I am wondering if anyone knows of any writing about alt.Country (and the like) from a social/psychological perspective. For instance, why has alt.Country (and the like) grown over the last decade or so? What meaning does it hold for its listeners? Why do people int his time identify with the music and the symbols and myths that go along with it?

Just to give you some background, I am a professor that writes about documentary films. My current position is in Ga., and I have been in the South for 15 years now. I am currently writing about "Searching for the Wrong-Eyed Jesus" - a compelling documentary about an outsider's tour through the White South - with a terrific soundtrack.

Anyway, for this work, I think it is important to begin to think about the romance and the tragedy that is embedded in the music. Along with what dreams, fears, hopes, and passions does this music call upon among the people who engage with it.

If you have any suggestions about writers who have thought about these questions (or similar ones) please let me know.

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Don't know about alt. country other than maybe Grant Alden (check the archives here). But for country music in general, I would have to recommend Bill C. Malone.
You could try In The Country Of Country by Nicholas Dawidoff , a great book from a few years ago .
I'm sure there is literature on the pathos of country music and the listener's relation to it. In a non-academic manner, Nick Tosches, among others, has written about it.
re: country music in general, I would add you read everything by Chet Flippo and Colin Escott.
Cool. Thanks for the feedback. If you think of any others, please keep it coming.
Interesting question. I would have a look at Rednecks and Bluenecks - the politics of country music, by Chris Willman (2005, The New Press). Well-written and informative, and sparked by the Dixie Chicks controversy, (the angle is in the sub-title), this may get close to some of your interests. I guess the time may be right for a subtle re-reading of the Redneck text. The book contains a terrific discography.

I'd be interested to hear if this idea goes anywhere. You say the sector (?) has grown over the past 10 years - and yet it cannot sustain a specialist magazine. Do you have anything on consumer demographics? EG is this an old man's music (seems so from gigs and festivals I go to)?
No, I don't have any demographic numbers, but I would be interested to find some. The fact that it cannot support a specialist magazine may have more to do with the kind of demographic, rather than the number of fans. But it is all a bit of a guess. I am basing it on the growing presence of this music - at least it has been in my life - over the last decade (and while I enjoy the music, I do not seek it out.) The Coen Brothers have used alt.country in some movies, Alison Krauss won Best Country Album in 2006, it dominates the Chapel Hill music scene, it is featured in a BBC documentary ... and this list is hardly the best evidence, but it seems to me to have grown. Now I think there are serious limitations to its growth and we may have already seen its peak.

Thanks for the book suggestion. I will check it out.
I agree this is an interesting topic. You say that "Alt. Country" has grown over the last ten years or so. That may be because, to my knowledge, the term was coined about that long ago and people and companies have categorized music with that label often for it's benefit. There is certainly music from 20, 30, 40 and more years ago that could fit into the category of Alt. Country, however you decide to defined it.

As far as the meaning held by listeners, it seems to me that what you call the music has far less an impact than what moves a person about the music in the first place. It doesn't matter much what it's called--if it moves you, it moves you.

That being said, Christopher Ricks of Boston University has written some interesting scholarly papers on Dylan's work that might be of consequence regarding myths and symbols for your project. Is Bob Dylan Alt. Country? Beats me.
Agreed. These categories can be more confusing than illuminating ... more meaningless than meaningful.

No question that what we call alt.country now has been around for some time - even Woody Guthrie, perhaps Leadbelly - likely further back.

But why was the term "alt.country" coined in the first place. Likely a marketing stunt. Has it been successful? Well, it hasn't reached mainstream, per se, but as Country music has grown and spread, it seems to me that alt.country as a form of counter culture has also spread.

Obviously the category has little to do whether the music moves someone or not. But the myths and symbols evoked by and through the music and the lyrics plays a profound role - even if we are not conscious of the role these symbols play. Would Dylan be as big if he were starting today? Likely no. But what he represented jibed with the mood of the times. On a symbolic level, not a musical level, his music connected with a particular people in a particular time.
Hi Daniel,

I am currently studying the ideas of alt. Country and politics plus the psychological and social ideas. It would be good to talk to you about the topic and see if we can share some ideas. I have a collection of books which touch on different parts.

Feel free to drop me an email- john_budding@hotmail.com

I am based in the UK if you have Skype, if not we could keep in touch via email. I will be in Nashville in May for the International Country Music Conference too!

Best,
John

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Created by No Depression Feb 17, 2009 at 9:06pm. Last updated by Kyla Fairchild Jul 6, 2011.