November 29, 2018
MY CORNER by Boyd
Cathey
Latest Essay Published
by THE ABBEVILLE INSTITUTE – What the Death of Roy Clark Symbolizes for America
[Please Note: My
anthology of essays about the South and present-day attacks on its heritage, The Land We Love, is available from Amazon.com, Barnes & Noble, and the
publisher, Scuppernong Press. But as of yesterday apparently Amazon had sold
out the first edition, with new copies via that site only available around
Christmas time or a bit later. HOWEVER, the publisher has copies, and
they are available for immediate shipment. If you are interested, here are the
ordering details: SCUPPERNONG PRESS, P.O. Box 1724, Wake
Forest, North Carolina 27588 Web Site address: http://www.scuppernongpress.com/Scuppernong_Press/NEW.html]
Friends,
Thirteen
days ago I authored on my Web blog a little reflection titled “What the Death
of Country Legend Roy Clark Symbolizes for America in 2018”—an essay on the broader
cultural significance of the passing of that major country music star and what
it symbolized for contemporary America in 2018. [https://boydcatheyreviewofbooks.blogspot.com/2018/11/november-16-2018-my-corner-by.html]
That piece received some favorable response, and since then I have gone back
and edited and re-written parts of it, and yesterday [November 28] it ran as a
feature essay on The Abbeville Institute Web site.
Here it
is:
What Country Legend Roy Clark’s Death Symbolizes for America in 2018
The news came Thursday,
November 15, that country music legend, Virginia-born Roy Clark had passed away
at age 85. For those either too young to know who Clark was, or who perhaps
never cottoned to “country” music, for a whole generation, for twenty-four
years, he was in many ways the heart and soul of the popular country music
variety television program “Hee Haw.” Beginning in 1969, along with co-host
Buck Owens, he emceed and performed regularly on that popular extravaganza, and
also demonstrated a finely-honed sense of superbly shaped humor.
For its first season,
1969-1970, “Hee Haw” was a staple of CBS’s Sunday night line-up. But CBS had
begun to kill off its “rural” and Southern-themed programming, including such
popular offerings as “Petticoat Junction” (with the inimitable Edgar Buchanan
and former Gene Autry side-kick “Smiley” Burnette) in 1970, and most notably later
on the long-running “Gunsmoke” series in 1975 (despite consistently high
ratings). Corporate bosses decided they would shift their focus to more urban,
“socially-conscious” and more contemporary themes, as exemplified in the
sit-com “Maude.” One is tempted to see the roots of our present cultural
putrefaction in those decisions, just as the killing off of “highbrow” programs
dedicated to classical music and art forms, “The Voice of Firestone” and “The
Bell Telephone Hour,” had a similarly deleterious effect at the other end of
the viewing spectrum.
By 1971 “Hee Haw” went into
syndication where it remained popular until its demise in 1993.
I was trained in classical
music, grew up with it, and I’ve written about it admiringly—and lovingly—on
various occasions. But I also grew up with an appreciation of my traditions in
rural North Carolina and in the South, surrounded by the South’s historic
musical inheritance, a heritage which incorporated superb ballads and songs,
many of which derive from ancient Scots-Irish or English sources, and many of
which found a New World home in Appalachia and in Tennessee and in the
Carolinas, and eventually in other Southern states, and, finally, on the
advancing American frontier in the mid to late 19th century.
I never believed there was
anything strange about that. After all, historically, classical music,
certainly in Europe was in many ways deeply influenced by the music of the
“folk,” by the traditional songs, chorales of the local people, as well as by
the music of the Church, which itself oftentimes incorporated popular melodies
and song into worship. The music of the country folk fed the classical
masterworks of Bach and so many other composers.
Anyone who has ever heard
Baroque composer Marc-Antoine Charpentier’s “Christmas Eve Mass” [the “Messe de
Minuit”] with its incorporated French peasant tunes will know what I’m talking
about.
And in the United States,
perhaps the most “popular” classical orchestral piece, Aaron Copland’s
“Appalachian Spring” (1944), uses as its base the old Shaker tune “ ‘Tis the
Gift to be Simple.” Carlisle Floyd’s noted “American” opera, “Susannah” (1955)
uses folk melodies. And not to forget George Gershwin’s “Porgy and Bess,” with
themes based on jazz and American Negro musical traditions.
A major success of what I
would call revolutionary cultural modernism in our time has been to sever, in
large part, the essential connection between what we call popular music and
historical European-inherited classical culture. The creation of and inspiration
for “classical” music appears increasingly limited to a small group of
incestuous intellectuals and academics who essentially write for each other and
for a self-consciously limited audience, and, despite the efforts of classical
music groups to effect “cross overs” with classical and rock musicians and
artists appearing jointly, the general audience for classical music has
decreased considerably since the early 1960s.
By the late 1960s, in place
of coloratura soprano Joan Sutherland on the Sunday night “Ed Sullivan Show,”
we had “The Beatles.” Indeed, back in the 1950s while my mother and grandmother
could tune their radios on Monday nights and hear the New York Philharmonic, or
on Saturdays, and hear the Metropolitan Opera—and on the major network stations—now
such performances are restricted to PBS and seem to become rarer by the year.
This same bifurcation has
occurred, if not as marked, with country and bluegrass music. Indeed, country
music has managed to survive and, in fact, prosper, despite the lack of the
kind of major television programming that existed a half-century ago. I can
still recall when Arkansas native Johnny Cash had a prime-time television
program or when “The Porter Wagoner Show” was widely viewed. Today we have
“niche” programming. There are televised “specials” from Nashville, it is true,
and major country artists are covered regularly by the major media. And, what’s
more, country artists sell and have a steady audience for their work.
Yet, I think it can also be
argued that just as in classical music but more successfully, there has been
homogenization and over-the-top commercialization in country music which has
enabled this to happen. Many country artists and performers, and their songs
sound far more “rock” than they once would have. “Cross over” is the apparent
key in attracting listeners and to eventual success, including monetary
success.
I remember four or five
decades ago sitting down with my father on Saturday night to watch “Gunsmoke”
and then on Sunday, “Hee Haw.” There was the inimitable “Grandpa” Jones on
banjo with some of the best Kentucky “bluegrass,” and, of course, Roy Clark
with his mellifluous voice, and, our favorite, “The Barbershop,” usually with
Clark playing off as a foil to Archie Campbell’s hilarious word-twisting
comedic skill. Was anything ever more humorous than Campbell’s “Cinderfella and
her three suggly blisters”? Or, Junior Sample’s profound philosophical comment:
“I don’t know much, but I suspect lots of things?”
My classically-oriented
mother, however, also had her way, and when the long-running “Friends of the
College” classical concert series functioned at North Carolina State
University, she and I always went (when I was not away at college); and on such
occasions I was privileged to see and hear Sutherland, Marilyn Horne, Birgit
Nilsson, Richard Tucker, as well as Karl Bohm and Vienna Philharmonic, and
Yevgeny Mravinsky and the Leningrad Symphony, among others. And when the Royal
Marines Tattoo came, with their massed Scottish pipes and British bands, my
father eagerly accompanied us.
Nixon was president, Vietnam
was still going on, and the old America I had grown up in was still visible,
still palpable, although we did not perhaps realize at the time that in a few
short decades those of us who cherished that old America and its traditions
would find ourselves excoriated as “deplorables” and “irremediables,” looked
down on with scorn and disdain by the media, by Hollywood, and by academia as
boobs and rednecks, who probably kept our racist KKK sheets secreted away in a
closet for use on Saturday night.
Roy Clark was an indelible
symbol of a cultural legacy; he made people smile using the best elements of
traditional country artistry and entertained millions of viewers for nearly a
quarter century. Today we live in—we swim in—a deeply divided and feculent
society, an America where cultural anarchy and decay reign. In such times, I
look back to Roy Clark, to Archie Campbell, to Grandpa Jones—as well as to the
familiar voice of Milton Cross announcing over national radio the Metropolitan
Opera as he had done every Saturday in season since 1931 (until his death in
1975), proudly broadcast by the major station then in Raleigh, NC, WPTF. Thank
goodness Cross did not have to witness what we are surrounded with and call
“kulchur” in 2018.
Today, as Roy used to say,
“I’m-a-picking, and you’re a-grinning,” and I remember him and those days,
those good days, but also those days when too many fateful and terrifying
choices were made (or left unmade), intellectually, academically, and
culturally. We did not then recognize or see what that would mean.
And now America is perishing,
in part, for the lack of a Roy Clark and a Milton Cross.
About Boyd Cathey
Boyd D. Cathey holds a doctorate in
European history from the Catholic University of Navarra, Pamplona, Spain,
where he was a Richard Weaver Fellow, and an MA in intellectual history from
the University of Virginia (as a Jefferson Fellow). He was assistant to
conservative author and philosopher the late Russell Kirk. In more recent years
he served as State Registrar of the North Carolina Division of Archives and
History. He has published in French, Spanish, and English, on historical
subjects as well as classical music and opera. He is active in the Sons of Confederate
Veterans and various historical, archival, and genealogical organizations.