“Country music”, along with its variations, is not often a term you’d associate with academia, at least not until you have a good understanding of the vast field of musicology. As a historian of music, I often find myself at the crossroads trying to explain what I study and how I study it. My succinct answer is, a historian of music studies music, but not strictly musicologically, but rather uses music to scrutinize history. This, in my opinion, is disparate from music historians, or musicologists with an emphasis on history, for whom the product of music itself is the central subject. As for country music historians, country music as an art form comes first and foremost, but that doesn’t mean it’s just about the music. As a genre with humble roots, one can’t talk about country and folk music without referring to historical and sometimes political contexts.
Today, country music is a recognized, albeit small, academic discipline with international appeal. One of American folk music’s early advocates, Charles Seeger (1886-1979) helped spearhead the founding of the Society of Ethnomusicology (SEM). Seeger envisioned for music to be communicated and studied musically, instead of merely through linguistics as crutch. He advocated the role of the (ethno)musicologist to be a transmitter of music but also critic of culture. The field today has mostly evolved a long way from the days of Seeger. Musicology nevertheless still relies heavily on textual analyses of music, which, tellingly, did not necessarily become a point of concern for professionals. Currently, country music in academia is taught primarily as a form of performing arts, and less as a theory or history. The International Country Music Conference (ICMC), founded in 1983, has been held annually at Belmont University in Nashville, Tennessee since 1998. This year it runs from May 30th to June 1st.
Ethnomusicologist Charles Seeger, Jr., with his wife, Constance, and their three sons, Charles III, John, and Pete. This photograph may be from a tour they made of the American South in a homemade trailer. Image is from the National Photo Company (1921) and is in the public domain.
Just like the grassroots of country music itself, the academia of country music also reflects the debates that are present in the country music scene. The problem of “authenticity” has plagued various art forms and genres, but with a genre like country music, it is particularly prominent. Recently, philosophy professor Evan Malone published an excellent piece on the topic in the British Journal of Aesthetics in a 2023 issue. With references to a range of scholars with backgrounds from Anthropology to Aesthetics with an emphasis on country music, including Jack Bernhardt, John Dyck, Richard Shusterman, it demonstrates the versatile ways country music can be studied academically.
In my very own first year of PhD for a final’s assignment, I assembled a lecture in history on medieval Celtic and African musical traditions and their manifestations in Appalachian folk music—a connection that often surprises non-listeners. Outside of traditional academia, current events surrounding and within country music have been covered by journalists and critics, such as Emily Nussbaum’s 2023 piece for The New Yorker.
Alas, it is challenging to include a more thorough academic country music discography here. In an effort to keep this blog digestible, I am only able to give you taste of the available literature and must leave many scholars out of this post. I encourage you to start your own reading journey and dive into the academic world of country music with me. As country music enters a new phase both artistically and in popularity, we can certainly anticipate further exciting discussions in the near future!
Emily Lu, PhD Candidate at Florida State University.
Guest Blogger Emily Lu is a PhD candidate in History at Florida State University in Tallahassee, Florida.
As a curator at a small-ish museum, I wear many hats. And one of those hats puts me in front of the public in a variety of ways, from media interviews to public programs to outreach activities. Another way is attending conferences – both professional and academic – to share the story of the Birthplace of Country Music Museum (BCMM) and related cultural and music history.
Most recently, Collections Specialist Julia Underkoffler and I attended the International Country Music Conference (ICMC) at Belmont University in Nashville, Tennessee. Begun in 1983, ICMC “provides scholars an opportunity to share their work in all aspects of country music. It broadly defines country music to include variants which share common historical and cultural roots ranging from Americana, alt-country, bluegrass, Cajun, country rock, crossover, and honky tonk to the Nashville Sound, New Traditionalist, old-time country, and Western swing.” Speakers come from all over the United States and several countries, and they present on a wide variety of topics. The 2024 conference had papers on Marty Robbins’ El Paso trilogy of songs; Confederate memory in classic country and bluegrass; country music and nostalgia; Black female musicians and Dolly Parton covers; the partnership between Johnny Cash and Chips Moman; the career and legacy of Howdy Glenn; and Daniel O’Donnell and Irish country – so something for everyone!
The University of Illinois Press brings books galore, a never-ending temptation for history nerds, and being in Nashville provides plenty of reminders of the music industry of today with the early commercial country music we celebrate in the museum – it’s Nipper!
We attended ICMC for the first time in 2022, thanks to a professional development grant from the Institute for Museum & Library Services. And we are so glad we did – this conference has turned into one of our absolute favorites! It is an incredibly friendly event, and we were immediately welcomed into the fold and asked to participate in different ways, which really helped us to meet and get to know the other attendees. ICMC also provides some of the best conference food I’ve ever had!
ICMC also offers beautiful walks around the conference’s host Belmont University; seeing old friends like bootmaker Lisa Sorrell (and her beautiful boots!); and making connections with other conference attendees, including LaDawn Fuhr and Sherry Glover, daughter of King Records producer Henry Glover!
Once again, the 2024 conference was a great experience, giving us the chance to share our work with a wider audience. And it was also Julia’s first experience at a professional conference! We participated in the conference in two tangible ways this year. First, Julia and I presented on the preservation of the museum’s Farm and Fun Time transcription disc – you can read the cool story of this artifact’s discovery and conservation HERE and HERE.
Second, I was invited to be part of the Charles K. Wolfe Memorial Panel: “Honoring Legacy Through (Re)building Museum Practice.” This panel was organized by Dr. Jada Watson and moderated by Dr. Kris McCusker. Along with Angela Stefano Zimmer of the Country Music Hall of Fame and Museum (CMHoFM) and Dr. Bryan Pierce of the National Museum of African American Music (NMAAM), we discussed the ongoing work museums are doing to highlight the legacy of Black music and musicians in the country music industry – through exhibits, educational outreach activities, and public programming. I found the conversation and learning about what the CMHoFM and NMAAM are doing so inspiring – and a great way to think about other work we can do at BCMM in the future.
Sharing the story of the Farm and Fun Time transcription disc (left) and participating in the Charles K. Wolfe Memorial Panel (right).
Besides the conference sessions and academic panels, the ICMC organizers always provide wonderfully engaging evening programs – for instance, last year we had a talk and performance by the Black Opry. This year’s Friday night program gave us the opportunity to gather together at Historic Columbia A Recording Studio to learn about how Latino culture has long influenced country music from the music to the wardrobe to the myths. Moderated by Dr. Greg Reish, we heard from artist manager and consultant Rick Rodriguez and country artist Orlando Mendez as they explored that influence, touching on pivotal moments in the industry development, the contributions of Latino artists, and the role of language and different regional styles to the evolving sound of the music, and sharing contemporary initiatives to spotlight this rich history. Even better we got a selection of songs by Orlando and a rousing performance by several of the participants to close out the program!
Friday night music at Historic Columbia A Recording Studio!
As you can see, ICMC is a jam-packed but incredibly engaging experience. Julia and I came back from Nashville full of ideas, new friends and contacts, and a deep appreciation for all of the wonderful work that is being done in the world of country music history – and for its future. That inspiration is rejuvenating and will benefit our own museum and community! Thank you, ICMC!
My time at ETSU taught me a lot of things. I think the most important lesson it taught me was that I didn’t know as much as I thought I did. It started changing my worldview as well. I learned a lot about what it means to be Appalachian and the cultural inheritances that come with it. I grew as a musician, but I also began to think differently about my identity and the kind of person I wanted to be.
My work study was as a literacy tutor at a local elementary school, where I was assigned to a first-grade class led by a teacher named Claudette Decker. She became a friend and advisor to me. It was at her insistence that I began incorporating instruments in my work. Initially, I played a tune or two at the end of class before I left, but it became a way to connect with some of the more withdrawn children. It made learning more fun and helped some of them feel more comfortable opening up. It made me remember how powerful music was for me as a child.
I was becoming more serious as a dulcimer player now and had a better instrument. I met my first dulcimer teacher that spring: Jim Miller. He noticed my case one day and asked about it. We had a conversation and soon I was taking lessons with him. He took my understanding of the dulcimer to a new level. Our sessions felt like a break from the daily grind. Dulcimer became my joy.
Roxanne playing dulcimer with Jim and Cheri Miller.
After graduation, I worked as a preschool teacher. I continued using music in my work as much as I could, and the dulcimer was especially well-liked. I can’t even tell you the number of times I’ve had to play a rendition of “Baby Shark” on it. I worked in childcare right up until the start of the pandemic.
The pandemic was a watershed moment for me. I was out of work and gigs had dried up, but it was during this time that I met my second dulcimer mentor: a man named Don Burger. Don and his wife Deborah became sort of like surrogate grandparents to me during the pandemic. He led a dulcimer group in Jonesborough, but I only got to have a couple of in-person meetings with the group before everything shut down, and the group moved to meeting online using video call software like Zoom. It was something to look forward to each week; there weren’t many things going on, and this provided us with the opportunity to come together safely.
Roxanne and Don Burger
Don taught me taught me a lot about dealing with life and other people. He was more like a guru who happened to play dulcimer. He operated a small, now-defunct festival called Jonesborough Dulcimer Days and recruited me to help him keep it going during the pandemic. We would bring musicians into town and host them where we’d had our dulcimer meetings. Artists would perform for the small number of people in attendance, as well as viewers at home, via social media streams. He and I also set up around Jonesborough on different days and played our dulcimers publicly, often recording videos to share on social media. This gave me an opportunity to meet a number of dulcimer players, reunite with my old teacher Jim, and also play semi-regular gigs. In many ways, the pandemic was like a reset button for my life. It was a scary time, but on the other hand, I got to work on my craft and spend time doing things I enjoyed with people I cared about.
Don and Deborah moved back to New York towards the end of the pandemic, and I was deeply saddened to see them leave. However, Don left me with a couple of things. He recommended me as his replacement for teaching ukulele at the Memorial Park Community Center. I would also inherit a dulcimer class there from a man named Willis Jones after he became too ill to continue teaching. Being able to work with older adult students was a good experience because I could teach them about music, and they would often share stories or give me advice based on their life experiences. There’s a lot of valuable learning to be done in an environment like that.
Don also made an important connection for me. He introduced me to a man named Brian Mills, who runs a nonprofit called Art Transforms. It’s an organization that provides supplemental music and art education for students in the Johnson City School System. Don wanted to offer a two-week summer school class where students could learn about the dulcimer and build their own from cardboard using a kit. Since he was leaving, I was brought in to conduct the class. It ended up being very well-received, and we have continued it every year since.
When I heard about the Tradition Bearer’s fellowship, I didn’t initially think much about it, but some friends encouraged me to apply. I reluctantly did so, but didn’t want to get my hopes up. When I received word that I had been approved, I was overjoyed. It was a chance to expand on the work I was already doing with the dulcimer. It was also an opportunity to get more people involved with making music and keeping an Appalachian tradition alive. I used the funds to purchase as many cardboard dulcimer kits as I could and partnered with local schools, nonprofits, and the Birthplace of Country Music Museum to provide dulcimer-building workshops for as many people as possible, many of them children from lower-income backgrounds.
Roxanne in various dulcimer teaching roles.
The last few years of my life have been especially healing. I’ve been able to let go of a lot of the pain and bitterness of the past. I’ve also come to have a new level of appreciation for not only the dulcimer, but for teaching and community building. I’ve been able to connect with more people and introduce the dulcimer to a wider demographic. It feels like I am finding my place, and I’m very grateful for what feels like a second chance at life.
When I think about how music has changed things for me, it makes me want to share that possibility with others. Music makes the good days better and the bad days bearable. Music has helped me embrace my Appalachian roots and gain a greater appreciation for them. It’s also given me strength in the face of persecution. Our identities, our communities, our traditions, and our stories matter. Music can not only keep all of these alive but strengthen them. It is my hope that music can be a source of strength and refuge for all who need it.
Trigger Warning: This post contains content about suicide. If you or a loved one is struggling with suicidal thoughts, please contact the 988 Suicide & Crisis Hotline.
I didn’t come from a particularly musical family. My father sang in the church choir and I had a half-sister who played piano. Other than that, there weren’t any musicians in my family. In fact, there wasn’t a great deal of music in my community in general. My only real exposure to live music was the choir at our church. Attending church wasn’t something I enjoyed as a child, but those hymns were always a highlight of my Sunday mornings. It was simple accompaniment: usually just a piano and one or two acoustic guitars. The guitar fascinated me. I asked my parents for one many times, but we couldn’t afford one. I was also very young and my parents were concerned that I might not stick with it.
Image provided by Roxanne McDaniel
I was a quiet child and a bit of a loner. It was difficult to make friends, but music was the thing I always found refuge in. My mother was a big classic rock fan, and she probably influenced my musical tastes more than anyone. I began listening to music obsessively at an early age, but the music that I listened to put me a little out of step with the other kids at school. They all had CD players and were listening to what was current. I was carrying around a walkman, listening to my mom’s old Aerosmith cassettes.
My mom also bought me my first instrument when I was about four years old. It was a Hohner harmonica in the key of C. I never learned to play it well, but I carried it with me almost everywhere I went all the way through middle school. When I was 11, after years of asking, my parents bought me an acoustic guitar. There wasn’t anyone to teach me, so I had to learn a lot from books, as well as lots of trial and error. Once I started getting comfortable with the guitar, I began trying to write songs of my own. It was very therapeutic for a young person as lonely and unhappy as I was.
In my late teens and early adult years, I became increasingly withdrawn. I’d always felt different but was afraid to say why. It made me the subject of a lot of rumors and bullying. It reached a point where I had to make a decision. I could continue keeping my secret and being miserable or try to be happy. I took my chance and revealed to everyone that I was transgender. The reaction I received was hostile. People were threatening to hurt me, I had my tires flattened at work, and I was removed from the church I had belonged to since birth. Things reached such a low point that I even tried to take my own life by crashing my car. Thankfully, I failed, but I will never forget the ambulance ride. A paramedic asked me, “Can I give you some advice? You need to get out of this town”. I knew he was right.
I don’t tell this part of the story to be sensational or to make a political statement. I just feel that it’s necessary to provide this information for context and to give a framework for what follows.
Roxanne McDaniel photographed in Bristol on 8/2/23. Pat Jarrett/Virginia Humanities
Life became dangerous for me; I had to keep my head down and be careful for a while. I needed to leave, but I needed a place to run to. Music was the only thing I was passionate about, and I wanted to go back to school. A friend told me about the bluegrass program at ETSU, and I applied. I wasn’t particularly interested in bluegrass or old-time music, but I figured I would be fine with it if it meant I had somewhere to go. It was ironic: the treatment I had been receiving back home, combined with the negative stereotypes of the region I’d begun believing, had made me want to distance myself from all things Appalachian. Yet, here I was running towards one of the most stereotypically Appalachian things I knew of. When my acceptance letter arrived, I was overjoyed. I didn’t know what to expect, but at least life was going to be different.
During this time, I had become interested in dulcimers by happening across a video online. It was of a dulcimer player namedWendy Songe playing a tune called “King of the Faeries.”The instrument had an almost ethereal sound I found captivating. I bought a cheap dulcimer and practiced for hours on end. I began listening to artists who played the dulcimer, such as Jean Ritchie, Joni Mitchell, David Schnaufer, Stephen Seifert, and Sam Edelston. Edelston was particularly interesting to me because his playing of classic rock songs on dulcimer brought together the two musical worlds I found myself in.
Last month was Women’s History Month, and instead of looking backward, we chose to look forward and celebrate some of the amazing women who are leading the way, making a difference, and making history at the Birthplace of Country Music. The Birthplace of Country Music’s staff is majority female. This is not so surprising when you consider that women make up about 60% of the overall museum field, but what is surprising is that all of our leadership positions are held by women!
Even though the world has come a long way toward diversifying hiring practices and more women are now able to get in the door, it can still be hard to find a seat at the table. In many industries today, leadership roles are still held by men. For example, in the festival and event industry, where women comprise 40% of the workforce, 80% of all management-level positions are held by men.
Last month, we interviewed some of the women in upper management roles at the Birthplace of Country Music and have been sharing those interviews on our social media channels throughout the month to celebrate these women. Now we have compiled all of those interviews into one convenient blog! Read on to learn more about Dr. René Rodgers, Head Curator; June Marshall, Museum Manager; Paula Hurt, Managing Director; Kathryn Long, Director of Administration; Baylor Hall, Director of Operations; Shauna Tilson, Director of Development; Leah Ross, Executive Director of Advancement; and Sarah Alexander, Director of Marketing.
What is your role in BCM, and how did you get there?
René: I am the Head Curator for the museum. I grew up in Bristol and knew the general story of the Bristol Sessions, but hadn’t dug deeper into this history. I went away to college and then on to graduate school in archaeology and a life in England for several years. And because I was a Rotary Ambassadorial scholarship winner my first year in the UK, I shared the story of Bristol’s country music connections to other Rotary clubs and groups while I was there. I moved back to Bristol at the end of 2011, right as the museum content development was ramping up, and in mid-2012 I was invited to be part of the content team, using my background in history, writing, and editing. I became the Associate Curator in 2013, followed by the Curator of Exhibits & Publications, and then finally Head Curator in 2018!
June: I am the Museum Manager. I began my employment on Frontline at the museum as a part time employee. As time went on, I was moved to full time. When our Museum Manager was moved to Operations, I was offered the position as manager before they reached outside BCM to look for someone. I accepted the position and have been here in that capacity ever since. That was about four years ago.
Paula: I am the Managing Director of the Birthplace of Country Music. I grew up in many different places as my father was a 20-year Marine so moving was the norm in our household. I graduated from East Tennessee State University with a Bachelor of Business Administration – I am a first-generation college graduate. I have worked in cash management at a local bank, purchasing for a Fortune 500 manufacturer as well as cash manager/accounts payable supervisor for a global glass manufacturer. I served as the Vice President of Finance and Administration for the Bristol Chamber of Commerce for many years – which developed my love of the Bristol Community and the tourism industry. During this time, I was able to watch the evolution of the Birthplace of Country Music from the receipt of the designation by Congress, through the merger with Bristol Rhythm and Roots Reunion and then the opening of the Museum! I also volunteered for BRRR for many years. When the phone call came in 2022, I jumped at the opportunity to be part of this wonderful organization.
Kathryn: I am the Director of Administration. Leading up to my employment with BCM, I worked in a primarily male-dominated world of forestry. I led the Human Resources and Finance Department for my previous employer and was challenged greatly in my role. I was oftentimes looked at as less than during business meetings due to being a woman in a male-dominated field. I assure you, as I grew up in that industry, I knew more than most of the men about equipment and repairs along with the costs associated with both. After years of being in the forestry industry, I looked to be more fulfilled in my work life and decided a change was needed. Keith Liskey and BCM took a chance on me and I am forever grateful for their confidence in my abilities to be a working part of the BCM family.
Baylor: I am the Director of Operations for BCM. When I joined the BCM team in January 2018, I worked as the Museum Manager. With
my background in merchandising, retail, and customer service, I was a good fit to manage our Museum Store and work with the many local artisans we feature through our store consignment program. While I didn’t have experience working in a museum setting, it became a part of the job that I loved very much. BCM also hosted so many events – from concerts and shows to weddings and company parties – and I loved being a part of those as the Museum Manager. My love for working those events was one of the factors that led to me moving positions and becoming the Operations and Events Manager. Stepping into that position meant taking more responsibility over all events within the organization, especially in regard to our annual music festival, Bristol Rhythm and Roots Reunion. Little did I know when I took that position in January 2020 that the COVID-19 pandemic was right around the corner! The next two years, where I was navigating not only a new position but also a new world following the pandemic, was such a learning curve! My position within the organization continued to grow and adapt, and in January 2022, I became the Director of Operations.
Shauna: Since 2021, I’ve served as the Director of Development at BCM, where I lead initiatives in grants, individual giving, business contributions, sponsorships, planned giving, and our signature annual Super Raffle. My journey into professional fundraising unfolded naturally during my college years. It began when a former teacher faced a serious health challenge requiring extensive surgery. In response, a friend and I organized a fundraising event to support their medical expenses. This event’s success inspired us to continue hosting similar events for others in our community facing overwhelming medical costs. Graduating from college marked a pivotal moment when I transitioned my passion for fundraising into a fulfilling career path.
Leah: I started out as a volunteer in 2000 for Bristol Rhythm & Roots Reunion and was hired as the Executive Director in 2006. In 2022, I assumed the role of E.D. Of Advancement. In that role, I continue to be responsible for the festival. My role includes being a spokesperson, ambassador, advisor and fundraiser for the organization. I work with community groups, donors, government entities, the music industries and others.
Sarah: I’m the Director of Marketing! I joined the team in 2022, where I lead all marketing efforts for all three of BCM’s branches. Prior to my role at BCM I worked in tourism in Galveston, TX and spent many years working in digital and social media marketing. While I enjoyed working in destination marketing, my heart has always been drawn to music. Growing up as a musician’s daughter, I watched my dad play bluegrass from many stages and listened to more Bill Monroe than I truly appreciated at the time. However, over the years, I began to treasure the very music I used to take for granted. In 2012, I interned at BCM as a college senior and knew one day I’d be back. I’m so glad that dream came true a couple of years ago!
Left image: June greets visitors at the Birthplace of Country Music Museum. Right Image: Baylor and Leah at the Bristol Rhythm and Roots Reunion festival. Both images are courtesy of the Birthplace of Country Music.
Have any women mentored or inspired you?
René: Yes, several! Two come to mind from my childhood: Anna Morgan and Barbara Bunn. Anna was my friend Annika’s mother and my mom’s best friend; she was also my 5th grade teacher. She wrote a novel in her youth, and today she is one of my best friends and someone I count on to have deeply meaningful conversations. Barbara was like a second mom to me, always encouraging curiosity and taking my whole family on adventures. She went back to school later in life, getting her Ph.D. in chemistry and starting Virginia Tech’s mobile chemistry lab. Both of them showed me the strength, creativity, and determination of women. When I lived in England, I worked for Professor Rosemary Cramp for a year. Rosemary was an archaeologist, responsible for excavating one of the most important early medieval sites in England. The time I spent with her was transformative — I learned so much about research, my place in the academic world, and how to get things done! My friend Susanna Baird also inspires me. She is one of the kindest people I know and one of the most talented, writing beautiful poetry and prose. And then there is my godmother Wanda Worsham, who has been the biggest cheerleader, supporter, and role model to me. She inspires me in so many ways on a daily basis — her favorite comic character is Wonder Woman for a reason! Finally, my mother Joyce mentored me through her constant love and support, even of things that scared her like my love of horseback riding and me living in a foreign country on my own for almost 20 years!
June: I don’t recall anyone mentoring me but I have had other women who definitely inspired me from the time I was a little girl. Golda Meir, Margaret Thatcher and Elizabeth Dole are a few of those women I looked to as having a strong influence in my life as a woman.
Paula: There have been many women who have inspired me over the years and displayed traits that have proven invaluable to me. As I try to choose one or two to list, I find myself thinking of the traits that I admire most in these women such as compassion, strength, drive, collaboration, intelligence, determination, kindness, and many others. I think of the strong core network my mother, grandmother, mother-in-law and aunts provided who raised strong families – instilling values, tenacity, respect and love. I think of teachers who taught not only academics but life lessons. I think of coworkers who have provided strength, support, teamwork, encouragement, and fun! Community and church leaders who have inspired a desire to make a difference, be a voice and step into volunteerism and community development.
Kathryn: I have been inspired by many women. Two being my mother and aunt. Both are strong, resilient women who have, by example. taught me that there is no challenge that is too large to concour. I have also been influenced by my fellow female coworkers at BCM. They tirelessly work to educate, drive, and excel in their departments all while juggling families and personal lives. I am humbled by the perseverance of my BCM family.
Baylor: I feel that many women throughout my life have both mentored and inspired me – starting with my family. My mother was one of six daughters, and my dad had three sisters. Growing up, my Mom and my many aunts constantly supported me and helped show me what it meant to be a strong woman. I have also worked with, and for, many women throughout my career who have mentored me. From my very first job, where my boss took me under her wing and taught me so much more than was required, to female college professors, to women coworkers – I have really been lucky to feel the support of many, many women in my life.
Shauna: Absolutely! I’ve been fortunate to have been surrounded by many inspirational women in my life. Two remarkable individuals immediately come to mind. Firstly, my grandmother, India Gillespie, who is the namesake of my youngest daughter. She embodied intelligence, compassion, humor, and resilience, teaching me invaluable lessons about self-advocacy and standing up for what’s right. Secondly, Judy Franklin remains a cherished figure whom I always considered my guardian angel. Her unwavering kindness, boundless compassion, and generosity left an indelible mark on me, showcasing the profound impact one person can have on another’s life.
Leah: My sister, Sally, has always been an inspiration to me. She has always praised me when she thinks I’ve done good. However, she is quick to point out things that need more thought or could have been done better. She is always telling me she has my back.
Sarah: I’ve been inspired by so many women over the years, but the two that come to mind are my two grandmothers. My Nini, Kathleen. She taught me resiliency, compassion, and how to handle every situation with grace. My Nanny, Phyllis. She taught me to not take things so seriously and life is more fun when you take time to laugh.
Left image: Rene holing a wall panel while assembling the Women in Old-Time Music exhibit. Right Image: Paula speaking at the Bristol Rhythm and Roots Reunion line-up reveal press conference. Both images are courtesy of the Birthplace of Country Music.
What challenges have you had to overcome as a woman in your role?
René: I think all women face certain gender-based issues to some extent during their professional and personal lives, such as being talked over or dismissed in discussions, assumptions made about their interests or abilities, when asserting yourself is downplayed or criticized as “being emotional,” etc. We are often held to different or higher standards. I feel fortunate to have worked with many wonderful colleagues over the years at BCM where that is thankfully not the norm. I think the biggest challenge in my role as a woman has come from the juggling I do between work and home — while I am not a mother, I have helped with parental caregiving over the last several years (a role that more often falls on women), and this can make work-life balance even harder than it already is when work is the only thing on your plate.
June: I don’t really recall any real challenges as a woman in my current role. I will say that throughout my life, there have definitely been times when I was talked “down to” by men because I am a woman. My father was a very strong influence in my life and he always encouraged me to be independent in my thinking as a woman, especially. I will always be grateful to have had a father who guided me in the direction that gave me encouragement to make the right choices and speak up for myself, no matter what.
Paula: Having worked in both the manufacturing and non-profit environments as a woman, there have been challenges. I have always searched for avenues to change perceptions, earn respect and make a difference in whatever environment I find myself a part. After all, it is the challenges that make you stronger.
Kathryn: Oftentimes a woman’s voice is stifled due to our soft spoken nature. Feeling heard and respected professionally can be a challenge at times. However, I look forward to a future where gender, race, and lifestyle choices are not judged nor are subject to preconceived notions.
Baylor: Thankfully, I feel the majority of the challenges that have come with my position have been more about understanding and executing the full scope of my work than it has been about the fact that I am a woman in this field. With that being said, I am not immune to the gender-based issues that many women face on a daily basis. Much of the work I do takes place in more male-dominated spaces, and so learning how to work within that environment can definitely be challenging. I have to give a shout out here to my Dad – I grew up working alongside him on our family farm, and never once do I remember him making me feel as if I couldn’t/shouldn’t be doing the work because I was a woman. I remember going to other farms, and people being surprised he brought his daughter, but he always just responded with “she’s the best cattle hand there is.” Make no mistake – I was not the best cattle hand there was! I know that now, but at the time I just felt proud and strong. I think having that type of support from a young age has helped me feel more confident throughout my career and definitely contributes to me not being as intimated when I’m in a situation where it’s recognized I’m a woman. Becoming a mother also presented additional challenges – trying to shift the balance to manage an already full workload and add in the new position as Mom has been extremely challenging, but rewarding!
Shauna: Regardless of the role or workplace, navigating the challenges as a woman in the workforce is always significant and diverse. I’ve encountered numerous situations where I’ve sat at tables dominated by men, offering answers to questions or solutions to problems only to be talked over or disregarded entirely. However, I’ve learned not to let these obstacles hinder me. I make a point to assert myself—I answer the questions, provide solutions, reiterate if not acknowledged, and ensure my voice is heard even if I’m interrupted.
Leah: I have faced many challenges in my career, but I have always ignored or overcome them.
Sarah: I think women are often underestimated. This is something I use as motivation to exceed expectations, but I also think it highlights the importance of advocating for yourself and other women.
Left image: Sarah (left) and Charlene (right) riding in a golf cart at the Bristol Rhythm and Roots Reunion. Right Image: Kathryn at work in her office. Both images are courtesy of the Birthplace of Country Music.
What is your favorite part of your job?
René: There are several things that I really love about my job. Firstly, I love the people I work with, and I am so proud of my team and all that they do each day. Secondly, it means a lot to me to be part of an organization that directly serves our community — from education and exhibits to the preservation of history. And on a personal level, I love being in a job where I get to learn all the time!
June: I love welcoming all our visitors! I have the privilege of meeting some of the most interesting people in the world. I also enjoy working with the wonderful artisans from our region.
Paula: My favorite part of working for BCM is that I am really working for the whole Bristol Community. Bringing new people to Bristol to discover the hidden treasure of our town. Imparting the proud heritage of the deep musical history to museum visitors and educating the next generation. Watching the crowds of people who come to Bristol Rhythm and Roots Reunion and LOVE our festival – and that I get to help organize and curate this event! Listening to Radio Bristol broadcast, educate and entertain a worldwide audience – that’s pretty special. But I have to say that I am blessed to work with a group of amazing people that are all driven by a passion and love for what they do and the organization they represent – that is priceless.
Kathryn: The most favorite part of my job is working with a team that is so passionate and forward thinking. Feeling support from your fellow co-workers is so inspirational. I feel very honored being a part of the Birthplace of Country Music!
Baylor: My favorite part of my job, and one of the most challenging aspects, is how it is constantly shifting. My days are never “status quo” types of days. I feel like I’m constantly getting presented with new puzzles to figure out. BCM has so many things going on all the time and I enjoy the “chaos” of working in an environment like that. It can be difficult to balance all of the moving parts, but it is never boring!
Shauna: Working at the Birthplace of Country Music offers numerous rewarding experiences. One of my favorite moments is strolling down State Street during Bristol Rhythm & Roots, witnessing thousands of people enjoying themselves, and realizing that the year-long effort was truly worthwhile. I also feel immense pride when I see elementary students learning about our region’s rich history at the Museum or witness Radio Bristol producing another successful Farm and Fun Time event. What I cherish most about my role here is knowing that my time and effort aren’t just about earning a paycheck; they’re about contributing to programs and creating experiences that significantly impact our community and region.
Leah: My favorite part of my job is working with people in the community. I have been fortunate to have been able to meet so many people in my years with BCM who have become lifetime friends and mentors to me. My wish is that I always treat people with respect.
Sarah: My favorite part of working at BCM is throwing live events. Bristol Rhythm & Roots is my favorite weekend of the year! Every morning, I drive to work down State Street and dream of the thousands of music fans crowding the streets. I take a lot of pride in knowing we’re responsible for carrying on such a sacred tradition.
If you had unlimited resources, what would your dream project be for BCM?
René: My dream project is actually one that I hope we will be able to accomplish one day — to have a Smithsonian SparkLab! as part of the museum. This would enable us to serve K-12 and families with STEAM-based activities, resources, and fun learning opportunities in really meaningful and engaging ways. Plus, it would just be super cool!
June: I would like to see the Museum become fully accessible to all physical and mental disabilities. For example, those who are blind or visually impaired and those without hearing or with hearing loss. And along with the physical disabilities, it would be so helpful to have chair lift transportation for when the elevator is out of order.
We could always use more storage space, especially for The Museum Store. We currently have a tiny closet that is very limited with its layout for storage of back stock and supplies for the store.
As much as I love our Performance Theater, it would be wonderful to have our own much larger theater also, to host bigger shows without having to utilize outside sources.
Paula: My dream for BCM is to be that organization with unlimited resources! If this staff and volunteers can produce what is produced with the limited resources that are available, what the future for the organization and the Bristol community would be with more robust resources would be amazing. Truly, my dream would be that the organization have an endowment program in place that would secure the future of the organization for perpetuity – to know that the Museum, Festival and Radio would continue and grow for many generations. Leaving the legacy of the past with the ability to build and expand toward the future is truly what makes BCM so special.
Kathryn: A dream project for BCM would be the ability to provide travel exhibits to our regional school systems. Allowing the exhibits to come to schools rather than have the children travel would be amazing, as bus transportation has become so difficult for school systems.
Baylor: If I had unlimited resources, a dream project for me would be for BCM to travel! I would love to see BCM collaborate on and produce events all over the country. I love the idea of a “Brought to You by the Birthplace of Country Music” type of project that would reach different audiences and demographics and give us different platforms to share our story.
Shauna: I have numerous dreams for our organization, and it’s challenging to pick just one. One dream that’s coming to fruition is our event on June 1st featuring Dwight Yoakam, which I’m incredibly excited about. Another major dream project is the completion of the Museum Expansion, as I believe it will have a profound and positive impact on our community.
Leah: If I had unlimited resources (money), I would build an endowment for BCM so that we could have the staff we need to do all the things we dream about doing. For example, a robust education department, complete renovations of the Joe & Cindy Gregory Building for the expansion of the Museum, and increase the number of staff where needed, just to name a few. In closing, I would say that I have been blessed to be able to be with the organization for many years. It is an honor and a sense of pride for me because I love and believe in the work that we do each and every day every day.
Sarah: If I had unlimited resources, my dream would be to grow our team!
Getting the word out takes on a special significance when one talks about the method that the visual word is produced. Many have heard of the history of printing, that Gutenberg produced the first movable type in Europe. Some know that over the following five hundred years, printers used a variety of technologies, from monotype to linotype and letterpress to offset printing to our modern digital processes. Yet few recognize the threads that run through the centuries of printing that are reflected in the current exhibit at the Birthplace of Country Music Museum entitled, “A Cardboard History of Blue Ridge Music.”
A variety of posters which have come from the Sign of the George Press at King University, Bristol, TN. The Chandler and Price press, workhorse of the Sign of the George Press.
These posters that anchor the exhibit were produced with handset and letterpress printed type, some from small local print shops and some from more established print shops, such as Hatch Show Print in Nashville. The posters used primarily wooden type, which could be up to 5” in height to grab your attention. Some of the smaller type up to 1” were metal. Both types would have been arranged and fastened together to be printed on presses that had their origins in the early days of printing, both presses that were flat bed operated manually and presses that were motorized.
In the early days of country music, hand bills that could be put up in stores and stations advertised the location of music shows. The posters of this collection are primarily from the 40s through the 70s and advertised concerts and small festivals. They were printed on thick cardboard, were cheap and easy to produce, and were expected only to last from the time of posting to the time of the show and then thrown away. The fact that many have survived is a tribute to both the stability of the printed form and the diligence of those who recognized their historical importance.
Letterpress printing is a trade that has gone out of favor with the coming of more modern techniques, but has reemerged as a craft in the art field. When many of the old shops closed or were converted, often the type was scrapped, the presses were sold for their weight in cast iron, and the typecases ended up as showcases for knick-knacks. For those materials and equipment that survived, the current recognition of hand-crafted art will prolong the legacy of the printing trade.
Letterpress refers to both the type of medium which is being printed, as well as the technique and presses which are used for printing. In this context, the letters are individual or monotype. This means that each letter has to be uniquely selected and arranged to form the words. These lines of type are then firmly locked into a frame, which is then printed on a press.
Composing a body of type before printing.
Pictures that accompany the text can be made mechanically or by hand, cut from wood, linoleum or engraved. When the copy is set and prepared, ink is applied by rollers, either by hand or mechanically on the larger presses. Unique to this process is that the letters are created and set in reverse, essentially backward, so that when the impression is made it comes out right side up and readable.
Locally in Bristol at King University, the Sign of the George Press has had a resurgence with the support of the Digital Media Art and Design Department. The Press was started by Dr. George P. “Pat” Winship in the late 60s as a way to show his English students the methods that authors like William Shakespeare had to manage to get their literary works into print. Dr. Winship had a small press when he was growing up as the son of a rare books librarian and he continued the press by accumulating type and presses from the printshops that were going out of or away from the letterpress business as they modernized. The press at King is operated by Winship’s son David, a retired public-school educator who grew up with the press.
Lee Jones, left, and Joe Strickland, right, at the press with students. Both are professors with the DMAD (Digital Media Art and Design) Department at King University.
The Birthplace of Country Music Museum will offer a hands-on workshop at the Museum on March 16, which will allow participants the opportunity to learn about letterpress printing, produce a poster of their own, and to tour the exhibit. Participants will also have the opportunity to tour the Sign of the George Press on King University campus to get a close up look at the printing process.
Poster advertising has been used as a marketing tool since the late 1800s. Companies and businesses would advertise anything from places to shop, war propaganda and music events. Since these posters were often made of paper and glued to an outside surface, like a telephone pole or outside of a business storefront, many early posters ads did not survive and are often highly sought after by many collectors.
Letterpress is one of the most recognizable forms of concert posters in Country music styles. Letterpress printing is a technique, which has been used for centuries, of printing multiple copies of the same design by inking a raised surface and stamping it on a piece of paper. Similar to a stamp, the letters and designs are replaceable. The design is held together with a frame and is placed opposite of how the poster will be hung. To learn and make your own letterpress poster sign up for a Letterpress workshop with BCM and King University on March 16, 2024.
Photo by Julia Underkoffler. On loan from the Tom Murphy Collection, a part of Cardboard History of the Blue Ridge.
The company that would later become Hatch Show Print was founded in 1875 and became infamous in the country music industry for their work with the Ryman Auditorium and the Grand Ole Opry starting in the mid-1920s. You can join us for a Speaker Session on April 9, 2024 with guest Celene Aubry from Hatch Show Print to learn more!
Today, however, many posters are produced digitally. There is still a deep nostalgia for letterpress posters.
Fifth Annual Fiddlers Convention
Donated to BCMM in 2017, this poster advertises the fifth annual Fiddlers Convention and North Carolina State Championship held at Cool Springs School in Statesville, North Carolina on November 19, 1966. Dwight Barker, a radio and TV personality, was the M.C. for the convention. There were cash prizes for the top three best bands, best banjo players, and most promising talent, as well as trophies to the state champions.
Photo by Ashli Linkous. Donated in honor of all the musicians that participated.
Roy Acuff for Governor Poster
Donated at the request of the late William Wampler in 2016. The poster was produced for Acuff’s Tennessee Governor campaign in 1948, when he accepted the Republican nomination. Although he did not win the Governorship these posters survived and reproduction prints are still being sold by Hatch Show Print. The copy in our collection was signed by Acuff on August 26, 1972.
Photo by Ashli Linkous. Roy Acuff poster donated at the request of the late William Wampler.
Mountain Stage/BCMA
A signed poster from a partnered show between Mountain Stage, a live radio program in West Virginia, and the former Birthplace of Country Music Alliance (BCMA) organization. In 2013 BCMA and Bristol Rhythm and Roots Reunion merged to create the Birthplace of Country Music Inc. organization. This event was on August 21, 2011 and included Jim Lauderdale, John Lilly, Red Molly, The David Mayfield Parade, Vince Gill, and hosted by Larry Groce.
Photo by Ashli Linkous. From the Birthplace of Country Music’s Institutional Archives
Orthophonic Joy
Orthophonic Joy is a collection of reimagined recordings of the original 1927 Bristol Sessions songs. This album was produced by Carl Jackson, a Grammy award winner and used as a benefit for the Birthplace of Country Music Museum. The album includes Emmylou Harris singing “Bury Me Beneath the Willow”, Dolly Parton singing “When They Ring Those Golden Bells”, Sheryl Crow singing “The Wandering Boy,” and Brad Paisley and Carl Jackson singing “In the Pines.” This CD can be purchased in the museum store.
Photo by Ashli Linkous. From the Birthplace of Country Music’s Institutional Archives.
Bristol Rhythm and Roots Reunion Festival Posters
Starting in 2001 the Bristol Rhythm and Roots Reunion festival (BRRR) was created to celebrate the rich musical heritage that was popularized by the 1927 Bristol sessions. Occurring on the second weekend in September every year, BRRR has seen countless legendary musicians on the lineup, like The Del McCoury Band, Little Jimmie Dickens, Jim Lauderdale, who made his first appearance in 2004, and Marty Stuart just to name a few. Each year the organization gets a different artist to create and design the festival poster. Over the last 20 plus years we’ve had artists including Willard Gayheart, Charles Vess, and Leigh Ann Agee and many more. Only so many of these posters are printed every year and once they are gone, they are gone! Below are some of my personal favorites.
2001 Bristol Rhythm & Roots Reunion Poster
The first year highlights the train station which helped many artists get to Bristol in 1927 to record with Ralph Peer and make Bristol what it is today!
Photo by Julia Underkoffler. From the Birthplace of Country Music Museum’s Institutional Archives
2005 Bristol Rhythm and Roots Poster
I love all of the artists that were included in this poster. It is a great way of showing the impact Bristol has had to music.
Photo by Julia Underkoffler. From the Birthplace of Country Music Museum’s Institutional Archives
2006 Bristol Rhythm and Roots Poster
This poster was designed by Charles Vess. I absolutely love how the colors complement each other and the tree roots making a treble clef.
Photo by Julia Underkoffler. From the Birthplace of Country Music Museum’s Institutional Archives.
2021 Bristol Rhythm and Roots Reunion Poster
This will always be one of my favorite BRRR posters because it was my first BRRR.
10th and 20th Anniversary Posters
These are two special posters we came out with for the 20th anniversary. This is a great way to display all of the first 20 years of festival posters.
Photos by Julia Underkoffler. From the Birthplace of Country Music Museum’s Institutional Archives.
Several years of Bristol Rhythm and Roots Reunion posters are still available for purchase at the museum store.
The Birthplace of Country Music Museum opened its doors to the public on August 1, 2014 with a weekend of music, history and culture, food, friends and family, and so many amazing visitors. Through the past several years, as we’ve seen changes and growth; hundreds of exhibits, outreach activities, and educational and public programs; and a pandemic, we are proud and excited to be celebrating our 10th anniversary! We’ll be sharing stories, images, and videos to mark this milestone throughout the year, but today we wanted to share ten things you might not know about the Birthplace of Country Music Museum:
1. Archaeology in a Country Music Museum?
The museum is in a historic building from the 1920s, formerly a Chrysler distributorship owned by Frank Goodpasture Sr. The building was later used for entertainments like sporting matches, musical concerts, and dances, and it also once housed a cab company, barbershop, shoe store, and newsstand. All of these different uses meant that when the building was being renovated to become the museum, the construction crew found lots of archaeological curiosities from the building’s previous lives – from an intact Edison lightbulb (now hanging in the porch area of our permanent exhibits) to pieces of china to an empty bottle of Dr. H. S. Thacher’s Cough and Croup Syrup!
Creating a museum is a big job, and creating the content and exhibits is turned over to a company who does that work for a living. At the early planning stages, that was the intent, but it soon became apparent that we had numerous local scholars, experts, and musicians on our doorstep who had the expertise to do this work. And so a local content team was pulled together – led by ethnomusicologist Dr. Jessica Turner, the team included scholars and musicians from East Tennessee State University (Roy Andrade, Dr. Lee Bidgood, Amythyst Kiah, and Dr. Ted Olson) and King University (Ryan Bernard); former Birthplace of Country Music Alliance director Bill Hartley; and researcher/writer/editor Dr. René Rodgers (me!) and Sarah Tollie. Over the course of two years, this team met regularly – along with the museum’s architects Peyton Boyd and Michael Haslam, the exhibit design team at studioMUSarx, and Hillmann & Carr, the media producers – to discuss the textual panels, images and objects, and audio-visual elements that would fill the permanent exhibit space with engaging content. This decision to stick with local community members to tell the important history of the 1927 Bristol Sessions and our regional music heritage has resulted in a museum where these stories are explored with passion, deep knowledge, and personal connection, making the museum experience that much richer to our visitors.
3. Wax People
Lots of museums have dioramas with taxidermy animals or scenes/exhibits with wax museum figures. And early in the content development process, we considered two such scenes – one of The Carter Family recording in the makeshift studio on State Street and one of a producer or DJ and a band in a radio station. These wax figures can be wonderfully realistic but sometimes also just a little bit creepy – akin to dolls and all of the associated weirdness we feel with them! In the end, the cost of the wax people was out of our budget, but most importantly, after discussion and ambitious speculation, we decided to figure out how to turn what was meant to be a simple radio station exhibit into an ACTUAL live, working radio station – and Radio Bristol was born!
As we began thinking about this 10th anniversary, we started digging into our institutional archives to stir up some memories – and we found a treasure trove of stuff! One of the coolest was a stash of blueprints from past iterations of the museum design before we got to the museum we know and love today. Some things stayed pretty similar across designs, but there were also some surprises. For instance, one plan showed a second exterior marquee-style sign above the Moore Street side door bearing the words “Playing Tonight: Bill Hartley,” which would have been a great addition! Another plan illustrated a different configuration for the first-floor theater, one where there were 11 rows of seats in front of the stage in a typical theater configuration. This layout would have given the room around the same number of seats that we have today, but our current configuration is much more intimate and engaging for audiences. Finally, the biggest surprise was a plan for a third floor to be built onto the original two-story building – this space would have included offices and other administrative areas, but it was ultimately nixed as this type of construction is not allowed on buildings where historic tax credits are used to help fund the work.
Early in the museum’s life, we were excited to be recognized by peers and scholars in the museum and history fields. For instance, in 2015 the museum won the Past Presidents’ Award of Excellence from the Tennessee Association of Museums; that same year, the poster design for the Birthplace of Country Music Museum’s grand opening won in the American Alliance of Museum’s Publications Design Competition. In 2016 we were honored with an American Association for State and Local History Leadership in History Award.
Any historic building can be spooky at night when the lights are low and you might be the only one in a particular space – there are mysterious creaks and pops, dark corners, old photographs and objects, and often overactive imaginations at play. The display case dedicated to the story of Bristol’s own hometown musical hero, Tennessee Ernie Ford, frequently helped to put chills down our spines when an 8-track tape would regularly fall over with no real explanation as to why. Its mount had been built specifically for its dimensions, the mount’s attachment wasn’t loose on the back of the case, the case was sturdy and not easily moveable… Was the ghost of Ernie Ford communicating with us? Was it the ghost of a music geek who was sharing their contempt for the oft-maligned 8-track format? We’ll never know!
One of the biggest pleasures of working at the Birthplace of Country Music Museum has been the connections we have made with family members of the 1927 Bristol Sessions artists. Over the years, these relationships have helped us to tell the stories of these musicians in more detail and with more interest; they’ve shared objects and photographs with us that have enhanced our exhibits; and we’ve enjoyed spending time with them and seeing their own joy of their relatives being recognized and celebrated in the museum. At the museum’s grand opening, Georgia Warren, the last surviving member of the artists who recorded at the 1927 Bristol Sessions, and Roni Stoneman, daughter of Ernest Stoneman, participated in the ribbon cutting. Two branches of Alfred Karnes’ family connected through the museum’s Green Board, and then later held reunions at the museum. Charles McReynolds’ grandson, Jesse McReynolds, played his fiddle on Radio Bristol’s original Farm and Fun Time show. Blind Alfred Reed’s grandson brought his fiddle to the 90th anniversary of the Sessions where it was admired by Ralph Peer II, Ralph Peer’s son. The family of Jimmie Rodgers loaned us his Blue Yodel guitar in 2023, recently extending that loan through 2027 and the Bristol Sessions’ 100th anniversary! We hope these connections and relationships continue to grow, and that family members always hold the museum and the story we tell in their hearts.
8. Design Details
When designing the museum’s exhibits, the studioMUSarx team and their partners did an amazing job creating engaging displays and panels. But what’s even cooler are some of the hidden design details that can be found throughout the museum. For instance, different tonewoods were used in the downstairs theater – for those who don’t know, tonewoods are different types of wood that are used for acoustic string instruments due to their tonal qualities. Similarly, the floor of The Museum Store is made of curly maple, a wood often used when crafting guitars. Another great design detail can be seen on the reader rail in front of the radio station booth where the material used to cover speakers has been used behind the cut-outs on the rail. There are many more of these wonderful details to be found in the museum – but you’ll have to wait for a blog on another day to learn about them all!
Being a historic building, there were several elements of the original construction that we had to keep in place. One of the coolest is truly behind the scenes so not experienced by our visitors, but always appreciated by staff. In the loading bay of the museum, you can see the very top of the original ramp that led from the Goodpasture building’s first floor to its second. This was the ramp that the distributorship’s workers would have used to drive cars up to the second-floor showroom. The museum’s architect and contractors were allowed to take out the majority of this ramp during the renovation, but the top of it was kept in order to preserve the physical connection to the building’s history.
As a music museum, each room is filled with music, which requires sophisticated acoustic engineering solutions – for instance, overhead acoustic panels that direct sound downward to minimize its bleed into other areas of the space (I think of these as “sound umbrellas”!). But because it is a museum, those solutions also needed to be integrated in innovative ways into the exhibits and different spaces. In the downstairs theater, some of the speakers are hidden behind patterned acoustic tiles, while the upstairs theater has acoustic fabric on the walls to help deliver the film’s sound. Sound drivers were originally attached to the backs of the acrylic panels of the foyer sculpture, turning this piece of art into a giant speaker. Similarly, sound drivers/speakers have been placed under the pews in the chapel theater space so that when you sit in there to watch the film, you can actually “feel” the music! Steve Haas, the museum’s acoustical engineer, even created a creative acoustic activity for our educational programs – a sound driver and amplifier that we often use to show how sound travels through different materials creating different levels and quality of sound.
Dr. René Rodgers is the Head Curator of the Birthplace of Country Music Museum. She has been with the organization, first as a freelance writer/editor and later on the curatorial team, since 2012.
January 15th is recognized as Martin Luther King Jr. Day. In recognition of Dr. King’s important work and fight for the equal rights of black Americans during the Civil Rights movement, this blog details the music of the movement. Originally posted on December 29, 2018 and written by Rene Rodgers.
Here at the Birthplace of Country Music Museum, we’ve spent the past month and a half exploring the power and impact of visual imagery through the NEH on the Road exhibit For All the World to See: Visual Culture and the Struggle for Civil Rights(on display until January 7, 2019). But we’re a music museum, and one thing we know for sure: music has power and impact too.
And that is certainly true when you think about the music of the Civil Rights movement. Many of these songs had their origins in traditional hymns and African American spirituals, and while they weren’t all originally about freedom and social justice, their message was clearly relevant. Some were also revised to include new lyrics that spoke directly to the issues people were facing, such as voting rights. Others grew out of the musicians’ personal experiences or observations of the discrimination around them. These songs – often and rightfully called anthems – inspired determination and bravery, helped to lessen fears and steady nerves, focused activists’ passion and energy on the task at hand, and acted as motivators to protesters and observers alike. They were delivered by professional musicians and groups like the Freedom Singers, but more importantly they became the unified voice of ordinary people displaying extraordinary courage at rallies, marches, and protests and in churches, meetings, and workshops.
The Congress of Racial Equality (CORE) produced a record of “sit-in songs” in 1962, which included “We Shall Overcome.” The musical notes are in the form of diner counter stools. This record went along with the Freedom Highways project, when activist volunteers worked to integrate chain restaurants along the main federal highways. Image from https://library.duke.edu/exhibits/johnhopefranklin/civilrights.html
A blog post about this music would be incredibly long – it’s a long and interesting history and each song has a story! And so, we’ve chosen just five songs that highlight the power of this music, including a brief history or description of each, to get you started on an incredibly inspiring musical journey.
“Uncle Sam Says,” Josh White (1941)
Josh White’s 1941 record Southern Exposure: An Album of Jim Crow Blues, co-written with poet Waring Cuney, was called “the fighting blues” by author Richard Wright, who wrote its liner notes. One of its songs, “Uncle Sam Says,” highlighted the frustration felt by African Americans when faced with the continuing effects of Jim Crow even as they fought and gave their lives for their country. It was inspired by White’s visit to his brother at Fort Dix in New Jersey where he saw the segregated barracks and unequal treatment of the black servicemen. After the album was released, White was invited by President Franklin Delano Roosevelt to the White House for a command performance, the first black artist to do so.
“This Little Light of Mine,” Rutha Mae Harris
For many of us, “This Little Light of Mine” is a song of our childhood sung at school or church. But the song has a much more interesting history within the Civil Rights movement and beyond as a “timeless tool of resistance” – check out this NPR piece from August 2018 that celebrated the song as a true “American Anthem.”The song, both a spiritual popular in the black churches and a folk song, became even more impactful when it was employed by Civil Rights protesters and activists who often personalized the lyrics to the situation or as a way to name the oppressors they were facing. Original Freedom Singer Rutha Mae Harris demonstrates the energy and power of the song as she leads a contemporary group in its verses at the Albany Civil Rights Institute:
“I Shall Not Be Moved,” The Harmonizing Four (1959)
This African American spiritual is based on Jeremiah 17:8—9, reflecting the idea that the singers’ faith in God will keep them strong and steadfast. The song became a popular resistance anthem during the Civil Rights movement, especially in relation to sit-ins; it was also used as a labor union protest song. As with “This Little Light of Mine,” the lyrics were sometimes altered to speak to the specific cause. Maya Angelou’s poetry collection I Shall Not Be Moved was named after the song.
“Why Am I Treated So Bad?,” The Staple Singers (1966)
The Staple Singers met Dr. Martin Luther King Jr. in 1963 after a performance in Montgomery, Alabama. Roebuck “Pops” Staples, the band’s patriarch, said afterwards: “I really like this man’s message. And I think if he can preach it, we can sing it.” The group went on to write and perform many Civil Rights songs, including “March Up Freedom’s Highway” and “Washington We’re Watching You.” “Why Am I Treated So Bad” was written in reference to the treatment of the nine African American children at the forefront of integration in Little Rock, Arkansas, in 1957. It became a particular favorite of King’s and was often sung before he spoke to a crowd.
“We Shall Overcome,” Mahalia Jackson (1963)
One of the most well-known songs of the Civil Rights movement, “We Shall Overcome”exemplifies the resilience, determination, and hope of the activist leaders and the everyday protesters alike. Its origins stretch back to the early 20th century with Charles Tindley’s “I Will Overcome.” Striking workers took up the song in the 1940s, later sharing it with Zilphia Horton at the Highlander Folk Schoolin Tennessee, a center for social justice and activism. White and black activists came together at Highlander for workshops and planning during the Civil Rights movement, and some of that work involved learning songs and how to employ them in protests. Musical director Guy Carawan learned a version of the song from Pete Seeger; Carawan later introduced the song at the founding convention of the Student Non-Violent Coordinating Committee. (To hear Candie Carawan talk about the work at Highlander and the power of music during the Civil Rights movement, check out December 19’s archived On the Sunny Side show on Radio Bristol; her interview is towards the end of the show.)
The original Carter family became nationally famous after being recorded in the 1927 Bristol sessions. A. P. Carter sang bass and harmonies on many songs, and very occasionally played guitar, but his principal contribution acted as a songcatcher, working to find, rewrite, and rearrange traditional songs. His wife Sara Dougherty Carter was the lead singer, co-wrote many songs, and performed playing either a guitar or autoharp. Sara’s cousin Maybelle Addington Carter,(who was married to A. P.’s brother Eck) also sang, but is remembered today as a guitar virtuoso (more on that later).
Their record sales crashed with the Great Depression of the 1930s, but an opportunity to perform on a radio station on the Mexican border revived the fortunes of the group. In those days, Mexico and the United States had a dispute over AM radio signals, and some Mexican stations were given many times the wattage of U.S. stations. That meant that the Carters’ border radio shows were heard all over the country, reviving their popularity. The border radio station XERA had a massive 500 kilowatts, and could broadcast across 48 states and into Canada. Visit my previous blog post, The Carter Family on the Border Radio, to learn more about that story.
Carter Sisters and Maybelle September 1944. Left to right: Anita, June, Maybelle, and Helen
A new generation traveled with the Carters to the Mexican border. A.P. and Sara brought their two children, Janette and Joe. Maybelle and Eck brought their three daughters, Helen, June, and Anita. The children sang on the radio show (but not on records). The original group continued to perform for several years, but that ended when Sara moved to California in 1943.
Maybelle and her daughters continued to perform after the original Carter Family disbanded, performing as “the Carter Sisters and Maybelle Carter” on local radio stations in Richmond, Knoxville, and Springfield, Missouri. They became local celebrities in each city with big crowds as the stars of local “barn dance” radio shows, and they took their act to every town within range of the local radio signal. They were eventually signed by the Grand Ole Opry in Nashville in 1950.
With that extended introduction, and with today being National Daughter’s Day, let’s take a look at the radio transcriptions of the Carter Sisters. Years ago, radio shows were often recorded on “transcription discs,” special high-quality recordings that would be distributed to radio station affiliates. These disks had pauses in them so that the affiliated stations could insert their own commercials. The disks were never intended to be distributed to the public, but thousands of them have survived, later archived to tape and digital recordings by “old time radio” enthusiasts. These include recordings of a dozen Carter Sisters shows from 1949 and 1950 (just before they were signed by the Grand Ole Opry) that can be listened to today via YouTube.
Carter Family circa 1939. Standing A. P., Janette, announcer Harry Steele, Sara, Maybelle. Seated Helen, Anita, June.
By the 1950’s,The Carter Sisters lineup included Helen, then age 22, playing the accordion and guitar; June, age 20, playing autoharp and ukulele; and Anita, age 16, playing upright bass. By this time June, a natural comedienne, introduced the songs and pitched sponsored products. Maybelle anchored the group playing her 1928 L5 guitar, which she bought with royalties from the 1927 Bristol Session recordings. What makes these recordings extraordinary is that the costar of the show was a then-unknown guitar player, Chet Atkins. Think about it; here we have recordings of perhaps the two most influential country guitar players of all time playing together just before they joined the Grand Ole Opry.
Why were Maybelle and Chet influential? Let’s start with Maybelle, the inventor of the “Carter scratch.”She would play the melody of songs such as “Wildwood Flower” and “Keep on the Sunny Side”on the bass strings of the guitar using a thumb pick, while rhythmically brushing the other strings with her fingernails or finger picks. Essentially, she played rhythm and lead guitar at the same time. This was revolutionary, because country guitar players didn’t see the guitar as a lead instrument before that.
Maybelle, an extraordinary musician, mastered other styles of playing. She can be seen on videos playing rhythm guitar up and down the neck like a jazz guitarist on some songs, and Mexican-inspired fills on others. She also played something the Carter family called the “blues.” Years later, in a wonderful documentary, Mother Maybelle’s Carter Scratch, Helen explains that Maybelle learned to play the “blues” around 1930 from Leslie Riddle, an African-American man in Kingsport. Riddle taught Maybelle guitar, and therefore played a direct impact on the early styles of country music, but due to race and discrimination was never able to reach the success the Carter Family achieved. This guitar style featured an alternating bass played with the thumb, with the melody played on the top strings (the reverse of the Carter scratch, where the melody was played on the bottom strings). Most people today call this style “Travis picking” because it was popularized by Merle Travis.
Carter Sisters with Chet Atkins circa 1950
If you look closely at videos of Merle Travis playing this style, you’ll see that he used a thumb pick and just one finger for the melody. He got a miraculously full sound with this technique, but Chet Atkins, using all of his fingers, took Travis picking to another level. He went on to have a long and successful career, with best-selling instrumental hits like “Mr. Sandman” and “Yakety Axe”.
The shows starts with thirty seconds of their theme song, the “Columbus Stockade Blues,” just enough for one chorus and a sizzling Chet Atkins guitar break. They close each show with “In the Pines.” In between, different sisters are featured vocals, and Chet played instrumentals (check out, for example, Peach Pickin’ Time on show 17 and Humoresque on show 39). He also sings a bit, and plays the fiddle, something he’s not known for. Check out his version of Shortnin’ Bread in show 17.
Maybelle shows off her Carter Scratch on show 17, playing and singing the old Carter Family standard, “You Will Miss Me When I’m Gone”. We sure do, but these old radio shows bring them all back to life.
