From the regional bands of the 1930s and 1940s to the impact of Elvis Presley on the musicians and singers of the 1950s, Prairie Nights to Neon Lights takes us inside the heart of West Texas music.

The richly diverse ethnic heritage of the Lone Star State has brought to the Southwest a remarkable array of rhythms, instruments, and musical styles that have blended here in unique ways and, in turn, have helped shape the music of the nation and the world. Historian Gary Hartman writes knowingly and lovingly of the Lone Star State’s musical traditions. In the first thorough survey of the vast and complex cultural mosaic that has produced what we know today as “Texas music,” he paints a broad, panoramic view, offers analysis of the origins of and influences on specific genres, profiles key musicians, and provides guidance to additional sources for further information. A musician himself, Hartman draws on both academic and non-academic sources to give a more complete understanding of the state’s remarkable musical history and ethnic community studies with his first-hand knowledge of how important music is as a cultural medium through which human beings communicate information, ideas, emotions, values, and beliefs, and bond together as friends, families, and communities. The History of Texas Music incorporates a selection of well-chosen photographs of both prominent and less-well-known artists and describes not only the ethnic origins of much of Texas music but also the cross-pollination among various genres. Today, the music of Texas—which includes Native American music, gospel, blues, ragtime, swing, jazz, rhythm and blues, conjunto, Tejano, Cajun, zydeco, western swing, honky tonk, polkas, schottsches, rock & roll, rap, hip hop and more—reflects the unique cultural dynamics of the Southwest.

A vast number of studies have documented the economic and geological effects of oil production, but the impact of boom-and-bust cycles on individuals and communities has received less attention. Boom or Bust remedies this gap by highlighting the personal experiences of those directly affected in an economy dominated by oil and natural gas production. The Permian Basin is one of the largest oil-producing regions in the United States. People who live there have benefited from explosive growth, only to see opportunities vanish with sudden industry downturns. In 2016, the National Endowment for the Humanities funded a grant for the study and collection of energy narratives in this economically volatile region. Boom or Bust derives from that community initiative and offers a unique contribution to the developing field of energy humanities. The oil-field industry may seem to be all about numbers, but as Boom or Bust demonstrates, residents of oil-and-gas country, whether they work in the oil field or not, are at the mercy of an ever-shifting economy. When the price of oil rises, companies move in and newcomers flood the area, expanding the employment force. And as the population booms, so does the infrastructure of cities. When prices drop, though, families must make difficult choices: whether to stay put or follow the oil to another location. With the ensuing declines in population, small businesses close their doors and unemployment levels rise. Despite the inevitable declines and despite the increase in alternative energy resources, many West Texans feel a sense of pride that borders on patriotism. Boom or Bust reveals the full complexity of boomtown culture.

"Broadcasting the Ozarks explores the vibrant music scene in Springfield, Missouri, that reached its apex during the 1950s and '60s. Central to this history is the Ozark Jubilee (1955-61), the first weekly country music show on network television. Performers, promoters, talent managers, booking agents, and tourists from every corner of the United States followed the music trail to the Jubilee. Dubbed the 'king of the televised barn dances,' the show introduced the Ozarks region to viewers across America and put Springfield in the running with Nashville for dominance of the country music industry-with the Jubilee's producer, Si Siman, at the helm"

Today, country music enjoys a national fan base that transcends both economic and social boundaries. Sixty years ago, however, it was primarily the music of rural, working-class whites living in the South and was perceived by many Americans as “hillbilly music.” In Smile When You Call Me a Hillbilly, Jeffrey J. Lange examines the 1940s and early 1950s as the most crucial period in country music’s transformation from a rural, southern folk art form to a national phenomenon. In his meticulous analysis of changing performance styles and alterations in the lifestyles of listeners, Lange illuminates the acculturation of country music and its audience into the American mainstream. Dividing country music into six subgenres (progressive country, western swing, postwar traditional, honky-tonk, country pop, and country blues), Lange discusses the music’s expanding appeal. As he analyzes the recordings and comments of each of the subgenre’s most significant artists, including Roy Acuff, Bob Wills, Bill Monroe, Hank Williams, and Red Foley, he traces the many paths the musical form took on its road to respectability. Lange shows how along the way the music and its audience became more sophisticated, how the subgenres blended with one another and with American popular music, and how Nashville emerged as the country music hub. By 1954, the transformation from “hillbilly” music to country music was complete, precipitated by the modernizing forces of World War II and realized by the efforts of promoters, producers, and performers.

Texans—never shy when singing the praises of the Lone Star State—sound an especially loud, approving chorus for their rich musical heritage. Small wonder! Bob Wills, Buddy Holly, Van Cliburn, Roy Orbison, Janis Joplin, Tanya Tucker, Willie Nelson . . . the list goes on.More than four hundred quotes in Rave On, volume three of the Classic Texas Quotes Series, bring you a fresh view of the lively, diverse, boisterous world of the Texas musical scene.

Texas has nurtured a thriving bluegrass scene since the early 1950s. The Lone Star State boasts the country's first bluegrass college degree and even hosts a Beatles bluegrass cover band. Meet the Pickin' Singin' Professor, the Fiddle Engineer and Blanco's Bluegrass Boy. Hit the trail with cowboys like the Mayfield brothers and go backstage with Grammy-nominated acts like Wood & Wire. Jeff Campbell and Braeden Paul celebrate the musicians who contributed to the harmonious heritage of Texas bluegrass.