University of Mississippi eGrove Electronic Theses and Dissertations Graduate School 2013 I Won't Be Reconstructed: Good Old Rebels, Civil War Memory, And Popular Song Joseph Melvin Thompson University of Mississippi Follow this and additional works at: https://egrove.olemiss.edu/etd Part of the United States History Commons Recommended Citation Thompson, Joseph Melvin, "I Won't Be Reconstructed: Good Old Rebels, Civil War Memory, And Popular Song" (2013). Electronic Theses and Dissertations. 867. https://egrove.olemiss.edu/etd/867 This Thesis is brought to you for free and open access by the Graduate School at eGrove. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of eGrove. For more information, please contact [email protected]. “I WON’T BE RECONSTRUCTED”: GOOD OLD REBELS, CIVIL WAR MEMORY, AND POPULAR SONG A Thesis presented in partial fulfillment of requirements for the degree of Master of Arts in the Department of Southern Studies The University of Mississippi by Joseph M. Thompson April 2013 Copyright 2013 Joseph M. Thompson ALL RIGHTS RESERVED ABSTRACT The following thesis traces the life of a song generally known as “I’m a Good Old Rebel” to explore the impact of popular culture on the creation of Civil War memory. Penned in the aftermath of Lee’s surrender and containing lines like, “I hate the Yankee Nation / And everything they do; / I hate the Declaration / Of Independence, too,” the “Good Old Rebel” typifies a certain brand of white southern identity that refuses Confederate defeat and sounds a call to arms for continued rebellion against the federal government. To begin, this study creates a biographical sketch of the author, who composed the words as a poem in 1867. Unlike most works on Civil War memory, this work then places emphasis on the period since the turn of the twentieth century up to the present, delving into the trajectory of the “Good Old Rebel” from a poem to a folk song to its most recent life on the Internet. In this way, the “Good Old Rebel” functions as a case study to explore the ways in which popular culture codifies reactionary political attitudes and sustains white southern resistance towards racial and class equality. Embracing an interdisciplinary approach, this thesis engages with historical and sociological methodologies and theories to critique the image of the unreconstructed white southerner created, in part, by this song. ii ACKNOWLEDGMENTS Many thanks go to my committee members Charles Reagan Wilson, Kathryn McKee, and Ted Ownby for their encouragement and guidance over my time at the University of Mississippi. I also thank Zandria F. Robinson and Allen Tullos for reading various versions of this work and providing incisive feedback during its development. Beyond these readers and advisors, my appreciation goes to the University of Mississippi Graduate School and the Frances S. Summersell Center for the Study of the South at the University of Alabama for their generous funding of my research. I save my deepest gratitude for Jennifer, Evie, Virginia, and Joseph. Thanks for their patience and motivation. iii TABLE OF CONTENTS ABSTRACT ii ACKNOWLEDGMENTS iii TABLE OF CONTENTS iv INTRODUCTION - ENCOUNTERING THE “GOOD OLD REBEL” 1 CHAPTER 1 - FROM PARODY TO ANTHEM: ROOTS OF THE “GOOD OLD REBEL” IN THE NINETEENTH CENTURY 19 CHAPTER 2 - COLLECTING FOLKLORE AND MAKING MEMORY: THE “GOOD OLD REBEL” IN THE TWENTIETH CENTURY 52 CHAPTER 3 - SOUTHERN WHITENESS ON THE CYBER FRONT: THE “GOOD OLD REBEL” IN THE INTERNET AGE 92 CONCLUSION - LINGERING REBELS 125 BIBLIOGRAPHY 132 APPENDIX 145 VITA 148 iv INTRODUCTION ENCOUNTERING THE “GOOD OLD REBEL” Often kitschy and without regard for the responsibilities of historical accuracy, popular culture remains a potent force in the shaping of collective memory concerning the American Civil War. From movies and rock music like Gettysburg or “The Night They Drove Old Dixie Down,” the venues of popular culture have repeatedly appropriated that conflict, twisting popular imagination and altering perceptions of the past in the process. The research at hand focuses on such phenomena through the lens of a single song regarding Confederate defeat, commonly known as “I’m a Good Old Rebel.” My first encounter with this song dates to the early 1990s, as a middle school-aged boy in the tiny northern Alabama town of Elkmont. Riding in the car with my father, a high school history teacher and Civil War enthusiast, we often listened to cassette tapes of living historian and multi-instrumentalist, Bobby Horton. Horton’s version of this song, which he lists as “Oh I’m a Good Old Rebel,” appears on his 1985 release, Homespun Songs of the C. S. A., Volume 1. There, interspersed among the predictable tracks like “Dixie,” “The Bonnie Blue Flag,” and “Maryland, My Maryland,” the “Good Old Rebel” stood ominous sentry, grabbing my attention from the first foreboding notes of its acapella minor-keyed melody. Written from the point of view of a Confederate veteran after Appomattox, the “Good Old Rebel” narrator spends six verses in the dialect of a poor white southerner, claiming, “I hates” 1 the Constitution, the Declaration of Independence, the Union, the U. S. flag, the eagle, and of course, Yankees, concluding, “I won’t be reconstructed / And I don’t care a damn.”1 Thanks to the vengeful, albeit aberrant, tone of the “Good Old Rebel,” I found myself simultaneously shocked and intrigued at the song’s conspicuous disregard for the bastions of United States nationalism that public education, the Boy Scouts, and the Southern Baptist Convention ingrained in my young mind as near-sacred patriotic symbols. Gone from this song were the buoyant themes of Confederate esprit de corps evident in the other tunes or the romantic pining of “Lorena” or “Home Sweet Home” that both sides enjoyed during the war and were included on Horton’s release. Furthermore, for me, a descendant of Union soldiers, this snarling screed seemed all the more frightening, as the narrator vowed, “Three hundred thousand Yankees / Is stiff in Southern dust . They died of Southern fever / And Southern steel and shot; / I wish it was three millions / Instead of what we got.” Aside from my shock and fascination, exposure to the “Good Old Rebel” only furthered my familiarity with that version of white southern identity that resents authority and still bristles at the outcome of the Civil War. In the small town Deep South, an acquaintance with this strain of identity remains hard to escape, thanks to the slew of Confederate-themed material culture that still marks the landscape. From battle flag bumper stickers to the redneck pride espoused by Dixie Outfitters and the Confederate Cotton Company t-shirts, the Confederate legacy continually proliferates, irresponsibly and inarticulately mixing symbols of that misguided movement with the crass commercialism of truck stop souvenirs. Of course, musical accompaniments to this sort of insensitive signifying filled the record collections of its adherents, and the southern-centric tunes of Hank Williams, Jr. and Lynyrd Skynyrd remained popular even in my formative years of the late 1980s and early 1990s. While the pro-South themes of these 1 Bobby Horton, Homespun Songs of the C. S. A., Volume 1, self-released, 1985, cassette. 2 artists’ songs “If the South Woulda Won” and “Sweet Home Alabama” stand as obvious examples of this white southern obstinacy in song, the present study argues that the “Good Old Rebel” offers a postbellum precedent for the unreconstructed South in popular music that still lingers in current U. S. culture. Framework and Objectives In his discussion of memory and history, historian Pierre Nora asserts that the mission of his study “is to pass French identity through a prism, to relate the symbolic whole to its symbolic fragments.”2 While Nora’s goal deals with broad concepts of French nationalism, his expression of purpose serves as the driving inspiration for this study of white southern identity, with the “Good Old Rebel” functioning as that “symbolic fragment.” By unpacking the production and consumption of this cultural artifact, my research hopes to demonstrate how an intense investigation of such a fragment may add to the understanding of particular southern identities that feed into the broader construction of regional character. This study does not assume that one song stands culpable for the creation of an entire branch of white southern identity. Instead, it submits that such a fragment facilitates an entry point into a larger discussion of identity that, optimistically, will offer new perspectives into persistent questions concerning the dialectical relationships between popular culture, Civil War memory, and the white South. Exploring this topic ultimately attempts to answer how popular culture creates and expresses what Raymond Williams calls structures of feeling, or “a common set of perceptions and values shared by a particular generation” and “clearly articulated in particular and artistic 2 Pierre Nora, “From Lieux de memoire to Realms of Memory,” in Realms of Memory: Rethinking the French Past, Volume 1: Conflicts and Divisions, ed. Pierre Nora, trans. Arthur Goldhammer (New York: Columbia University Press, 1996), xix. 3 forms and conventions.”3 Songs like “Good Old Rebel” beg for analysis not simply as cultural texts of emotional expression, but as some of the most revealing documentary artifacts of structures of feeling. Williams explains that structures of feeling are “concerned