I differed from many I know, if Facebook comments are any indication, by not watching the latest Ken Burns film about an aspect of American history and culture, “Country Music,” when it premiered last year. I knew I would, but also figured that it is a subject that over my many years of music journalism and reading about which I already had considerable expertise.
On finally watching it, turns out my self-assessment is largely true. That doesn’t dampen the general pleasure of watching “Country Music.” Burns is skilled at engaging viewers with a range of expertise on his subjects: He doesn’t “talk” down to us who know about what he is covering in his films nor does he go over the heads of the less informed. It’s a big reason why he occupies his catbird seat as the premier American historical and cultural cinematic documentarian.
I was especially gladdened that in the first episode, Burns makes it explicit that country music has both its white and black origins, and utilized the wildly-gifted Rhiannon Giddens to comment on that. But the process by which the genre largely became a white Southern art form speaking to a generally conservative audience is then glossed over. And by ending his history in the 1980s or so, Burns never has to explain how the genre, while quite successful, has for the most part descended into crass, shallow and tacky commercialism of late.
NPR reviewer Ken Tucker aptly describes the eight-part, 16 hours-plus series as “wide not deep.” It hits all the expected high spots and significant stars and movements within the genre. It’s not only an excellent overview for casual country fans such as my 93-year-old mother, who quite enjoyed it. The Burns doc would also be useful to be shown to those music fans – and there’s a number of them out there – who simply do not like country music. There’s enough stylistic variations, strikingly fine songwriting and truly great performances that even the most dyspeptic resistor to the music’s merits should find something to like.
Among its talking heads, singer, songwriter and guitar hotshot Marty Stuart is the music’s most persuasive case-maker. No surprise, as Stuart is also likely the world’s foremost collector of country music memorabilia. Not just his comprehensive knowledge but genuine love and feel for the music suffuses his frequent comments.
Other commentators that really shine come from the same family line. Rosanne Cash, daughter of Johnny Cash, has an eloquence and innate feel for the spirit inside the music in her observations. Similarly on point and wise are also her half-bother John Carter Cash, Johnny’s sole offspring with June Carter, and John and Rosanne’s half-sister Carlene Carter, June’s daughter with country singer Carl Smith.
The Carter-Cash clan being a font of wisdom is most apropos. The doc certainly covers the founding family significance of the Carters, and gives Johnny close to his just due as the genre’s most notable crossover artist, spiritual and artistic conscience and creative trailblazer. The music is fortunate to have yet another generation of such talent and integrity, even though none of them is anywhere near what today is mainstream country (though Rosanne and Carlene did have their past on the charts).
And the untold tragedy here is how a music with such historical and cultural significance has in this modern era sold much of its soul for fame and filthy lucre. It’s a sad punctuation point on a music so elemental to a significant segment of Americans.
Song” “Get Off The Stage” by Chuck Prophet – A fine little slice of anti-Trump agitprop that never mentions the target’s name, yet uses the entertainment stage as a notion to tell him to shut the hell up.
Book: “The Plaza: The Secret Life of America’s Most Famous Hotel” by Julie Satow – A fascinating history of the iconic New York City hotel.
Rob Patterson is a music and entertainment writer in Austin, Texas. Email orca@prismnet.com.
From The Progressive Populist, August 1, 2020
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