“别无礼,小天狼星!”:《琼斯爷爷和Age Masquerade》中的乡村音乐

Simon H. Buck
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摘要

从20世纪30年代到50年代,数十名乡村音乐家通过画皱纹、戴灰色假发、表现得像“老前辈”来“变老”。本文以肯塔基州音乐家和广播艺人路易斯·马歇尔“爷爷”琼斯为例,揭示了20世纪中期乡村音乐中的年龄伪装现象。尽管人们对琼斯印象最深的是他在20世纪70年代早期的CBS电视剧《嘻嘻哈哈》中的角色,但他在20世纪30年代才20多岁,就开始了“爷爷”的职业生涯。这篇文章想知道,在大萧条和冷战开始之间的岁月里,琼斯爷爷和更广泛的年龄化装舞会现象揭示了这个国家的希望和恐惧。在此过程中,本文认为琼斯和其他在早期乡村音乐中运作的假长辈们引起了人们对乡村音乐发展的戏剧、技术、商业和人口等多种影响的关注;挑战我们关于“真实性”对于游戏类型的重要性的想法;更广泛地说,它展示了乡村音乐史如何为这个时期的政治、性别、阶级和种族动态提供新的视角。
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‘Don’t Be Disrespectful, Young ‘Un!’: Grandpa Jones and Age Masquerade in Country Music
ABSTRACT From the 1930s to 1950s, dozens of country musicians ‘aged-up’ by drawing on wrinkles, wearing gray wigs, and behaving like ‘old-timers’. Taking as its case study the Kentuckian musician and radio entertainer Louis Marshall ‘Grandpa’ Jones, this article unpacks the phenomenon of age masquerade in mid-twentieth-century country music. Although best remembered as a cast member of the early 1970s CBS series Hee Haw, Jones first started his career as ‘Grandpa’ in the 1930s, when he was still in his twenties. This article asks what Grandpa Jones, and the wider age masquerade phenomenon, reveal about the nation’s hopes and fears in the years between the Great Depression and the beginning of the Cold War. In the process, this article argues that Jones and other fake elders operating in early country music draw attention to the diverse theatrical, technological, commercial, and demographic influences on country music’s development; challenge our ideas about the importance of ‘authenticity’ to the genre; and, more broadly, demonstrate how country music history can provide new perspectives on some of the period’s old-age politics and gender, class, and race dynamics.
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