It’s unlikely that Bill Monroe, the “father of bluegrass music,” and Clive Campbell – aka D.J. Kool Herc – “the father of hip-hop,” ever imagined a marriage of their musical offspring.

But “grass-hop” – for want of a better name – is the rage at Owensboro’s Foust Elementary School these days.

The musical marriage was the brainchild of Kim Wirthwein, Foust’s music specialist for the past 10 years.

“The first time I mentioned bluegrass, they were a little scared,” Wirthwein said of her students in the inner-city school. “The music of choice here is hip-hop, pop and rap.”

“They either hadn’t heard bluegrass or they didn’t like what they had heard,” said Randy Lanham, education director of the International Bluegrass Music Museum.

Lanham – who once played fiddle in the bands of such country artists as Wade Hayes, Clay Walker, Tracy Lawrence and Tanya Tucker – heads the museum’s Bluegrass in the Schools program.

“The teacher contacted me about mixing hip-hop and bluegrass together,” he said. “I was really interested because for years I’ve been telling kids to be creative and mix musical styles. I’d always thought it would be fun to mix a banjo with rap.”

So, Wirthwein took the Shop Boyz’s “Party Like A Rock Star” and changed it to “Party Like A Rocket,” a name inspired by the school’s symbol. And during her one-hour commute each day from her home in Huntingburg, Ind., she wrote new Foust-related lyrics for the song.

While she was doing that, Lanham was building a karaoke-style soundtrack complete with a hip-hop beat overlaid with banjo, fiddle and mandolin.

The 28 third- through sixth-grade members of the school’s dance team – Foust Feet – “had smiles from ear to ear when they heard it,” Wirthwein said. “They were ecstatic. They couldn’t wait to do it.”

But first, they needed some moves.

So, Wirthwein and fellow teachers Brennan Blackstone and Casey Mattingly began working up the choreography.

What they came up with was a mixture of country line dancing and DeAndre Cortez “Soulja Boy” Way’s “Soulja Boy Dance.”

“They were very excited about performing it,” Wirthwein said. “All the students want to learn it.”

“It’s totally off the wall,” Lanham said. “I’m definitely open to doing more things like this.”

“It is jaw-dropping,” Wirthwein said. “It is truly a brand new sound.”

Country-rap, also known as “hick-hop,” has been around for a couple of decades, practiced by such artists as Bubba Sparxxx, Cowboy Troy, Nappy Roots, the Bellamy Brothers and Neal McCoy, whose “Hillbilly Rap” features a mix of the “Beverly Hillbillies” theme, Harry Belafonte’s “Banana Boat Song” and other samples.

But bluegrass mixtures with hip-hop are more rare.

In Brooklyn, a producer-singer-songwriter named Rench has created “Gangastagrass,” an album blending hip-hop and bluegrass, which he describes as “a full-length mashup of underground hip-hop vocals with Rench beats and straight up bluegrass samples.”

It’s interesting. But Foust’s “grass-hop” is a little more fun.

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