Title: The Nashville Sound Authenticity, Commercialization, and Country Music
Publisher: Vanderbilt University Press
Publication Date: 1998
Language: English
ISBN 10: 082651314X
ISBN 13: 9780826513144
Binding: Hardcover
Condition: Very Good

About this title

Synopsis

This text is about the value that an audience places on a commercial cultural product like country music. It explores why the concept of authenticity in country music is crucial to so many of its fans. It does this by examining the changes that occurred in country music in the 1950s and 1960s.

From the Author

Clarifying my book's methods and purposes
I'd like to explain my book's premises, presentation and conclusions, in response to a hostile Nashville reader who seems to have misunderstood it, and taken umbrage for unclear reasons.

The book explores how authenticity and commercialization matter to country music performers and fans, based on extensive historical archival and interview research, as well as interpretive, participant observation.

I focus on the Nashville-based country music industry in 1950s and 1960s, when a honkytonk sound was being subsumed by the softer, sweeter "Nashville Sound."

This reviewer seems to misunderstand my research methods and my arguments--I do not say that honkytonks are southern, or that the sound is dead, nor that my academic credentials lend legitimacy. I do not presume that a few years as a barmaid constitutes academic research, nor that being a professor (not at Vanderbilt, by the way, but at the University of Tulsa) somehow gives me legitimacy.

It IS possible that I have written amateurish sentences--I try to write clearly and accessibly about how and why country music changed in the 50s. And amateurs do their work from love, and there is much I cherish about country music in the 50s and 60s.

Is it a bad book? I am not the one to judge, but the Philadelphia Inquirer listed it as one of the best books on music in 1998, and Jonathan Yardley, in the Washington Post, found things to praise, even as he chastised me for being overly academic in my prose.

So--if you are interested in country music, in how people define authenticity and commercialization, and in what happened to popular music in general, and country music in particular, in the 50s and early 60s, I believe you'll find much to interest you in this book.

"About this title" may belong to another edition of this title.

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