Abstract

Sweet Dreams: The World of Patsy Cline. Edited by Warren R. Hofstra. (Music in American Life.) Urbana: University of Illinois Press, 2013. [xiii, 198 p. ISBN 9780252037719 (hard- cover), $85; ISBN 9780252079306 (pa- perback), $25; ISBN 9780252094989 (e-book), $22.50.]. Illustrations, biblio- graphic references, index.Few country singers are as well-known outside country music fan circles as Patsy Cline. Her crossover hits, tragic death in a plane crash, and revival through a biopic and a postage stamp have made her an iconic figure in American popular culture. hit recordings (especially Crazy and I Fall to Pieces) are prime examples of the Nashville Sound, a production aes- thetic that eschewed fiddles and nasal vo- cals for a sophisticated soundscape of soft backing vocals and piano. It was this pop- oriented sound, often augmented by string arrangements, that opened the doors for Cline and others to cross over onto the pop charts during the late 1950s and early 1960s. Since a revival of her music begin- ning in the late 1970s, Cline has held an unshakable position in the pantheon of classic country stars while her songs stand as an antithesis to the music of newer inau- thentic artists. Cline was also arguably the first female country star who launched her career without being a sidekick to a male star, being a member of a professional mu- sical family, or singing an answer song.In the history of country music scholar- ship, histories and topical studies dominate over close readings of single artists or the songs they produce. Projects that remedy the imbalance include work by Jocelyn R. Neal (The Songs of Jimmie Rodgers: A Legacy in Country [Bloomington: Indiana University Press, 2009] ), Jonathan Silver- man (Nine Choices: Johnny Cash and American Culture [Amherst: University of Massa- chusetts Press, 2010]), and Marcus Eli Desmond Harmon (Harris/Cash: Identity, Loss, and Mourning at the Borders of Country Music [Ph.D. diss., University of California, Los Angeles, 2011]). In this new volume on Cline, a focused analysis of one artist's career again reaps rewards. Warren Hofstra's edited collection Sweet Dreams: The World of Patsy Cline lifts the veil of star- dom to reveal the social forces that made Cline a success. The topic of the book is not so much music as the transfor- mation of working-class Southerners into middle-class American consumers. This transformation changed how country musi- cians became stars and the way that country audiences interacted with their music. Cline took advantage of growing television ownership and the nationalization of popu- lar culture to stake her claim on a middle- class lifestyle. Unlike collections whose con- tributions gather loosely around a common theme, Sweet Dreams advances a unified ar- gument throughout, that Cline's own dreams for success and material comfort evolved side by side with the emergent American dream of middle-class (p- 3).The authors of Sweet Dreams hail from a variety of disciplines, but what they have produced is an accessible work of social and cultural history, albeit lacking in critical theory. The book presents 1940s and 1950s America through detailed analyses of sev- eral spheres of society that tracked with own experiences. After an editor's introduction, the book opens with a short statement by Bill C. Malone that lays out one of the main presumptions of the rest of the book, that commercial country music depended upon modernization, especially in the South. With chapters on the geogra- phy of class in hometown of Winchester, Virginia, the importance of respectability to one's acceptance by middle-class America, and television's pop- ularity in the Washington, D.C. metropoli- tan area, the book outlines the terms on which Cline could begin her music career. The authors do not take the position that class and gender lines are rigid, however, but that the postwar economy provided a great opportunity for fluctuation that could complicate an identity like at every turn. …

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