Curtis W. Ellison - Country Music Culture: From Hard Times to Heaven (Studies in Popular Culture)

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title	:	Country Music Culture : From Hard Times to Heaven Studies in Popular Culture (Jackson, Miss.)
author	:	Ellison, Curtis W.
publisher	:	University Press of Mississippi
isbn10 | asin	:	0878057226
print isbn13	:	9780878057221
ebook isbn13	:	9780585260631
language	:	English
subject	Country music--History and criticism.
publication date	:	1995
lcc	:	ML3524.E4 1995eb
ddc	:	781.642/09
subject	:	Country music--History and criticism.

Page i Country Music Culture

Page ii Studies in Popular Culture M. Thomas Inge, General Editor

Page iii Country Music Culture From Hard Times to Heaven Curtis W. Ellison UNIVERSITY PRESS OF MISSISSIPPI Jackson

Page iv Disclaimer: Some images in the original version of this book are not available for inclusion in the netLibrary eBook. Copyright 1995 by the University Press of Mississippi All rights reserved Manufactured in the United States of America 98 97 96 95 4 3 2 1 The paper in this book meets the guidelines for permanence and durability of the Committee on Production Guidelines for Book Longevity of the Council on Library Resources. Library of Congress Cataloging-in-Publication Data Ellison, Curtis W. Country music culture : from hard times to heaven / Curtis W. Ellison. p. cm. (Studies in popular culture) Includes bibliographical references and index. ISBN 0-87805-721-8. ISBN 0-87805-722-6 (pbk.) 1. Country musicHistory and criticism. I. Title. II. Series: Studies in popular culture (Jackson, Miss.) ML3524.E4 1995 781.642\09dc20 94-36518 CIP MN British Library Cataloging-in-Publication data available

Page v remembering James I. Ellison 1910-1994

Page vii Contents Preface ix Introduction xiii Chapter One Mother Church 3 Chapter Two Tragic Troubadours 26 Chapter Three Domestic Turmoil 66 Chapter Four Salvation 102 Chapter Five Success 161 Chapter Six The Marketplace of Emotions 217 Appendixes 271 References 281 Index 293

Page ix Preface This book seeks perspective on contemporary behavior by looking into the past for its roots. It relies upon histories and scholarly sources, fan and music business publications, studies of musical genres, performer biographies and autobiographies. Recordings, radio programs, documentary and Hollywood films, and video and television are important to the story. The perspective has been significantly shaped by first-hand observation of more than seventy-five major country music artists in live concerts and other public events between November 1991 and August 1993. Interactions of artists and fans, and of fans with one another, were observed where they occurred and were translated into written descriptions yielding suggestive patterns of behavior. More than 5,000 miles of travel involved with this activity also allowed for visits to country music historic sites, shrines, festival events, museums, theme parks, and tourist destinations. In 1991, at the invitation of Peter Williams, Elliott Gorn, and Mary Cayton, I wrote an essay surveying the history of country music for the Encyclopedia of American Social History. A review of sources then suggested the possibility of writing an interpretive history of country music as a cultural phenomenon, one that might build on impressive institutional studies and writings for fans that already existed and pursue more deliberately the music's relationship to gender, class, and political values. Richard Abel, of the University Press of Mississippi, encouraged me, and Miami University allowed me a semester of leave from other duties to begin active work.

Page x My plan was to do an exhaustive review of scholarly writing about country music, of biographies and autobiographies revealing the lives of key figures, and of studies exploring the music's genres and expression in particular states and regions. I also meant to listen to a lot of music on albums and radio. Jack Temple Kirby advised me to investigate the workings of the country music business, and that seemed right. From these beginnings I thought I could assemble written materials, build up my collection of recordings, sit at my desk with a CD player, and make a satisfactory synthetic account relying on much that was already known, yet inspecting it from new angles. Then, almost on a whim, I went out. Because I was working in Dayton, Ohio, in 1991, I was unknowingly located in a community rich with expressions of country music culture. In November, I decided to see a live country performance at Dayton's Hara Arena. I had grown up in a coal-mining town in north Alabama, and had performed in pop groups, dance bands, early rock bands, symphonic bands, marching bands, and church choirs. When the Byrds hit rock music with

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