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The Honky Tonk on the Left: Progressive Thought in Country Music

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The Honky Tonk on the Left: Progressive Thought in Country Music Jackson Massively popular for the past century, “An engaging collection of essays that, Progressive country music has often been associated during an era when country music is with political and social conservatism. perhaps more popular than ever, reminds Thought While such fi gures as George Wallace, us that this music has, historically, just Richard Nixon, and Ted Cruz have as often hit liberal and leftist notes as in embraced and even laid claim to this right-wing and conservative ones. A timely Left the on Tonk Honky The musical genre over the years, country and important book for these politically Country performers have long expressed bold polarized times.” and progressive positions on a variety of —Patrick Huber Music public issues, whether through song lyrics, COAUTHOR OF A&R PIONEERS: ARCHITECTS activism, or performance style. OF AMERICAN ROOTS MUSIC ON RECORD Bringing together a wide spectrum of “A wonderful, provocative contribution The cultural critics, The Honky Tonk on the to the discourse on country music and Left takes on this conservative stereotype politics, this collection features some of and reveals how progressive thought has the best scholars working on this music permeated country music from its begin- today. Together, they trace and interpret Honky nings to the present day. The original the seldom-told story of country music’s essays in this collection analyze how progressive voice across a full century.” diverse performers—including Fiddlin’ —Jocelyn R. Neal John Carson, Webb Pierce, Loretta Lynn, AUTHOR OF THE SONGS OF JIMMIE RODGERS: Tonk Johnny Cash, O. B. McClinton, Garth A LEGACY IN COUNTRY MUSIC Brooks, and Uncle Tupelo—have taken on such issues as government policies, gender “This welcome collection pushes against on roles, civil rights, prison reform, and the oversimplifi cation and easy pigeonhol- labor unrest. Taking notice of the wrongs ing of country music as a monolithic voice in their eras, these musicians worked to for conservative values and politics. Case address them in song and action, often by case, The Honky Tonk on the Left the with strong support from fans. demonstrates that the story of country music has always been much, much more Mark Allan Jackson is associate profes- complicated than that.” sor of English at Middle Tennessee State —Tracey E. W. Laird Left University and author of Prophet Singer: AUTHOR OF AUSTIN CITY LIMITS: The Voice and Vision of Woody Guthrie. A HISTORY Edited A VOLUME IN THE SERIES AMERICAN POPULAR MUSIC by Mark Allan Jackson COVER DESIGN BY THOMAS EYKEMANS Jackson_Cover_Mechanical_PB_v1.indd 1 4/25/18 10:50 PM This page intentionally left blank The Honky Tonk on the Left This page intentionally left blank Progressive Thought in Country Music The Honky Tonk on the Left Edited by Mark Allan Jackson UNIVERSITY OF MASSACHUSETTS PRESS Amherst and Boston Copyright © 2018 by University of Massachusetts Press All rights reserved Printed in the United States of America ISBN 978- 1- 62534- 338- 3 (paper); 337- 6 (hardcover) Designed by Sally Nichols Set in Arno Pro Printed and bound by Maple Press, Inc. Cover design by Tom Eykemans Library of Congress Cataloging- in- Publication Data Names: Jackson, Mark Allan. Title: The honky tonk on the left : progressive thought in country music / edited by Mark Allan Jackson. Description: Amherst : University of Massachusetts Press, [2018] | Series: American Popular Music. | Includes bibliographical references and index. | Identifiers: LCCN 2017050250 (print) | LCCN 2017054484 (ebook) | ISBN 9781613765760 (e- book) | ISBN 9781613765777 (e- book) | ISBN 9781625343376 (hardcover) | ISBN 9781625343383 (pbk.) Subjects: LCSH: Country music— Political aspects. | Progressivism (United States politics) | Country music— History and criticism. Classification: LCC ML3918.C68 (ebook) | LCC ML3918.C68 H66 2018 (print) | DDC 781.642/1599– dc23 LC record available at https://lccn.loc.gov/2017050250 British Library Cataloguing- in- Publication Data A catalog record for this book is available from the British Library. Contents Introduction Richard Nixon, Johnny Cash, and the Political Soul of Country Music Mark Allan Jackson 1 Chapter One The NRA Blues: Commercial Country Music and the New Deal Gregory N. Reish 24 Chapter Two Senator Glen H. Taylor: Radio’s Utopian Singing Cowboy Peter La Chapelle 48 Chapter Three Weeping and Flamboyant Men: Webb Pierce and the Campy Theatrics of Country Music Stephanie Vander Wel 74 Chapter Four Stand Up to Your Man: The Working- Class Feminism of Loretta Lynn Mark Allan Jackson 102 Chapter Five “I’m the Other One”: O. B. McClinton and the Racial Politics of Country Music in the 1970s Charles L. Hughes 121 vi Contents Chapter Six “I’m a Radical for Real”: An Oral History of Country Music’s Original Outlaw, Steve Young Ted Olson 147 Chapter Seven “Them’s My Kind of People”: Cross- Marginal Solidarity in Country Music of the Long Seventies Nadine Hubbs 170 Chapter Eight Man against Machine: Garth Brooks as Player and Provocateur Stephanie Shonekan 190 Chapter Nine “Leave Country Music to White Folk”?: Narratives from Contemporary African- American Country Artists on Race and Music Stephen A. King and P. Renee Foster 214 Chapter Ten Reading Hick- Hop: The Shotgun Marriage of Hip- Hop and Country Music Tressie McMillan Cottom 236 Chapter Eleven Alternative Country Music and the American Midwest as Industrial Wasteland Travis D. Stimeling 257 Chapter Twelve The Politics of Covers: Johnny Cash, Rick Rubin, and the American Recordings Jonathan Silverman 276 Contributors 297 Index 303 The Honky Tonk on the Left This page intentionally left blank introduction Richard Nixon, Johnny Cash, and the Political Soul of Country Music MARK ALLAN JACKSON On the evening of March 16, 1974, President Richard Nixon strolled onto the stage of the newly minted Grand Ole Opry, waving to the 5,000- strong audience as he hugged his wife, Pat, and smiled broadly. His appearance was part of the dedication ceremony for the new facility, as the venera- ble country music program moved from the confines of the old Ryman Auditorium in decaying downtown Nashville to its bright, new suburban home in Opryland USA, a music- themed amusement park. During his time in the Opry’s spotlight, Nixon joked with the crowd, had master of ceremonies Roy Acuff school him on the Yo- Yo, and even banged out a couple of tunes on an upright piano, most notably “God Bless America.” He also managed to fit in a brief speech wherein he extolled the values of country music as he saw it, lauding it “as native as anything American we could find” and adding that “it comes from the heart of America.” Then Nixon hit the particulars of the music that made it so essential to him: “It talks about family, it talks about religion, the faith in God that is so important to our country and particularly to our family life. And as we know, country music radiates a love of this Nation, patriotism.” 1 2 Mark Allan Jackson Once on these themes, the president shifted into a broader political point: “Country music, therefore, has those combinations which are so essential to America’s character at a time that America needs character, because . the peace of the world for generations, maybe centuries to come, will depend not just on America’s military might, which is the greatest in the world, or our wealth, which is the greatest in the world, but it is going to depend on our character, our belief in ourselves, our love of our country, our willingness to not only wear the flag but to stand up for the flag. And country music does that.”1 Here Nixon presented coun- try music as having the exact values and attitudes that the president had been lauding throughout the 1960s and early 1970s, such as in his historic November 3, 1969, “Silent Majority” speech. For Nixon saw the country music audience as part of his core constituency: those who did not join in the mass demonstrations against the Vietnam War that made the nightly news, who did not stand as members of the counterculture protesting against racism and sexism. Instead, as he saw it, they adhered to the Bible and the flag— and kept their mouths shut, except to sing along with the latest country hit. Nixon had been cultivating a political relationship with country music and its audience for many years prior to his appearance on the Opry stage. For example, bluegrass legends Lester Flatt and Earl Scruggs, in their last- ever joint public appearance, performed on the Tennessee float in the 1969 inaugural parade for Nixon. The president had also brought several country music stars to the White House, including such luminaries as Glen Campbell, Merle Haggard, and Johnny Cash. In an even more ex- pansive move, Nixon had proclaimed October “Country Music Month.” All these efforts were a part of a long- term plan to connect with certain voters rather than to express an actual love of the music itself. In a 1971 op- ed in the pages of the Washington Post, Kevin P. Phillips (the much touted architect of Nixon’s Southern strategy of coded racism and white working- class pandering) had urged the president to use this music to connect with “forgotten whites” whose tastes were the antithesis of the counterculture: “More and more people are evidently finding the ‘straight’ songs and lyr- ics of country music preferable to the tribal war dances, adolescent grunts and marijuana hymns that have taken over so many pop stations.”2 Here Phillips broadly references the growing renaissance of country music, for by the early 1970s, it again enjoyed the popularity it had once Richard Nixon, Johnny Cash, and the Political Soul of Country Music 3 held from the late 1930s to the mid- 1950s.
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