement with the National Old Time Fiddlers' Contest and Festival in Weiser, Idaho. Though not a fiddler himself, Lee grew up immersed in the event and community traditions. He recalls the vibrant years when his father was active as a Vigilante, colorful stories from downtown festival life, the impact of the Washington Hotel fire, and changing community dynamics over the decades. Lee offers insight into how town organizations like the JC's, the Men's Club, and local businesses contributed to the festival's early spirit.