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American Old-Time Musics, Heritage, Place A

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American Old-Time Musics, Heritage, Place A THE UNIVERSITY OF CHICAGO SOUNDS OF THE MODERN BACKWOODS: AMERICAN OLD-TIME MUSICS, HERITAGE, PLACE A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF MUSIC BY LAURA C.O. SHEARING CHICAGO, ILLINOIS JUNE 2020 ã Copyright 2020 Laura C.O. Shearing All rights reserved. ––For Henrietta Adeline, my wildwood flower Table of Contents List of Figures .............................................................................................................................. v List of Tables .............................................................................................................................. vi Acknowledgements .................................................................................................................... vii Abstract ...................................................................................................................................... ix Introduction ................................................................................................................................ 1 1. Contextualizing Old-Time ..................................................................................................... 22 2. The Making of an Old-Time Heritage Epicenter in Surry County, North Carolina ................... 66 3. Musical Trail-Making in Southern Appalachia ....................................................................... 119 4. American Old-Time in the British Isles ................................................................................. 167 Epilogue .................................................................................................................................. 212 Bibliography ............................................................................................................................ 222 iv List of Figures 2.1: Map highlighting the location of Surry County, North Carolina…………………………….71 2.2: Map pinpointing the location of Mount Airy, North Carolina………………………………72 2.3: “A” part of “Big Eyed Rabbit” ……………………………………………………………...102 2.4: “A” part of “Rockingham Cindy”…………………………………………………………...103 2.5: WPAQ studio, Mount Airy…………………………………………………………………109 2.6: External shot of the Earle Theatre and entrance to the Old Time Music Heritage Hall…......112 2.7: Foyer display case…………………………………………………………………………...114 3.1: A Mississippi Blues Trail information plaque located in Chicago, Illinois…………………...125 3.2: Map of the Blue Ridge Music Trails………………………………………………………...129 3.3: Map of The Crooked Road …………………………………………………….…………..129 3.4: Wayside Exhibit in Woodlawn, Virginia…………………………………………….……...144 3.5: Map of the original Blue Ridge Music Trails……………………………………...………..146 3.6: Map of North Carolina counties……………………………………………………………148 4.1: Old-time jam at Sore Fingers Bluegrass and Old-Time Week, 2017……………….……….180 4.2: Cover of Old Time News, Spring 2018……………………………………………….……..183 4.3: Map of British Isles old-time events………………………………………………………...187 4.4: Map of Richmond, London Borough of Richmond-Upon-Thames………………………...203 4.5: Jam at The Cricketer’s pub, Richmond……………………………………………………..204 4.6: Poster advertising the 2019 Richmond Old Time Music Gathering………………………...210 v List of Tables 3.1: Breakdown of the BRMT’s six regions and corresponding counties…………………………137 3.2: List and description of major venues located along Highway 58………………….…………141 4.1: British Isles Old-Time Events………………………………………………………............186 vi Acknowledgements Dissertations take shape over long stretches of time. During this time, they become a part of everyday life and when the author is in the ethnographic field, they become life. I am grateful for the individuals who have supported me through this project, both academically and emotionally. First of all, to my parents Hazel and Paul Shearing, thank you for all of the sacrifices you have made for my education, and for always showing up. I am so excited to finally share this research with you. At the University of Chicago, I have had the privilege of working with many inspiring Faculty members within the Department of Music. To my dissertation co-chairs Travis A. Jackson and Philip V. Bohlman, thank you for overseeing this project from start to finish, and for the ways that you challenged me to push my thinking, writing, and ethnographic work as far as possible. Thank you, too, for your encouragement, especially when I doubted myself. To my committee members Anna Schultz and Lawrence Zbikowski, your wisdom has greatly enriched this project. Berthold Hoeckner and Kaley Mason, thank you for believing in my work from the very beginning. Beyond UChicago, Martin Stokes, thank you for setting me on the ethnomusicological path. Gregory Reish, thank you for being so generous in sharing your knowledge of old-time musics. I have appreciated the support of many kind, smart, and thoughtful friends here at the University of Chicago: Jess Peritz, Julianne Grasso, Joseph Maurer, Anabel Maler, Ameera Nimjee, Mili Leitner Cohen, Max Silva, Zach Loeffler, William Buckingham, Michael Allemana, Meredith Aska McBride, Patrick Fitzgibbon, Ailsa Lipscombe, Rachel Adelstein, Courtney Wiersema, Lauren Schachter, and many others. Chloe Blackshear and Chaz Lee, thank you for making Chicago feel like home from day one. Kate Pukinskis, Elizabeth Alvarado, and Lindsay Wright––I’m beyond grateful for your friendship, love, support, and all of the other things. vii When I started this project, I never imagined that fieldwork would be so life-changing. Sue Brownfield, thank you so much for your generosity and for sharing your home in Mount Airy—I see you as family now. Tanya Jones, thank you letting me work with you at the Surry Arts Council—I have many fond memories of days at the Old Time Music Heritage Hall. Travis Frye, Marsha Bowman Todd, and Ken White––thank you for your kindness and friendship. Mount Airy, North Carolina certainly feels like another home. This project would not have been possible without the support and friendship of numerous old-time musicians and enthusiasts, many of whom sat with me for long stretches of time to share their stories, tunes, and perceptions. Matt Brown, I appreciate you. John Boatman, you were my first old-time friend. Rodney Clay Sutton, I won’t forget your generosity. Leanne E. Smith, Christie Slingluff, and Robert Wood––you are the best festival buddies I could ever have wished for. Thanks for the music, the dancing, and the interesting culinary experiences at the Clifftop camp stove. Thank you to my family and friends in England who, from afar, have provided ample emotional support during my years in graduate school. To my parents-in-law Pat and Steve Turner, thanks for believing in me. To my siblings and siblings-in-law––Beth, James, Katie, David, Ollie, Chantelle, Kelly, Matthew, and Natasha—it has been hard being so far away. To my oldest friends Ami, Vikki, Emily, Liz, Han, and Amy, thanks for cheering me on to the finish line. To my husband Nick Turner, thank you for your support in life (and in tech). I appreciate you more than you could possibly know. To my daughter, Henrietta, you are an inspiration. Last but not least, thank you Jeni Barnett for taking me to see a film when I was a teenager that started all of this off. viii Abstract This dissertation examines varied practices of and debates that circulate around American old-time musics in the present day. Built upon multi-sited ethnographic work, I consider how and why a broad array of social agents orient themselves around and locate meaning in old-time—musics associated with the rural American past—focusing on the ways that parties of interest construct, shape, and navigate a complex discursive terrain around issues of heritage and place. In the first chapter, I problematize and destabilize the term “old-time,” examining the musics’ diverse historical trajectories and contexts, and the ways that they have been understood, shaped, and interpreted by various mediating agents from the early twentieth century to the present. I approach these issues through the interconnected lenses of commercialism, preservationism, and revivalism. Chapter 2 is a critical investigation of the means through which certain locales associated with rich musical heritage have achieved dominant, canonized statuses among practitioners, using Surry County, North Carolina as an illustrative example. To interrogate the complex ways that place functions in the construction of (old-time’s) musical canons, I set forth a theory of musical “epicenters.” Moving from a micro-regional to a wider regional focus, chapter 3 explores the construction of and the issues of cultural representation that surround two southern Appalachian music heritage tourism trails— the Blue Ridge Music Trails of western North Carolina and The Crooked Road of southwest Virginia. Chapter 4 approaches practices and presentations of old-time from an international perspective, examining the development of dedicated communities of practitioners and enthusiasts in the British Isles. ix Introduction The mythology surrounding musics labelled “old-time” places their origins in an idealized, rural American past. At various points since their emergence, these musics have served as both a point of orientation and for mobilization in the daily lives of a broad range of social agents within the United States and elsewhere in the world. In the rural locales across the U.S. where they once flourished, old-time musics were at the
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