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• W1511230801 abstract "Staging Tradition: John Lair and Sarah Gertrude Knott. By Michael Ann Williams. Music in American Life. (Urbana: University of Illinois Press, 2006. Pp. ix + 221, 26 black-andwhite illustrations, notes, works cited, index.)On a May day in Chicago, 1937, two future leaders in popularization of cultures and traditions gathered on stage for a taping of WLS radio program The Dinner Bell. Sarah Gertrude Knott, founder of National Folk Festival, stepped to microphone with John Lair, WLS talent scout and future founder of Renfro Valley Barn Dance, to promote National's (as festival was known) arrival in city. Special segments were broadcast for each day of festival, with Lair and Knott joined on air by festival participants. This encounter might have led to a lifelong partnership in presentation of folk music. In fact, for many years, Lair served on Board of National Festival. But as Michael Ann Williams's ambitious biography of both Lair and Knott proves, drive of personality and singular vision can make cooperation a difficult endeavor.T o those least familiar with exploits of Lair and Knott, this dual biography might seem bewildering. What could a radio man with a knack for writing ad copy and finding good talent have in common with a woman inspired by pageantry and folk drama movement? They were both from Kentucky, a state known for tenacity of its traditions. Beyond their shared home state, pairing makes perfect sense: both were amateur folklorists who aspired to greater academic recognition but emphasized their individual visions of culture authenticity. That description in itself is a minefield of deconstruction. How did they evaluate authenticity of performance? Why did they yearn for academic recognition and validation of their efforts? Both Lair and Knott persevered in their visions against changing moods, styles, and politics of twentieth century, from 1930s, when their brands of popularism were at height of interest, to 1960s, which proved a test for their philosophies about nature of culture and its presentation.Amongst all this, Williams paints an intricate and detailed picture of each actor's motivations and movements. In fact, detail in this double portrait verges on encyclopedic. At times it seems that Williams and her many research assistants were swimming in archive boxes, intent on indexing every moment in professional lives of Lair and Knott. It is those professional lives that this book dwells on, for most part. Weaving back and forth in alternating chapters, Williams lays out rise and fall of her subjects, as well as changes in public attitudes toward music, country music, festivals, and radio programs over course of twentieth century. For radio historians, chapters concerning Lair's rise from part-time announcer to creator of Renfro Valley Barn Dance illuminate a specific moment in development of country radio and radio theater presentation. A radio program that had its inspirational roots in Lair's Kentucky childhood (both real and imagined) and actively sought to feed nostalgia of its urban audience, Renfro Valley Barn Dance diverged from its rival, Grand Ole Opry, in a fundamental way. Through Renfro Valley, Lair sought to present American music on radio airwaves, the homefolks, as opposed to Lair's characterization of performers for landmark WSM program, show-folks (p. 162). This obscures fact that Lair was responsible for launching many show-folks himself, including Patsy Montana, Red Foley, and, of course, Lily May Ledford and Coon Creek Girls.I t would seem natural that both Lair and Knott might have fallen into trap of placing value only on performance of traditions. It is an easy measure of quality to state that one's presentation is most authentic and hews most closely to tradition, especially if endorsing nods from experts are sought. …" @default.
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• W1511230801 date "2012-04-01" @default.
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• W1511230801 title "Staging Tradition: John Lair and Sarah Gertrude Knott (review)" @default.
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