Country music has historically been defined through a “southern thesis” which suggests that the music emerged from the countryside and mountain hollows of the rural U.S. south. This idea is strongly linked to the first published history of the genre, Bill C. Malone’s Country Music, U.S.A. (1968). Recent scholars (Patrick Huber and Paul L. Tyler) have challenged this paradigm, critiquing the southern thesis as a narrative that privileges the contributions from white, male, southern USA born artists. Karl Hagstrom Miller’s work has shown that the recording industry developed this construct in the 1920s as a way to market records by segregating southern music into distinct musical genres linked to specific racial and class identities. Diane Pecknold argues that this fictive construct, perpetuated by the industry and embedded in the broader country music discourse, serves as a powerful exclusionary tool that has obscured and even erased the contributions of artists born outside of the U.S. south, persons of colour, and women.
In a period in which racism and gender inequality are at the fore of public, political and scholarly discourse, this project will raise awareness around issues of gender, race, class, and geography as they are shaped by and relate to country music identity and culture. Unlike the more liberal pop and hip-hop genres, whose artists actively participate in public debate, country musicians have (with a few exceptions) remained largely silent on political topics, especially those regarding gender and racial inequality. While some may be fearful of being blacklisted (or worse) by the industry and fans in the same manner as the Dixie Chicks were in 2003, this silence is often interpreted as implicit agreement with Republican political ideologies. As such, it serves to reinforce the southern thesis that keeps women, African Americans, and non-southern artists from participating in country music. The proposed project will deconstruct the southern thesis, re-contextualize the discussion surrounding country music’s geo-cultural identity, and explore the ways in which it has dictated industry practices.
Funded by an Insight Grant from the Social Sciences and Humanities Research Council of Canada, this three-year project adopts methods for Big Data research in the humanities in order to undertake data-driven analysis of country music’s geo-cultural identity. In going beyond basic questions about the regions that have produced the most country performers, it will interrogate the role that artists outside of the white, southern, male construct have played in shaping country music’s geo-cultural identity and breakdown the southern thesis that underpins this nearly century-long narrative construct.
Jada Watson. 2021. “Redlining in Country Music: Representation in the Country Music Industry (2000-2020).” SongData Reports; Ottawa, Ontario, Canada, 12 March.
Jada Watson. “Listening for the Lost Archive.” Paper to be presented at the Radio Preservation and Task Force’s conference ‘Century of Broadcasting: Preservation and Renewal’; Washington, D.C, October 2020. [postponed to October 2021 due to Covid-19]
Jada Watson. “Voix d’exception : Les métadonnées discographiques comme outil de recherche pour étudier la culture de la musique country (1944-2016).” Article accepté pour la conférence annuelle de Muscan; London, ON, juin 2020. [reporté à 2021 en raison de Covid-19]
Jada Watson. “Overlooked Voices: Race and Gender on Billboard Hot Country Songs Chart (1994-2016).” Paper accepted for annual conference of the International Country Music Conference; Nashville, TN, May 2020. [postponed to Just 2021 due to Covid-19]
Jada Watson. “Discographic Metadata as a Research Resource for Studying Popular Music Cultures.” Paper presented at the annual conference of the Music Library Association; Richmond, Virginia, February 2020.
This research is supported by an Insight Grant from the Social Sciences and Humanities Research Council of Canada.