Many Mississippi blues musicians--among them, Elmore James, Eddie Cusic, Big Jack Johnson, Lonnie Pitchford, and Napoleon Strickland--began their musical careers by learning as children to play a one-stringed homemade instrument sometimes called a diddley-bow.(1) diddley-bow is usually made by nailing a wire to a wall or a board and using small bottles (often snuff bottles) as bridges at both ends of the wire. instrument is ordinarily played with a slide of some sort, often a knife or a bottle. When built on a board, it is usually played on the lap, like a mountain dulcimer or lap steel guitar. diddley-bow probably evolved from a musical bow commonly found in most of sub-Saharan Africa but particularly prevalent on Africa's west coast, from which most American slaves were taken.(2) Sometimes, however, the same instrument seems to have been invented independently by poverty-stricken but musically inclined individuals with no knowledge of its African antecedents. Bluesman Lonnie Pitchford of Holmes County, Mississippi, for instance, says he figured out how to make one on his own when he was five or six years old and didn't know anyone else who made them, and blues researcher Selina O'Neal reports that white musicians in poor and isolated pockets of the Appalachians sometimes play very similar one-stringed instruments.(3) Most bluesmen left the diddley-bow behind after they got their first guitars, although Bukka White took it up temporarily when he couldn't afford guitar strings, and a few, like Pitchford, have continued to play the instrument occasionally as adults. Glen Faulkner, however, plays the diddley-bow exclusively--and masterfully (he has been recorded for a blues anthology and has toured Europe). One day last summer, photographer Tom Rankin and visited Faulkner at his home in the countryside between Senatobia and Como, Mississippi.(4) As we pulled into the driveway, Faulkner was sitting on the front porch of his brick house, looking like a bluesman, in a short-brimmed Stetson, blue jeans, and what appeared to be hand-tooled cowboy boots. He invited us in, introduced us to his wife, and took us to his living room, where his electric diddley-bow sat on a chair. Faulkner's one-string is made from a piece of plywood cut with a jigsaw into the shape of a guitar, with a pickup cannibalized from a real electric guitar. metal plate set into the body carries the legend, King of the One String. Asked what he calls his instrument, Faulkner answered, A diddley-bow or a bow-diddley, either one. (Napoleon Strickland, from the same area, calls his a jitterbug.)(5) Faulkner picked up the instrument, sat down, switched on the ancient amplifier, and began to play, using a clasp knife for a slide. But no sound came from the amp. He took a rubber mallet that was sitting nearby and gave the amplifier a few sharp whacks. Sometimes you have to hit it to get it working, he said, grinning. Then he ripped into four straight tunes, segueing directly from one to another. first was a wild version of The Star Spangled Banner. (Jimi Hendrix's rendition had nothing on Faulkner's, especially considering that Faulkner did it on just one string.) That led into the most bluesy version of Happy Birthday I've ever heard, followed by Hank Williams's I Saw the Light, and finally Johnny Cash's I Walk the Line. An unusual medley, for sure, but somehow it worked and worked well. asked Faulkner if he ever sang while playing, and he replied that he couldn't sing and almost never had anyone sing with him. He's primarily a solo instrumentalist. then asked why he chose to play the diddley-bow. He replied that when he was a boy, his uncle had played one but didn't like anyone to watch him or listen to him while he played. Naturally, Faulkner became fascinated. He also grew up around a group of Como-Senatobia musicians that included Othar Turner and Napoleon Strickland, and he had seen Strickland play a one-string. …