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Country music of late 1960s and early 1970s was a powerful symbol of staunch conservative resistance to the flowering hippie counterculture. But in 1972, the city of Austin, Texas became host to a growing community of musicians, entrepreneurs, journalists, and fans who saw country music as a part of their collective heritage and sought to reclaim it for their own progressive scene. These children of the Cold War, post-World War II suburban migration, and the Baby Boom escaped the socially conservative world their parents had created, to instead create for themselves an idyllic rural Texan utopia. Progressive country music--a hybrid of country music and rock--played out the contradictions at work among the residents of the growing Austin community: at once firmly grounded in the conservative Texan culture in which they had been raised and profoundly affected by the current hippie counterculture.
Travis D. Stimeling is Assistant Professor of Music History at West Virginia University School of Music. He has published two books with Oxford University Press: Cosmic Cowboys and New Hicks: The Countercultural Sounds of Austin's Progressive Country Music Scene (2011) and The Country Music Reader (2014). He has also published widely on a variety of U.S. music topics.
Preface
Introduction
CHAPTER 1: PROGRESSIVE COUNTRY MUSIC AS LOCAL MUSIC
CHAPTER 2: "I JUST WANNA BE A COSMIC COWBOY":
PASTORAL IMAGERY AND PROGRESSIVE COUNTRY MUSIC
CHAPTER 3: "UP AGAINST THE WALL, REDNECK MOTHER":
COSMIC COWBOYS AND CULTURAL CONFLICT IN RURAL TEXAS
CHAPTER 4: ¡VIVA TERLINGUA!: LIVE RECORDINGS AND
THE AUTHENTICITY OF PROGRESSIVE COUNTRY MUSIC
CHAPTER 5: "BOB WILLS IS STILL THE KING":
PROGRESSIVE COUNTRY AND THE REVIVAL OF WESTERN SWING
CONCLUSION: "A GATHERING OF THE TRIBES": MUSIC FESTIVALS
AND CONFLUENCE IN AUSTIN
WORKS CITED
DISCOGRAPHY
FILMOGRAPHY
NOTES
INDEX
