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Sounds Like Home: Bluegrass Music and Appalachian Migration in American

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Sounds Like Home: Bluegrass Music and Appalachian Migration in American Sounds Like Home: Bluegrass Music and Appalachian Migration in American Cities, 1945-1980 A Dissertation submitted to the Graduate School of the University of Cincinnati in partial FulFillment oF the requirements oF the degree oF Doctor of Philosophy in the Department oF History oF the College oF Arts and Sciences By Nathan McGee M.A., University oF Cincinnati, 2011 B.A., Eastern Kentucky University, 2006 Committee Chair: David Stradling i Abstract Sounds Like Home: Bluegrass Music and Appalachian Migration in American Cities, 1945-1980 By Nathan McGee Bluegrass music has long had strong associations with rural America and the Appalachian mountains in particular. The music itselF, while oFten based on an idealized vision oF rural America, developed in the urban milieu oF the post World War II era. White Appalachians joined millions oF other southerners in Flooding north into urban cities in the 20th century. They brought with them some general cultural traits that oFten became eXacerbated in the urban communities they joined. In short, as mountain migrants came north they oFten became more “southern” and more “Appalachian” as these character traits became identiFied by various urban groups. When migrants settled in cities, musical communities emerged that provided a sort oF upliFt For migrants and became a cultural marker For Appalachian- ness in many instances. This process did not develop in a vacuum, but rather the identiFication oF the music with Appalachia became oFten a conscious choice by musicians, Fans, reFormers, and general residents in the urban communities. Cities like Cincinnati and Dayton, Ohio, Baltimore, Maryland, and Washington D.C. all struggled to come to grips with what it mean to have these new mountain Folk living in their midst. The First eXposure to Appalachian identity For many urban residents occurred through the musical sounds associated with the mountains. In the midst of backlash against Appalachian culture, migrant communities continued to develop their own culture ii and liFestyles in the cities. Cities became bluegrass laboratories where migrants and musical enthusiasts From around the country met and mingled in new settings. As the music grew in popularity, Fans and musicians alike both consciously and unconsciously pushed the music back into the mountains and developed it as an Appalachian sound. This dissertation eXamines how this process occurred in these cities. The intermingling oF urban reForm work, musical perFormance, migration, and an interest in the broad “folk” led by a younger generation all helped develop the popularity oF the music. The renewed interest in the mountain “Folk” generally and the idea oF Appalachia speciFically developed within the broader Folk revival oF the 1960s. These developments provided a mechanism For a new generation oF musicians and revivalists to tie themselves to a sometimes-fictive past. This work shows how bluegrass music operated at the center oF these developments and became a predominately urban genre oF music despite the rural associations. My work Follows in the tradition oF eXaminations oF Appalachian history, in particular the relationship between the idea and the reality oF the “peculiar” American region. iii iv Acknowledgements Crafting a dissertation can be a daunting and occasionally lonely process. I have been Fortunate For support and assistance From various people in all my walks of life on the journey to craFting this work. This dissertation would not have been possible without the continued verbal, spiritual and Financial aid From Family, Friends, colleagues, archivists and librarians, proFessors, and mentors. I am lucky to have such wide-ranging support from so many people and institutions along the way and this work is a testament to their involvement to this whole process. David Stradling has been essential to the writing and editing process. I am blessed to have a Fantastic historian, ideal mentor, and good friend to help guide this work From its inFancy. His advice and commentary provided the push the work needed as it developed and always lent a helping word of advice when I felt stuck. An act oF serendipity placed me on a panel with Curtis Ellison at an Appalachian Studies Conference in Johnson City, Tennessee when the idea for this dissertation was First coming to Fruition. Dr. Ellison provided helpFul Feedback From that moment Forward and has been a strong advocate For this work ever since. His insights have helped me think about the subject oF this dissertation in new ways. Thanks are also due to Tracy Teslow and Wayne Durrill for serving on this committee, pushing the claims the work makes, and For all the insights you provided during my time at UC. Outside oF the committee, a number oF scholars at both Eastern Kentucky University and the University oF Cincinnati helped provide some oF the spiritual and intellectual Foundation For this work. As an undergraduate at EKU, Tom Appleton v First taught me the value in studying Kentucky history in particular and the rich past the bluegrass state has to oFFer. The Faculty oF the History Department and the Honors Program there also molded my young mind and pushed the boundaries oF what I knew I was capable oF. Willard Sutherland taught my First graduate school class at UC and his inFluence on my thinking about history has come to bear in all my work. What became this project was born in the wonderFul graduate research seminars at UC and the guidance oF Maura O’Connor, Sigrun Haude, and Steve Porter all helped craFt my work in eXciting and useFul ways. I would like to also recognize John AleXander, Mark Lause, Chris Phillips, Tom Lorman, Wendy Kline, Fritz Casey- Leininger, and the influence their various teaching and writing styles had on my own thoughts and work. The late Zane Miller provided encouraging words at a time when I reached an academic crossroads and helped push my work Forward as well. Isaac Campos deserves recognition For his words oF encouragement as I first set off to write in earnest. I’m happy to say that starting at the beginning helped me reach the end. I also need to thank Hope Earls For all that she did to aid my graduate school career. Various outside groups and fellowships provided financial assistance, without which my work would not have been possible. The Southern Appalachian Archives at Berea College oFFered me a one-month residency to perForm a deep dive into their rich and wonderFul collection and helped cultivate my academic interests. Shannon Wilson and Harry Rice provided great assistance to a young scholar who was occasionally lost in the weeds oF their collection. The archivists around the country do much oF the “dirty work” For others and without their behind the scenes vi contributions are invaluable. The staff at the Enoch Pratt Free Public Library, the Langsdale Library at the University oF Baltimore and Kevin Grace and Suzanne Maggard at the Blegen Library at UC provided important assistance. The staFF at the Frist Library and Archive at the Country Music Hall oF Fame helps keep this kind oF research Feasible and encourages new directions. A special thanks to John Rumble For helping guide me through the collection and For encouraging me to do oral history. Additional thanks are due to Michael Maloney and the members oF the Urban Appalachian Council and Cincinnati Human Relations Commission For their trust in me to help organize much oF their holdings. I received additional funding along the way to help with my own research. Thanks to the Department oF History and Zane Miller and Roger Daniels for supporting graduate work. Thanks to the Graduate Student Governance Association For continuing to Fight For money For graduate research at UC and providing various Forms oF assistance along the way. Graduate school maintained its collegiate Feel thanks to the attitudes and conversations oF the group oF individuals I am happy to call colleagues and Friends. The academic and social relationships I made with a number oF people at UC made my time there both memorable and enjoyable. Thanks to Matt Stanley, Jessica Biddlestone, Charlie Lester, and Zach Garrison for taking a young graduate student under your guiding wings. Thanks to Alyssa McClanahan, Vanessa de los Reyes, Bela Kashyap, Angela StieFbold, and Anne Steinert For your critical contributions to my work and your Friendship. My Friendships outside oF the world oF academia helped keep my work grounded. A special thanks my best Friends since elementary school, vii Andrew and Charlie, who have always encouraged my passions and provided the good-natured ribbing an academic oFten needs. The vibrant bluegrass music communities in the cities in which I worked and researched also deserve recognition. Individuals invited me into their homes, their places oF work, and happily conversed with a stranger about their time in the music industry and their lives generally. The continued passion for the playing oF the music, and their willingness to talk about it, was invaluable. My Family has also helped make this journey a useFul and FruitFul venture. My parents, John and Anita McGee, Forced the sound oF the banjo upon me as a boy and encouraged bluegrass music to replicate in my DNA. I am blessed to have grown up in a household filled with love and music and conversation that indulged my critical thinking alongside my passion For Folk music and history. My dad, in particular, helped Foster a love oF bluegrass music at a time in my liFe when I was receptive to it and encouraged me to pick up a guitar alongside my history books at a young age. This certainly helped me Find a path to miXing these two great interests. My siblings, Ian, Robin, and Cassie have encouraged me along every step oF my academic journey as well.
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