I haven’t watched the series yet though I plan to. This conversation did
however remind me of a segment of “On the Media” (WNYC show/podcast) about
country music and conservatism — a pairing I/we generally accept as “‘‘twas
ever thus” but apparently is not as old as I thought. It’s an Interesting
listen.

Link to the segment:
https://www.wnycstudios.org/podcasts/otm/segments/how-country-music-went-conservative

Chris

On Sun, Nov 17, 2019 at 20:39 PGage <[email protected]> wrote:

> Thanks for these reflections. I am sorry to hear about your dad, and glad
> some of this music was comforting for you.
>
> By now I am familiar with the idea that what people love about Country
> Music is the stories (both Burns and Blake Shelton repeat this endlessly).
> I respect that millions of people find that to be true, but for the most
> part I do not. Except for artists like Cash, and the part of Country that
> crosses over into Folk or “Americana” (and for me Johnny Cash is more of a
> folk singer than a country singer anyway) the stories in country music are
> ( with all due respect) kind of trite and simplistic. Still, a jazz artist
> I very much respect (Wynton Marsalis) is quoted frequently in the Doc
> praising the storytelling, and his opinion is worth a hell of a lot more
> than mine.
>
> You bring up something else I really was interested in, which is the
> musicianship in Country music. The fiddlers, and the banjo players and the
> rest. This is part of what has always attracted me to bluegrass music, but
> I think I have been guilty of grossly under appreciating the guitar
> virtuosity in a lot of country music.
>
>
> On Sun, Nov 17, 2019 at 6:22 PM Diner <[email protected]> wrote:
>
>> I am a country fan, though I've always thought of myself as more of a fan
>> of specific artists than of the genre as a whole. I've been a longtime fan
>> of Buck Owens and Chet Atkins (Chet is my guitar god - I can play dozens of
>> his songs at about half the speed!), but I know next to nothing about
>> Waylon Jennings and Merle Haggard. But this series gave me a great
>> education on them, and many others. And I loved that they spent so much
>> time interviewing people like Rosanne Cash and Marty Stuart who are steeped
>> in the music's history and can discuss it with great insight.
>>
>> I tried to watch it during the first run, but after a few nights I knew I
>> wouldn't have the time. Fortunately, one of the stations in my area was
>> running one episode a week on Saturday afternoons, so after a couple months
>> I caught up.
>>
>> I saw the final episode last weekend, which was a month after my dad died
>> suddenly. The last episode had a segment on the Kathy Mattea ballad
>> "Where've You Been," which I've heard hundreds of times but never made me
>> cry before. Then the very next segment was on ANOTHER weeper about death,
>> Vince Gill's "Go Rest High on That Mountain." So it was a real double
>> whammy! But stuff like that is what country does so well that no other
>> genre can do. And Burns' documentary examined that well without wallowing
>> in it.
>>
>>
>> On Saturday, November 16, 2019 at 1:26:24 PM UTC-5, PGage wrote:
>>>
>>> I binged the Doc last weekend, and was surprised by how much I liked it,
>>> given that I knew little about the genre, and liked little of what I knew.
>>> I am wondering if my positive reaction was a function of my ignorance; I
>>> know more about Jazz, and a lot more about baseball, and had more issues
>>> with those docs (I am re-watching Jazz now to remember more clearly what
>>> those were). I am wondering what real country music fans thought of the
>>> show? I found it to be interesting pop history, but it did not really make
>>> me want to listen to more Country Music, aside from those on the margins
>>> that I already listen to.
>>>
>>> It helped me that so much of the show was built around the Carter-Cash
>>> Family, and Hank Williams, since Williams and Cash are two of the few
>>> country acts I know and like. I was also pleased to see the emphasis in the
>>> later episodes on acts that I think of as only quasi Country, and are among
>>> my favorites (e.g. Willy Nelson and Emmylou Harris).
>>>
>>> The show shed some light on the seeming authenticity fetish in country
>>> music (here my main information comes from Blake Shelton on The Voice). I
>>> have been wondering for some years why he makes such a big deal about being
>>> “real country blah blah blah” but now I gather this is more a counter to
>>> the pop crossover pressure than an attack on non-country artists. But it
>>> raised another question - Shelton seems to often use Patsy Cline and
>>> Loretta Lyn as hallmarks of the classic country music sound when evaluating
>>> female country singers on the show, yet the Burn’s doc seems to tell us
>>> that Cline and Lyn are products of the “Nashville Sound”, which I
>>> understood to be a more orchestrated pop crossover sound than original,
>>> twangy Country. Shouldn’t that make Cline (whose voice I actually love) and
>>> Lyn *less* authentic?
>>>
>>> My main disappointment with the show was how Burns seemed to soft peddle
>>> the racial, and often, racist, associations in Country Music. The main
>>> thesis of the show is that Country Music is about nostalgia; left unsaid is
>>> that much of that nostalgia in the 1920s and 30s was for the antebellum
>>> South, and since the 1960s for a pre Civil Rights era when the South could
>>> be what it wanted to be without interference from the federal government.
>>> I’m not saying Country Music is racist, or that most fans of Country Music
>>> are racist, but I do think part of its roots are in this racist soil, and
>>> Burns only lightly and infrequently touches on it.
>>> --
>>> Sent from Gmail Mobile
>>>
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