First, I owe an enormous debt of gratitude to Jerry Williamson. I am also deeply appreciative of the many individuals who have shared difficult to find or unpublished materials with me, often allowing me to see their notes for their own forthcoming publications.
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My efforts to address their concerns and to reach for what they saw as the project’s full potential has made this a far better book. I also thank the outside readers of the original manuscript, both those who remained anonymous and those who did not (Dwight Billings, Erika Doss, David Hsuing, and Scott Sandage), for their incisive commentary and suggestions.
I thank Niko Pfund for his unflagging commitment to this project, Susan Ferber for her unparalleled editorial suggestions as well as calm guidance, and Stacey Hamilton for her assistance with the book’s production. This work is appearing in print largely because of the support and expertise of the editorial staff at Oxford. Chapter 6 has been reprinted with permission in revised form from “The Hillbilly in the Living Room: Television Representations of Southern Mountaineers in Situational Comedies, 1952–1971,” Appalachian Journal 29 (Fall 2001–Winter 2002): 98–126.ĩ 8 7 6 5 4 3 2 1 Printed in the United States of America on acid-free paper E184.M83H37 2003 975'.00943-dc21 2003041974 Portions of chapter 3 have been reprinted with permission in revised form from “The Significance of ‘Hillbilly’ in Early Country Music, 1924–1945,” Journal of Appalachian Studies 2 (Fall 1996): 311–22. Mountain people-United States-Public opinion. Whites in popular culture- United States. Mountain people in popular culture-United States. Hillbilly : a cultural history of an American icon / Anthony Harkins. Library of Congress Cataloging-in-Publication Data Harkins, Anthony.
No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press.
198 Madison Avenue, New York, New York 10016 Oxford is a registered trademark of Oxford University Press All rights reserved. Published by Oxford University Press, Inc. Richly illustrated with dozens of photographs, drawings, and film and television stills, this unique book stands as a testament to the enduring place of the hillbilly in the American imagination.ġ Oxford New York Auckland Bangkok Buenos Aires Cape Town Chennai Dar es Salaam Delhi Hong Kong Istanbul Karachi Kolkata Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi São Paulo Shanghai Taipei Tokyo TorontoĬopyright © 2004 by Oxford University Press, Inc. Harkins also argues that images of hillbillies have played a critical role in the construction of whiteness and modernity in twentieth century America. He traces the corresponding changes in representations of the hillbilly from late-nineteenth century America, through the great Depression, the mass migrations of Southern Appalachians in the 1940s and 1950s, the War on Poverty in the mid 1960s, and to the present day. Griffith to hillbilly music to the Internet, Harkins illustrates how the image of the hillbilly has consistently served as both a marker of social derision and regional pride. Spanning film, literature, and the entire expanse of American popular culture, from D. "Hillbilly" signifies both rugged individualism and stubborn ackwardness, strong family and kin networks but also inbreeding and bloody feuds.
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In this pioneering work of cultural history, historian Anthony Harkins argues that the hillbilly-in his various guises of "briar hopper," "brush ape," "ridge runner," and "white trash"-has been viewed by mainstream Americans simultaneously as a violent degenerate who threatens the modern order and as a keeper of traditional values of family, home, and physical production, and thus symbolic of a nostalgic past free of the problems of contemporary life.
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