Debunking the “Genius” of Country Music “Legends”

Modern country music is under constant siege from critics, fans, and traditional country stars alike, as there is a constant debate about if the product today constitutes “real” or “authentic” country music. Among the fiercest critics of modern country music is comedian Bo Burnham. In his Netflix special “Make Happy,” Bo Burnham acknowledges that country music was once great, stating, “I believe that some of the best song writers of all time are country artists- Dolly Parton, Willie Nelson.” He praises these traditional artists for the “honest” creation of their art: yet somewhere along the way, country music lost itself. He argues that today’s country “is the exact opposite of honest,” followed by his performance of a parody song that critiques what he deems the formulaic messages, instrumentation, and construction of modern country songs.

The criticism by Burnham and others is predicated upon the status of so-called “country music legends:” the individuals whose perceived transcendent talents and influence helped to build the genre. These critics hold country legends on a pedestal as the “geniuses” that no modern stars can compare to; these legends made “real” country music. Yet, how did this stigma come to exist, and really, just how different are they?

This article aims to explore how the status of these legends was constructed by a narrative distinctly shaped by social, political, and cultural constructs, much like the “geniuses” of the classical music genre. Furthermore, I will examine the extent to which these legends differ from modern artists in regard to lyricism, instrumentation, and representation, and how these differences reflect their particular context, training, and experiences. Overall, I aim to demonstrate that the concept of framing country music legends as “geniuses” that possess innate superior talents is an inherently flawed concept.

What Makes a “Legend” Anyway?

The concept of someone being so talented in a given medium that they stand out above the rest is not unique to country music, but instead has been widely applied across genres and generations. Perhaps the most notable example of this can be found in regard to the “genius” composers of classical music. According to professor of music history Sara Haefeli, the concept of genius is often underlined by individuals who have a “special, unlearnable spark,” one that reflects their innate talents and enters them among an “elite cadre.”¹Haefeli, Sara. “The Problem With Geniuses.” The Avid Listener. https://theavidlistenerblog.com/2020/07/24/the-problem-with-geniuses/ In much the same way, country music “legends” are the geniuses of their own genre, viewed as “special” artists that possess insurmountable talents. Furthermore, as geniuses, the legends of country music are often considered those select artists that have defined a generation: Willie Nelson, Johnny Cash, Dolly Parton, or more recently, George Strait and Garth Brooks, among others.

The construction of genius is more than making music; rather, it is a process of composing a complex narrative over time. The narratives of the geniuses classical music generally followed two paths: “man-made” or a “child prodigy.” Man-made geniuses, such as Josef Haydn, did not come from a musical or aristocratic family. At one point in his life, he wore servants’ livery as the director of music for a royal family and was relieved that he was seated above the cook at dinner.²Small, Christopher. “A Separate World.” In Musicking: The Meanings of Performing and Listening, pp. 64–74. Middletown: Wesleyan University Press, 1998. Meanwhile, Mozart is an example of a child prodigy, as he came from a musical family and performed among aristocratic circles from a young age.³Stafford, William. “The Evolution of Mozartian Biography.” In The Cambridge Companion to Mozart, ed. Simon P. Keefe, 200–212. Cambridge: Cambridge University Press, 2003. While there are rare examples in country music that follow the model of Mozart, such as Hank Williams Jr’s rise to fame from a musical family, the majority of country music legends had humble beginnings and are viewed as individuals who charted their own course by their abilities and talents. These “man-made” narratives likely reflect the country’s blue-collar roots, which is further perpetuated through the message of many classic pieces, such as “Working Man’s Blues” by Merle Haggard.

Furthermore, it is crucial to note that the genius of artists is not cultivated solely by an individual’s own accord. In classical music, both Mozart and Haydn were supported by aristocrats and talented individuals in their field at various points in their careers. In much the same fashion, country music legends were supported by producers and partners that were titans of the industry. For example, Dolly Parton was signed to Monument Records early in her career, which provided connections and opportunities to further her career. Most notably, associates from Monument Records like Porter Wagoner and Bobby Ferguson had an enormous impact on her rise to fame as they helped to refine her lyrics, make them widely palatable, and direct many of her performances.⁴Lyons, Nora. “RCA/Legacy Celebrates Dolly Parton’s Career.” Sony. https://www.sony.com/content/sony/en/en_us/SCA/company-news/press-releases/sony-music-entertainment/2009/rcalegacy-celebrates-dolly-partons-spectacular-career-with-4cd-dolly-box-set.html This further reveals that the “geniuses” of country music didn’t have a special ability that was cultivated on their own accord, but rather was the result of a social process that implicated talent, effort, opportunity, and support.

There is also a degree of hagiography that occurs when shaping the narratives of geniuses or legends, as details are often ignored to create a more favorable tale. This was prominent in shaping the “genius” narrative of classical musicians, perhaps most notably through the creation of the “From Haydn’s Hands” account that detailed Beethoven’s early career. This narrative claimed that Haydn, at the height of his fame, took Beethoven under his wing and respectfully passed the musical tradition onto a budding genius who would one day surpass him. However, as Tia Denora notes in her overarching history of this narrative, this tale glosses over many realities, including the fact that their relationship was often “preempted by rivalry,” and that “as Beethoven’s career progressed, Haydn admired his pupil’s music less and less.”⁵Denora, Tia. “From Haydn’s Hands: Narrative Constructions of Beethoven’s Talent and Future Success.” In Beethoven and the Construction of Genius, pp. 106. California: University of California Press, 1995. As Denora argues, the act of creating a “story” is to organize events in a given light to benefit certain parties, in this instance to “dramatize the worth of both composers” and reinforce their status as geniuses and celebrity.⁶Denora, Tia. “From Haydn’s Hands: Narrative Constructions of Beethoven’s Talent and Future Success.” In Beethoven and the Construction of Genius, pp. 112-13. California: University of California Press, 1995.

Similarly, various accounts have been constructed to benefit country music legends, perhaps none more than the narrative that provided country legends their defining quality of “authenticity.” Music historian Richard Peterson detailed that over several decades, producers aimed to manufacture this image of authenticity and took great efforts to ensure that such a narrative was accepted among the public. Peterson argued that this process involved the “tailoring of collective memory to serve the needs” of select individuals in the industry.⁷Peterson, Richard. Creating Country Music: Fabricating Authenticity. Chicago: University of Chicago Press, 1997, 2. Much like “Haydn’s Hands,” this idealistic account of authenticity fails to hold true upon deeper examination. For example, Reba McEntire and George Strait didn’t write their own songs; the contents of their songs, while appearing authentic, were often corporately designed and crafted to portray that image.⁸Neal, Jocelyn. “Five Myths About Country Music.” Washington Post, Nov. 27, 2019. https://www.washingtonpost.com/outlook/five-myths/five-myths-about-country-music/2019/11/27/bb8af2aa-1070-11ea-9cd7-a1becbc82f5e_story.html Other legends, such as Johnny Cash, never went to prison despite having dozens of songs that detailed those experiences, and despite identifying as a Cherokee Indian, Cash later acknowledged that this detail was similarly falsified.⁹O’Hagan, Sean. “Outlaws, gangstas, and gunslingers: The myth of music’s hard men.” The Guardian, Jan. 6, 2006. https://www.theguardian.com/film/2006/jan/08/popandrock.50cent Thus, country music legends were not more “authentic” than today: the narrative of “honesty” and “authenticity” of these stars was calculated and manufactured over decades to bolster their status as a legend.

The Music of Legends vs. Today

Echoing the critiques of Bo Burnham, many critics today claim that modern country music lyrics are formulaic and bland, often regurgitating the same ideas, words, and phrases. Selena Choy of Rutgers Radio Network noted these oft-cited criticisms, stating that, “It seems that in almost every country song, the vocalist sings about the same story,” one that includes a truck, falling in love, and getting drunk.¹⁰Choy, Selena. “Why People Hate Country.” Rutgers Radio, 2018. https://radio.rutgers.edu/why-people-hate-country/ Yet, it is crucial to recognize that these critiques about country music lyrics aren’t unique to modern country artists: country music has been self-aware about this stigma throughout its existence. This was perhaps best exemplified in the 1975 hit song, “You Never Even Called Me By My Name,” where David Allen Coe describes his “perfect country and western song.”

 **The “Perfect Country Song” begins at 3:09**

Both modern and traditional country artists included such stereotypes because they are largely a reflection of the rural, southern lived experience and culture. The assertion that these stereotypical lyrics is a new phenomena caused by a lack of originality by modern country stars is patently false. In contrast to this criticism, these similarities in content actually provide a continuity across generations that connects modern artists to those of the past, further breaking down the perceived barrier that the pieces of the country legends were more “real” than those produced today.

Yet, those who believe that the content of modern country songs solely include such stereotypes ignore a wide array of experimental developments that are occurring with country music artists. As Haefeli notes in her critique of genius, the contributions of experimentalists can promote “non-hierarchical music making.”¹¹Haefeli, Sara. “The Problem With Geniuses.” The Avid Listener. https://theavidlistenerblog.com/2020/07/24/the-problem-with-geniuses/ These modern artists are actively challenging the traditional qualities found in country music which, in turn, challenge the perceived superiority of the legends of country music.

Firstly, there have been significant contributions that reconsider the traditional notions of gender within country music. While there are obviously exceptions, the music of female country music legends generally stayed within the lines of what was “acceptable” as a woman’s role. For example, perhaps the two most iconic songs by female legends are “Jolene” by Dolly Parton and “You Ain’t Woman Enough” by Loretta Lynn, both of which describe feminine jealousy and their role as a partner to a man: themes well within the traditional “feminine” framework. However, among modern artists, pieces such as “Lady Like” by Ingrid Andress challenge these assumptions.

Compared to the traditional soprano pitch of female country artists, Andress sings in a deeper, powerful tone, which is complemented by a deep and powerful drum beat throughout. These elements share many of the qualities that musicologist Kendra Leonard argues have historically been attributed as masculine, such as triumphalism and heroism.¹²Leonard, Kendra. “Hearing Gender in George Lucas’s Galaxy.” The Avid Listener. https://theavidlistenerblog.com/2020/07/23/hearing-gender-in-george-lucass-galaxy/ This is reinforced by the lyricism of the chorus that highlights the masculine trait of domination, such as “I can bring you to your knees.” These elements reflect a notable change from the country music of legends and constitute a challenge to what is traditionally feminine. While Parton and Lynn will remain icons and excellent role models, the critics that aim to limit the parameters of “real” country music to these women’s framework prohibit the genre from progressing.

Another key example of experimentalism can be found in Eric Church’s recent single, “Stick That in your Country Song,” which details social challenges within the United States today, including violence, mass incarceration, and educational inequity.

Country music undoubtedly has roots as a conservative genre, which is reflected by the songs of country music legends either perpetuating conservative viewpoints. These artists also often remained silent in light of racial violence or discrimination, which often served as a statement in its own right. In sharp contrast, in today’s era of heightened awareness of racial and systemic issues, Eric Church reflects a new crop of country artists that reject these conservative frameworks. This rejection and rebellion against country music’s unwillingness to address these issues is directly reflected in the instrumentation and tone of the piece, with distinct punk rock influences in the second half of the piece with the electric guitar and heavy drums. Other artists, such as Mickey Guyton and her hit single, “Black Like Me,” further reflects the shift away from the conservative mold of the legends. These changes in lyricism do not inherently constitute a “worse” product than the legends, but rather one that is different and with the motivation of making country music more inclusive.

Overall, the pedestal that critics have placed these legends upon is one that is socially constructed rather than a result of their innate talents. While today’s country stars should pay them homage and respect, the music of the legends does not inherently define what country music should be. Moving forward, the stigma that today’s country music isn’t “real” country must subside. Critics and fans alike must recognize that the next generation of country music legends may be making their mark today by creating a representative and holistic body of individuals that will serve to move the genre into the future.

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