A famous Tang Dynasty guqin "Jiu Xiao Huan Pei". The guqin has been played since ancient times, and has traditionally been favored by scholars and literati as an instrument of great subtlety and refinement.

Music history, sometimes called historical musicology, is the highly diverse subfield of the broader discipline of musicology that studies the composition, performance, reception, and criticism of music over time. Historical studies of music are for example concerned with a composer's life and works, the developments of styles and genres (such as baroque concertos), the social function of music for a particular group of people (such as music at the court), or the modes of performance at a particular place and time (such as the performance forces of Johann Sebastian Bach's choir in Leipzig).

In theory, "music history" could refer to the study of the history of any type or genre of music (e.g., the history of Indian music or the history of rock). In practice, these research topics are nearly always categorized as part of ethnomusicology or cultural studies, whether or not they are ethnographically based.

The methods of music history include source studies (esp. manuscript studies), paleography, philology (especially textual criticism), style criticism, historiography (the choice of historical method), musical analysis, and iconography. The application of musical analysis to further these goals is often a part of music history, though pure analysis or the development of new tools of music analysis is more likely to be seen in the field of music theory. (For a more detailed discussion of the methods see the section on "Research in Music History" below) Some of the intellectual products of music historians include editions of musical works, biography of composers and other musicians, studies of the relationship between words and music, and the reflections upon the place of music in society.

Pedagogy[link]

Although most performers of classical and traditional instruments receive some instruction in music, pop, or rock and roll history from teachers throughout their training, the majority of formal music history courses are offered at the college level. In Canada, some music students receive training prior to undergraduate studies because examinations in music history (as well as music theory) are required to complete Royal Conservatory certification at the Grade 9 level and higher. Particularly in the United States and Canada, university courses tend to be divided into two groups: one type to be taken by students with little or no music theory or ability to read music (often called music appreciation) and the other for more musically literate students (often those planning on making a career in music).

Most medium and large institutions will offer both types of courses. The two types of courses will usually differ in length (one to two semesters vs. two to four), breadth (many music appreciation courses begin at the late Baroque or classical eras and might omit music after WWII while courses for majors traditionally span the period from the Middle Ages to recent times), and depth. Both types of courses tend to emphasize a balance among the acquisition of musical repertory (often emphasized through listening examinations), study and analysis of these works, biographical and cultural details of music and musicians, and writing about music, perhaps through music criticism.

More specialized seminars in music history tend to use a similar approach on a narrower subject while introducing more of the tools of research in music history (see below). The range of possible topics is virtually limitless. Some examples might be "Music during World War I," "Medieval and Renaissance instrumental music," "Music and Process," "Mozart's Don Giovanni." In the United States, these seminars are generally taken by advanced undergraduates and graduate students, though in European countries they often form the backbone of music history education.

The methods and tools of music history are nearly as numerous as its subjects and therefore make a strict categorization impossible. However, a few trends and approaches can be outlined here. Like in any other historical discipline, most research in music history can be roughly divided into two categories: the establishing of factual and correct data and the interpretation of data. Most historical research does not fall into one category solely, but rather employs a combination of methods from both categories. It should also be noted that the act of establishing factual data can never be fully separate from the act of interpretation.

Archival work may be conducted to find connections to music or musicians in a collection of documents of broader interests (e.g., Vatican pay records, letters to a patroness of the arts) or to more systematically study a collection of documents related to a musician. In some cases, where records, scores, and letters have been digitized, archival work can be done online. One example of a composer for whom archival materials can be examined online is the Arnold Schoenberg Center.^[1]

Performance practice draws on many of the tools of historical musicology to answer the specific question of how music was performed in various places at various times in the past. Scholars investigate questions such as which instruments or voices were used to perform a given work, what tempos (or tempo changes) were used, and how (or if) ornaments were used. Although performance practice was previously confined to early music from the Baroque era, since the 1990s, research in performance practice has examined other historical eras, such as how early Classical era piano concerti were performed, how the early history of recording affected the use of vibrato in classical music, or which instruments were used in Klezmer music.

Biographical studies of composers can give a better sense of the chronology of compositions, influences on style and works, and provide important background to the interpretation (by performers or listeners) of works. Thus biography can form one part of the larger study of the cultural significance, underlying program, or agenda of a work; a study which gained increasing importance in the 1980s and early 1990s.

Sociological studies focus on the function of music in society as well as its meaning for individuals and society as a whole. Researchers emphasizing the social importance of music (including classical music) are sometimes called New musicologists.

Semiotic studies are most conventionally the province of music analysts rather than historians. However, crucial to the practice of musical semiotics - the interpretation of meaning in a work or style - is its situation in an historical context. The interpretative work of scholars such as Kofi Agawu and Lawrence Kramer fall between the analytic and the music historical.

History[link]

Before 1800[link]

The first studies of Western musical history date back to the middle of the 18th century. G.B. Martini published a three volume history titled Storia della musica (History of Music) between 1757 and 1781. Martin Gerbert published a two volume history of sacred music titled De cantu de musica sacra in 1774. Gerbert followed this work with a three volume work Scriptores ecclesiastici de musica sacra containing significant writings on sacred music from the 3rd century onwards in 1784.

1800-1950[link]

Ludwig van Beethoven's manuscript sketch for Piano Sonata No. 28, Movement IV, Geschwind, doch nicht zu sehr und mit Entschlossenheit (Allegro), in his own handwriting. The piece was completed in 1816.

In the 20th century, the work of Johannes Wolf and others developed studies in Medieval music and early Renaissance music. Wolf's writings on the history of musical notation are considered to be particularly notable by musicologists. Historical musicology has played a critical role in renewed interest in Baroque music as well as medieval and Renaissance music. In particular, the authentic performance movement owes much to historical musicological scholarship. Towards the middle of the 20th century, musicology (and its largest subfield of historical musicology) expanded significantly as a field of study. Concurrently the number of musicological and music journals increased to create further outlets for the publication of research. The domination of German language scholarship ebbed as significant journals sprang up throughout the West, especially America.

Critiques[link]

Exclusion of disciplines and musics[link]

In its most narrow definition, historical musicology is the music history of Western culture. Such a definition arbitrarily excludes disciplines other than history, cultures other than Western, and forms of music other than "classical" ("art", "serious", "high culture") or notated ("artificial") - implying that the omitted disciplines, cultures, and musical styles/genres are somehow inferior. A somewhat broader definition incorporating all musical humanities is still problematic, because it arbitrarily excludes the relevant (natural) sciences (acoustics, psychology, physiology, neurosciences, information and computer sciences, empirical sociology and aesthetics) as well as musical practice. The musicological sub-disciplines of music theory and music analysis have likewise historically been rather uneasily separated from the most narrow definition of historical musicology.

Within historical musicology, scholars have been reluctant to adopt postmodern and critical approaches that are common elsewhere in the humanities. According to Susan McClary (2000, p. 1285) the discipline of "music lags behind the other arts; it picks up ideas from other media just when they have become outmoded." Only in the 1990s did historical musicologists, preceded by feminist musicologists in the late 1980s, begin to address issues such as gender, sexualities, bodies, emotions, and subjectivities which dominated the humanities for twenty years before (ibid, p. 10). In McClary's words (1991, p. 5), "It almost seems that musicology managed miraculously to pass directly from pre- to postfeminism without ever having to change - or even examine - its ways." Furthermore, in their discussion on musicology and rock music, Susan McClary and Robert Walser also address a key struggle within the discipline: how musicology has often "dismisse[d] questions of socio-musical interaction out of hand, that part of classical music's greatness is ascribed to its autonomy from society." (1988, p. 283)

Exclusion of popular music[link]

According to Richard Middleton, the strongest criticism of (historical) musicology has been that it generally ignores popular music. Though musicological study of popular music has vastly increased in quantity recently, Middleton's assertion in 1990—that most major "works of musicology, theoretical or historical, act as though popular music did not exist" -- holds true. Academic and conservatory training typically only peripherally addresses this broad spectrum of musics, and many (historical) musicologists who are "both contemptuous and condescending are looking for types of production, musical form, and listening which they associate with a different kind of music...'classical music'...and they generally find popular music lacking"

He cites three main aspects of this problem (p. 104-6). The terminology of historical musicology is "slanted by the needs and history of a particular music ('classical music')." He acknowledges that "there is a rich vocabulary for certain areas [harmony, tonality, certain part-writing and forms], important in musicology's typical corpus"; yet he points out that there is "an impoverished vocabulary for other areas [rhythm, pitch nuance and gradation, and timbre], which are less well developed" in Classical music. Middleton argues that a number of "terms are ideologically loaded" in that "they always involve selective, and often unconsciously formulated, conceptions of what music is."

As well, he claims that historical musicology uses "a methodology slanted by the characteristics of notation," 'notational centricity' (Tagg 1979, p. 28-32). As a result "musicological methods tend to foreground those musical parameters which can be easily notated" such as pitch relationships or the relationship between words and music. On the other hand, historical musicology tends to "neglect or have difficulty with parameters which are not easily notated", such as tone colour or non-Western rhythms. In addition, he claims that the "notation-centric training" of Western music schools "induces particular forms of listening, and these then tend to be applied to all sorts of music, appropriately or not". As a result, Western music students trained in historical musicology may listen to a funk or Latin song that is very rhythmically complex, but then dismiss it as a low-level musical work because it has a very simple melody and only uses two or five chords.

Notational centricity also encourages "reification: the score comes to be seen as 'the music', or perhaps the music in an ideal form." As such, music that does not use a written score, such as jazz, blues, or folk, can become demoted to a lower level of status. As well, historical musicology has "an ideology slanted by the origins and development of a particular body of music and its aesthetic...It arose at a specific moment, in a specific context - nineteenth-century Europe, especially Germany - and in close association with that movement in the musical practice of the period which was codifying the very repertory then taken by musicology as the centre of its attention." These terminological, methodological, and ideological problems affect even works symphathetic to popular music. However, it is not "that musicology cannot understand popular music, or that students of popular music should abandon musicology." (p. 104).

Notes[link]

References[link]

• Lipman, Samuel, The House of Music: Art in an Era of Institutions, published by D.R. Godine, 1984. ISBN 0-87923-501-2

Hank Williams
Hank Williams in a 1951 publicity photo for WSM Radio
Background information
Birth name	Hiram King Williams
Also known as	The Lovesick Blues Boy Lovesick Luke the Drifter Hank Williams, Sr. The Hillbilly Shakespeare
Born	(1923-09-17)September 17, 1923 Mount Olive, Butler County, Alabama
Died	January 1, 1953(1953-01-01) (aged 29) Oak Hill, West Virginia
Genres	Country, Western, gospel, blues, honky-tonk, folk
Occupations	Songwriter Musician
Instruments	Vocals, guitar
Years active	1937–1953
Labels	Sterling, MGM
Associated acts	Drifting Cowboys
Website	www.hankwilliams.com

Hank Williams (/hæŋk wɪljəmz /; September 17, 1923 – January 1, 1953), born Hiram King Williams, was an American singer-songwriter and musician regarded as one of the most important country music artists of all time. Williams recorded 35 singles (five released posthumously) that would place in the Top 10 of the Billboard Country & Western Best Sellers chart, including 11 that ranked number one.

Born in Mount Olive, Butler County, Alabama,^[1] Williams moved to Georgiana, where he met Rufus Payne, a black street performer who gave him guitar lessons in exchange for meals. Payne had a major influence on Williams's later musical style. During this time, Williams informally changed his name to Hank, believing it to be a better name for country music. After moving to Montgomery, Williams began his career in 1937 when WSFA radio station producers hired him to perform and host a 15-minute program. He formed as backup the Drifting Cowboys band, which was managed by his mother, and dropped out of school to devote all of his time to his career.

When several of his band members were conscripted to military service during World War II, Williams had trouble with their replacements and started drinking heavily, causing WSFA to dismiss him. Williams eventually married Audrey Sheppard, who became his manager for nearly a decade. After recording "Never Again" and "Honky Tonkin'" with Sterling Records, he signed a contract with MGM Records. In 1948 he released "Move it on Over," which became a hit, and also joined the Louisiana Hayride radio program. In 1949, he released a cover of "Lovesick Blues," which carried him into the mainstream of music. After an initial rejection, Williams joined the Grand Ole Opry. He had 11 number one songs between 1948 and 1953, though he was unable to read or notate music to any significant degree. Among the hits he wrote were "Your Cheatin' Heart," "Hey, Good Lookin'," and "I'm So Lonesome I Could Cry."

During his last years Williams's consumption of alcohol, morphine and other painkillers severely compromised his professional and personal life. He divorced his wife and was dismissed by the Grand Ole Opry due to frequent drunkenness. Williams died suddenly in the early morning hours of New Years Day in 1953 at the age of 29. Despite his short life, Williams has had a major influence on country music. The songs he wrote and recorded have been covered by numerous artists, many of whom have also had hits with the tunes, in a range of pop, gospel, blues and rock styles.

Life and career[link]

Early life[link]

Williams's family house in Georgiana, Alabama

Williams's parents, Elonzo Huble "Lon" Williams and Jessie Lillybelle "Lillie" Skipper married on November 12, 1916. Elonzo Williams worked as an engineer for the railroads of the W.T. Smith lumber company. He was drafted during World War I, serving from July 1918 until June 1919.^[2] He was severely injured after falling from a truck, breaking his collarbone and sustaining a severe hit to the head. After his return, the family's first child, Irene, was born on August 8, 1922. Another son of theirs died shortly after birth. Their third child, Hiram, was born on September 17, 1923, in Mount Olive.^[3] Since Elonzo Williams was a Mason, and his wife was a member of Order of the Eastern Star the child was named after Hiram I of Tyre (one of the three founders of the Masons, according to Masonic legend), but his name was misspelled as "Hiriam" on his birth certificate.^[4]

As a child, he was nicknamed "Harm" by his family and "Herky" or "Skeets" by his friends.^[5] He was born with a mild undiagnosed case of spina bifida occulta, a disorder of the spinal column, which gave him lifelong pain—a factor in his later abuse of alcohol and drugs.^[6] Williams's father was frequently relocated by his lumber company railway line employer, and the family lived in many southern Alabama towns. In 1930, when Williams was seven years old, his father began suffering from facial paralysis. At a Veterans Affairs (VA) clinic in Pensacola, Florida, doctors determined that the cause was a brain aneurysm, and Elonzo was sent to the VA Medical Center in Alexandria, Louisiana. He remained hospitalized for eight years, rendering him mostly absent throughout Hiram's childhood.^[7] From that time on, Lillie Williams assumed responsibility for the family.^[8]

In 1933 Williams moved to Fountain, Alabama, to live with his uncle and aunt, Walter and Alice McNeil.^[8] In the fall of 1934 the Williams family moved to Greenville, Alabama, where Lillie opened a boarding house next to the Butler County courthouse.^[9] In 1935 the Williams family settled in Garland, Alabama, where Lillie Williams opened a new boarding house. After a while they moved with his cousin Opal McNeil to Georgiana, Alabama^[10] where Lillie managed to find several side jobs to support her children, despite the bleak economic climate of the Great Depression. She worked in a cannery and served as a night-shift nurse in the local hospital.^[11]

Hiram and Irene also helped out by selling peanuts, shining shoes, delivering newspapers and doing other simple jobs. Their first house burned and the family lost all of their possessions. They moved to a new house on the other side of town on Rose Street, which Williams's mother soon turned into a boarding house. The house had a small garden, on which they grew diverse crops that Williams and his sister Irene sold around Georgiana.^[12] At a chance meeting in Georgiana, Hank Williams met future U.S. Representative J. Lister Hill while he was campaigning across Alabama. Williams told Hill that his mother was interested to talk with him about his problems and her need to collect Elonzo William's disability pension. With Hill's help, the family began collecting the money.^[13] Despite his medical condition, the family managed fairly well financially throughout the Great Depression.^[14]

	My Bucket's Got a Hole in It The popular song "My Bucket's Got a Hole in It" became a hit for Hank Williams in 1949.
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There are several versions of how Williams got his first guitar. His mother stated that she bought it with money from selling peanuts, but many other prominent residents of the town claimed to have been the one who purchased the guitar for him. While living in Georgiana, Williams met Rufus "Tee-Tot" Payne, a street performer. Payne gave Williams guitar lessons in exchange for meals prepared by Lillie Williams.^[15] Payne's base musical style was blues. He taught Williams chords, chord progressions, bass turns, and the style of accompaniment that he would use in most of his future songwriting. Later on, Williams recorded one of the songs that Payne taught him, "My Bucket's Got a Hole In It."^[16] Williams final style contained influences from Payne along with several other country influences, among them "the Singing Brakeman" Jimmie Rodgers, Moon Mullican, Johnnie Ray and Roy Acuff.^[17] In 1937 Williams got into a fight with his physical education coach about exercises the coach wanted him to do. His mother subsequently demanded that the school board terminate the coach; when they refused, the family moved to Montgomery, Alabama. Payne and Williams lost touch, though eventually, Payne also moved to Montgomery, where he died in poverty in 1939. Williams later credited him as his only teacher.^[18]

Early career[link]

Hank Williams playing guitar in Montgomery, Alabama in 1938

In July 1937 the Williams and McNeil families opened a boarding house on South Perry Street in downtown Montgomery. It was at this time that Williams decided to change his name informally from Hiram to Hank, a name he said was better suited to his desired career in country music. During the same year, he participated of a talent show at the Empire Theater. He won the first prize of $15, singing his first original song "WPA Blues". Williams wrote the lyrics and used the tune of Sonny Boy Williamson II's "Dissatisfied".^[19] He never learned to read music, and for the rest of his career, he based his compositions in storytelling.^[20] After school and on weekends Williams sang and played his Silvertone guitar on the sidewalk in front of the WSFA radio studios.^[21] His recent win at The Empire Theater and the street performances caught the attention of WSFA producers, who occasionally invited him to perform on air.^[19][22] So many listeners contacted the radio station asking for more of "the singing kid" that the producers hired him to host his own 15-minute show twice a week for a weekly salary of US$15 (equivalent to US$242.5 in 2012).^[23] In August 1938 Elonzo Williams was temporarily released from the hospital. He showed up unannounced at the family's home in Montgomery. Lillie was unwilling to let him reclaim his position at the head of the household, so he stayed only long enough to celebrate Williams' birthday in September before he returned to the medical center in Louisiana.^[21]

Williams's successful radio show fueled his entry into a music career. His salary was enough for him to start his own band, which he dubbed the Drifting Cowboys. The original members were guitarist Braxton Schuffert, fiddler Freddie Beach, and comedian Smith "Hezzy" Adair. James E. (Jimmy) Porter was the youngest, being only 13 when he started playing steel guitar for Williams. Arthor Whiting was also a guitarist for The Drifting Cowboys.^[24] The band traveled throughout central and southern Alabama performing in clubs and at private parties. James Ellis Garner later played fiddle for him. Lillie Williams became the Drifting Cowboys' manager. Williams dropped out of school in October 1939 so that the Drifting Cowboys could work full time.^[6] Lillie Williams began booking show dates, negotiating prices and driving them to some of their shows. Now free to travel without Williams' schooling taking precedence, the band could tour as far away as western Georgia and the Florida Panhandle. The band started to play in theaters before the start of the movies and later in honky-tonks. Williams' alcohol problem started during the tours, on occasion spending an important part of the show revenues. Meanwhile, between tour schedules, Williams returned to Montgomery to host his radio show.^[25]

1940s[link]

The American entry into World War II in 1941 marked the beginning of hard times for Williams. All his band members were drafted to serve in the military, while he got a 4-F deferment from the military draft after falling from a bull during a rodeo in Texas. Many of their replacements refused to continue playing in the band because of Williams' worsening alcoholism.^[26] He continued to show up for his radio show intoxicated, so in August 1942 WSFA fired him for "habitual drunkenness". During one of his concerts Williams met backstage his idol, Grand Ole Opry star Roy Acuff,^[27] who later warned him of the dangers of alcohol, saying: "You've got a million-dollar voice, son, but a ten-cent brain."^[28]

He worked for the rest of the war in a shipbuilding company in Mobile, Alabama, as well as singing in bars for soldiers. In 1943 Williams met Audrey Sheppard on a medicine show in Banks, Alabama. Williams and Sheppard lived and worked together in Mobile,^[29] Sheppard later told Williams that she wanted to move to Montgomery with him and start a band together and help him regain his radio show. The couple were married in 1944 in a Texaco Station in Andalusia, Alabama, by a justice of the peace. The marriage was declared illegal, since Sheppard's divorce from her previous husband did not comply with the legally required sixty day trial reconciliation.^[30][31]

Hank Williams, Audrey Sheppard Williams and the Drifting Cowboys band

In 1945, when he was back in Montgomery, Williams started to perform again for WSFA. He wrote songs weekly to perform during the shows.^[32] As a result of the new variety of his repertoire, Williams published his first song book, Original Songs of Hank Williams.^[27] The book only listed lyrics, since its main purpose was to attract more audience. It included ten songs: "Mother Is Gone", "Won't You Please Come Back", "My Darling Baby Girl" (with Audrey Sheppard), "Grandad's Musket", "I Just Wish I Could Forget", "Let's Turn Back The Years", "Honkey-Tonkey", "I Loved No One But You", "A Tramp On The Street", and "You'll Love Me Again".^[33] Williams became recognized as a songwriter,^[32][34] Sheppard became his manager and occasionally accompanied him on duets in some of his live concerts.

On September 14, 1946, Williams auditioned for the Grand Ole Opry but was rejected. After the failure of his audition, Williams and Audrey Sheppard traveled to Nashville, to intend to interest the recently formed label Acuff-Rose. Williams and his wife approached Fred Rose, the president of the company, during one of his habitual ping-pong games at WSM radio studios. Audrey Williams asked Rose if her husband could sing a song for him on that moment,^[34] Rose agreed, and he liked Williams' style.^[35] Rose signed Williams to a six song contract, and leveraged this deal to sign Williams with Sterling Records. On December 11, 1946, in his first recording session, he recorded "Wealth Won't Save Your Soul", "Calling You", "Never Again", and "When God Comes and Gathers His Jewels."^[27] The recordings "Never Again" and "Honky Tonkin'" became successful, and earned Williams the attention of MGM Records.^[36]

	Lovesick Blues noicon A major hit for Hank Williams, "Lovesick Blues" moved him to the mainstream of country music and assured him a position in the Grand Ole Opry.
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Williams signed with MGM Records in 1947 and released "Move It On Over", which became a massive country hit. In 1948 he moved to Shreveport, Louisiana, and he joined Louisiana Hayride, a radio show broadcast that propelled him into living rooms all over the southeast appearing on weekend shows. Williams eventually started to host a show on KWKH and started touring across western Louisiana and eastern Texas, always returning on Saturdays for the weekly broadcast of the Hayride.^[37][38] After a few more moderate hits, in 1949 he released his version of the 1922 Clifford Friend & Irving Mills song "Lovesick Blues", made popular by Rex Griffin. Williams' version became a huge country hit, crossing over to mainstream audiences and gaining Williams a place in the Grand Ole Opry.^[39] On June 11, 1949, Williams made his debut at the Grand Ole Opry, where he became the first performer to receive six encores.^[40] He brought together Bob McNett (guitar), Hillous Butrum (bass), Jerry Rivers (fiddle) and Don Helms (steel guitar) to form the most famous version of the Drifting Cowboys, earning an estimated US$1,000 per show (equivalent to US$9,767.8 in 2012).^[23] That year Audrey Williams gave birth to Randall Hank Williams (Hank Williams, Jr.).^[41] 1949 also saw Williams release seven hit songs after "Lovesick Blues," including "Wedding Bells," "Mind Your Own Business," "You're Gonna Change (Or I'm Gonna Leave)," and "My Bucket's Got a Hole in It."^[42]

1950s[link]

	Beyond the Sunset noicon One characteristic of Williams's recordings as Luke the Drifter is the use of narration rather than singing.
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In 1950, Williams began recording as "Luke the Drifter" for his religious-themed recordings, many of which are recitations rather than singing. Fearful that disc jockeys and jukebox operators would hesitate to accept these unusual recordings, Williams used this alias to avoid hurting the marketability of his name.^[43] Despite that the real identity of Luke the Drifter was supposed to be anonymous, Williams often performed part of the material of the recordings on stage. Most of the material was written by Williams, in cases with the help of Fred Rose and his son Wesley.^[44] The songs depicted Luke the Drifter travelling around from place to place, narrating stories from different characters and philosophizing about life.^[45][46] Some of the compositions were accompanied by a pipe organ.^[43]

Around this time Williams released more hit songs, such as "My Son Calls Another Man Daddy", "They'll Never Take Her Love from Me", "Why Should We Try Any More?", "Nobody's Lonesome for Me", "Long Gone Lonesome Blues", "Why Don't You Love Me?", "Moanin' the Blues", and "I Just Don't Like This Kind of Livin'".^[47] In 1951 "Dear John" became a hit, but it was the flip side, "Cold, Cold Heart", that became one of his most-recognized songs. A pop cover version by Tony Bennett released the same year stayed on the charts for 27 weeks, peaking at number one.^[48]

Hank Williams in concert in 1951

In 1951, a fall suffered during a hunting trip in Tennessee reactivated his old back pains. Subsequently, he started to consume painkillers, including morphine, and alcohol to ease the pain.^[41] His alcoholism worsened in 1952, in June he divorced Audrey Williams,^[49] and on August 11, 1952, Williams was fired from the Grand Ole Opry for habitual drunkenness. He returned to perform in KWKH and WBAM shows and in the Louisiana Hayride, for which he toured again. His performances were acclaimed when he was sober, but despite the efforts of his work associates to get him to shows sober, his abuse of alcohol resulted in occasions when he did not appear or his performances were poor.^[50] In October 1952 he married Billie Jean Jones.^[51]

In June 1952 Williams recorded "Kaw-Liga," along with "Your Cheatin' Heart" and "Take These Chains from My Heart" during his last session, on September 23, 1952.^[50] Due to Williams's excesses, Fred Rose stopped working with him. Also, the Drifting Cowboys were at the time backing Ray Price, while Williams was backed by local bands. By the end of 1952, Williams had started to suffer heart problems.^[41] He met Horace Raphol "Toby" Marshall in Oklahoma City, who claimed to be a doctor. Marshall had been previously convicted for forgery, and had been paroled and released from the Oklahoma State Penitentiary in 1951. Among other fake titles he claimed to be a Doctor of Science. He purchased the DSC title for $35 from the Chicago School of Applied Science, in the diploma, he requested that the DSC was spelled out as "Doctor of Science and Psychology". Under the name of Dr. C. W. Lemon he prescribed Williams with amphetamines, Seconal, chloral hydrate, and morphine.^[52]

Death[link]

Entrance marker of the Oakwood Annex Cemetery in Montgomery, Alabama

On December 31, 1952, Williams was scheduled to perform at the Municipal Auditorium in Charleston, West Virginia. Advance ticket sales totaled US$3,500 (equivalent to $30,600 in 2012).^[23] Because of an ice storm in the Nashville area, Williams could not fly, so he hired a college student, Charles Carr, to drive him to the concerts. Carr called the Charleston auditorium from Knoxville to say that Williams would not arrive on time owing to the ice storm and was ordered to drive Williams to Canton, Ohio, for the New Year's Day concert there.^[53]

They arrived at the Andrew Johnson Hotel in Knoxville, Tennessee, where Carr requested a doctor for Williams, as he was feeling the combination of the chloral hydrate and alcohol he had drunk on the way from Montgomery to Knoxville.^[54] Dr. P.H. Cardwell injected Williams with two shots of vitamin B12 that also contained a quarter-grain of morphine. Carr and Williams checked out of the hotel, the porters had to carry Williams to the car, as he was coughing and hiccupping.^[55] At around midnight on January 1, 1953, when they crossed the Tennessee state line and arrived in Bristol, Virginia, Carr stopped at a small all-night restaurant and asked Williams if he wanted to eat. Williams said he did not, and those are believed to be his last words.^[56] Carr later drove on until he stopped for fuel at a gas station in Oak Hill, West Virginia, where he realized that Williams was dead. The filling station's owner called the chief of the local police.^[57] In Williams' Cadillac the police found some empty beer cans and unfinished handwritten lyrics.^[58]

Dr. Ivan Malinin performed the autopsy at the Tyree Funeral House. Malinin found hemorrhages in the heart and neck and pronounced the cause of death as "insufficiency of the right ventricle of the heart."^[59] That evening, when the announcer at Canton announced Williams's death to the gathered crowd, they started laughing, thinking that it was just another excuse. After Hawkshaw Hawkins and other performers started singing "I Saw the Light" as a tribute to Williams, the crowd, now realizing that he was indeed dead, sang along.^[60] Dr. Malinin also wrote that Williams had been severely beaten and kicked in the groin recently. Also local magistrate Virgil F. Lyons ordered an inquest into Williams' death concerning the welt that was visible on his head.^[61] His body was transported to Montgomery, Alabama, on January 2 and placed in a silver coffin that was first shown at his mother's boarding house for two days. His funeral took place on January 4 at the Montgomery Auditorium, with his coffin placed on the flower-covered stage.^[62] An estimated 15,000 to 25,000 people passed by the silver coffin, and the auditorium was filled with 2,750 mourners.^[63] His funeral was said to have been far larger than any ever held for any other citizen of Alabama and the largest event ever held in Montgomery.^[64][65][66] Williams's remains are interred at the Oakwood Annex in Montgomery. The president of MGM told Billboard magazine that the company got only about five requests for pictures of Williams during the weeks prior to his death, but over three hundred afterwards. The local record shops sold out of all of their records, and customers were asking for all records ever released by Williams.^[63] His final single released during his lifetime was ironically titled "I'll Never Get Out of This World Alive." "Your Cheatin' Heart" was written and recorded in 1952 but released in 1953 after Williams's death. The song was number one on the country charts for six weeks. It provided the title for the 1964 biographical film of the same name, which starred George Hamilton.^[67]

Personal life[link]

On December 15, 1944, Williams married Audrey Sheppard. It was her second marriage and his first. Their son, Randall Hank Williams, who would achieve fame in his own right as Hank Williams, Jr., was born on May 26, 1949. The marriage, always turbulent, rapidly disintegrated, and he developed a serious problem with alcohol, morphine and other painkillers prescribed for him to ease the severe back pain caused by his spina bifida.^[6] The couple divorced on May 29, 1952.^[49] In June 1952, Williams moved in with his mother, even as he released numerous hit songs, such as "Half as Much," "Jambalaya (On the Bayou)," "Settin' the Woods on Fire," "You Win Again," and "I'll Never Get Out of This World Alive." His drug problems continued to spiral out of control as he moved to Nashville and officially divorced his wife. A relationship with Bobbie Jett during this period resulted in a daughter, Jett, who would be born five days after his death.^[68]

On October 18, 1952, Williams and Billie Jean Jones Eshlimar were married in Minden, Louisiana^[51] by a peace judge.^[60] It was the second marriage for both (both having been divorced with children).^[51] The next day two public ceremonies were also held at the New Orleans Civic Auditorium, where 14,000 seats were sold for each.^[60] After Williams's death, a judge ruled that the wedding was not legal because Jones Eshlimar's divorce had not become final until eleven days after she married Williams. Williams' first wife, Audrey, and his mother, Lillie Williams, were the driving forces behind having the marriage declared invalid and pursued the matter for years. Williams also married Audrey Sheppard before her divorce was final, on the tenth day of a required sixty-day reconciliation period.^[69]

Legacy[link]

Historical marker near Kowaliga Bay on Alabama's Lake Martin, where Williams wrote the song Kaw-Liga

Alabama governor Gordon Persons officially proclaimed September 21 "Hank Williams Day". The first celebration, in 1954 featured the unveiling of a monument at the Cramton Bowl, that was later placed in the grave site of Williams. The ceremony featured Ferlin Husky interpreting "I Saw the Light".^[70]

Williams had 11 number one hits in his career ("Lovesick Blues," "Long Gone Lonesome Blues," "Why Don't You Love Me," "Moanin' the Blues," "Cold, Cold Heart," "Hey, Good Lookin'," "Jambalaya (On the Bayou)," "I'll Never Get Out of This World Alive," "Kaw-Liga," "Your Cheatin' Heart," and "Take These Chains from My Heart"), as well as many other top ten hits.^[71]

In 1961, Williams was inducted into the Country Music Hall of Fame,^[72] and he was inducted in the Alabama Music Hall of Fame in 1985.^[73] In 1987, he was inducted in the Rock and Roll Hall of Fame under the category Early Influence.^[74] He was ranked second in CMT's 40 Greatest Men of Country Music in 2003, behind only Johnny Cash. His son, Hank Jr., was ranked on the same list.^[75] In 2004 Rolling Stone ranked him number 74 on its list of the 100 Greatest Artists of All Time.^[76] The website Acclaimedmusic, which collates recommendations of albums and recording artists, has a year-by-year recommendation for top artists. Hank Williams is ranked first for the decade 1940–1949 for his song "I'm So Lonesome I Could Cry." Many rock and roll pioneers of the 1950s, such as Elvis Presley,^[77] Bob Dylan, Jerry Lee Lewis, Merle Haggard,^[78] Gene Vincent,^[79] Carl Perkins,^[80] Ricky Nelson,^[81] Jack Scott,^[82] Conway Twitty^[83] recorded Williams songs early in their careers.

Hank Williams and Loretta Lynn rest area in Tennessee

In 2011 Williams's 1949 MGM number one hit, "Lovesick Blues," was inducted into the Recording Academy Grammy Hall Of Fame.^[84] The same year Hank Williams: The Complete Mother’s Best Recordings….Plus! was honored with a Grammy nomination for Best Historical Album.^[85] In 1999, Williams was inducted into the Native American Music Hall of Fame.^[86] On April 12, 2010, the Pulitzer Prize Board awarded Williams a posthumous special citation that paid tribute to his "craftsmanship as a songwriter who expressed universal feelings with poignant simplicity and played a pivotal role in transforming country music into a major musical and cultural force in American life."^[87] Keeping his legacy, Williams's son, Hank Williams, Jr., daughter Jett Williams, grandson Hank Williams III, and granddaughters Hilary Williams and Holly Williams are also country musicians.^[88]

In 2006, a janitor of Sony/ATV Music Publishing found the unfinished lyrics written by Williams that had been found in his car the night he died in a dumpster belonging to the company. The worker claimed that she sold Williams' notes to a representative of the Honky-Tonk Hall of Fame and the Rock-N-Roll Roadshow. The employee was accused of theft, but the charges were later dropped when a judge determined that the janitor's version of events was true. The unfinished lyrics were later returned to Sony/ATV, that handed them to Bob Dylan in 2008 to complete the songs for an album release. Ultimately, the completion of the songs was also performed by Alan Jackson, Norah Jones, Jack White, Lucinda Williams, Vince Gill, Rodney Crowell, Patty Loveless, Levon Helm, Jakob Dylan, Sheryl Crow and Merle Haggard. The album, named The Lost Notebooks of Hank Williams was released on October 4, 2011.^[89][90]

Lawsuits over the estate[link]

After Williams's death, Audrey Williams filed a suit in Nashville against MGM Records and Acuff-Rose. The suit demanded that both of the publishing companies continue to pay her half of the royalties from Hank Williams's records. Williams had an agreement giving his first wife half of the royalties, but allegedly there was no clarification that the deal was valid after his death. Because Williams may have left no will, the disposition of the other fifty percent was considered uncertain; those involved included the second Mrs. Williams and her daughter and Hank Williams's mother and sister.^[91] On October 22, 1975, a federal judge in Atlanta, Georgia, finally ruled Jones Eshlimar's marriage was valid and that half of Williams's future royalties belonged to her.^[92]

WSM's Mother's Best Flour[link]

In 1951, Williams hosted a fifteen-minute show for Mother's Best flour in WSM radio. Due to Williams' tour schedules some of the shows were previously recorded to be played in his absence.^[93] The original acetates were in possession of Jett Williams, while existing duplicates were found and intended to be published by a third party. In February 2005, the Tennessee Court of Appeals upheld a lower court ruling stating that Williams's heirs—son, Hank Williams Jr., and daughter, Jett Williams—have the sole rights to sell his recordings made for a Nashville radio station in 1951. The court rejected claims made by Polygram Records and Legacy Entertainment in releasing recordings Williams made for the Mother's Best Flour Show. The recordings, which Legacy Entertainment acquired in 1997, include live versions of Williams' hits and his cover version of other songs. Polygram contended that Williams's contract with MGM Records, which Polygram now owns, gave them rights to release the radio recordings. A 3-CD selection of the tracks, restored by Joe Palmaccio, was released by Time-Life in October 2008 titled The Unreleased Recordings.^[94]

Tributes[link]

Awards[link]

Discography[link]

References[link]

Cited Texts[link]

Books[link]

Journals[link]

• "Billboard Jan 13, 1951". Billboard. Jan 13, 1951. ISSN 0006-2510. http://books.google.com/books?id=XR8EAAAAMBAJ&lpg=PA19&dq=My%20Son%20Calls%20Another%20Man%20Daddy%22%2C%20%22They'll%20Never%20Take%20Her%20Love%20from%20Me%22%2C%20%22Why%20Should%20We%20Try%20Any%20More%3F%22%2C%20%22Nobody's%20Lonesome%20for%20Me%22%2C%20%22Long%20Gone%20Lonesome%20Blues%22%2C%20%22Why%20Don't%20You%20Love%20Me%3F%22%2C%20%22Moanin'%20the%20Blues%22%20and%20%22I%20Just%20Don't%20Like%20This%20Kind%20of%20Livin'&pg=PA19#v=onepage&q&f=false. Retrieved March 7, 2011. 
• "Billboard May 23, 1953". Billboard. ISSN 0006-2510. http://books.google.com/books?id=EQ0EAAAAMBAJ&lpg=PA15&dq=audrey%20hank%20williams%20billboard%20suit&pg=PA15#v=onepage&q&f=false. Retrieved March 13, 2011. 

Further reading[link]

• Caress, Jay (1979), Hank Williams, Stein and Day, ISBN 978-0-8128-2583-1 
• Williams, Lycrecia; Vinicur, Dale (1991), Still in Love with You: Hank and Audrey Williams, Thomas Nelson Incorporated, ISBN 978-1-55853-105-5 
• Rivers, Jerry (1967), Hank Williams: From Life to Legend, Jerry Rivers 

External links[link]

Wikimedia Commons has media related to: Hank Williams

Wikiquote has a collection of quotations related to: Hank Williams

• Hank Williams at the Internet Movie Database
• Hank Williams at AllMusic
• Listing of all Hank Williams' songs and alternatives
• Hank Williams at Find a Grave http://www.findagrave.com/cgi-bin/fg.cgi?page=gr&GRid=1109

Waylon Jennings
Background information
Birth name	Waylon Arnold Jennings
Born	(1937-06-15)June 15, 1937 Littlefield, Texas, United States
Died	February 13, 2002(2002-02-13) (aged 64) Chandler, Arizona, United States
Genres	Country, outlaw country, country rock, progressive country
Occupations	Singer-songwriter, musician
Instruments	Vocals, guitar, bass, piano, mandolin
Years active	1958–2002
Labels	RCA Victor, MCA, Epic
Associated acts	Jessi Colter, Willie Nelson, The Highwaymen, Buddy Holly
Website	www.waylonjennings.com
Notable instruments
Fender Telecaster Signature of Waylon Jennings

Waylon Arnold Jennings (pronounced /welən dʒɛnɪŋz/; June 15, 1937 – February 13, 2002) was an American country music singer, songwriter, and musician. Jennings began playing guitar at eight and began performing at twelve on KVOW radio. He formed a band, The Texas Longhorns. Jennings worked as a D.J on KVOW, KDAV, KYTI and KLLL. In 1958, Buddy Holly arranged Jennings' first recording session, of "Jolie Blon" and "When Sin Stops (Love Begins)". Holly hired him to play bass. During the Winter Dance Party Tour, in Clear Lake, Iowa, Holly chartered a plane to arrive to the next venue. Jennings gave up his seat in the plane to J. P. Richardson, who was suffering from a cold. The flight that carried Holly, Richardson and Ritchie Valens crashed, on the day later known as The Day the Music Died. Following the accident, Jennings worked as a D.J in Coolidge, Arizona and Phoenix. He formed a rockabilly club band, The Waylors. He recorded for independent label Trend Records, A&M Records before succeeding with RCA Victor after achieving creative control of his records.

During the 1970s, Jennings joined the Outlaw movement. He released critically acclaimed albums Lonesome, On'ry and Mean and Honky Tonk Heroes, followed by hit albums Dreaming My Dreams and Are You Ready for the Country. In 1976 he released the album Wanted! The Outlaws with Willie Nelson, Tompall Glaser and Jessie Colter, the first platinum country music album. The success of the album was followed by Ol' Waylon, and the hit song "Luckenbach, Texas (Back to the Basics of Love)". By the early 1980s, Jennings was struggling with a cocaine addiction, which he quit in 1984. Later he joined the country supergroup The Highwaymen with Nelson, Kris Kristofferson and Johnny Cash. During that period, Jennings released the successful album, Will the Wolf Survive. He toured less after 1997, to spend more time with his family. Between 1999 and 2001, his appearances were limited by health problems. On February 13, 2002, Jennings died from complications of diabetes.

Jennings also appeared in movies and television series. He was the narrator for The Dukes of Hazzard. In 2001 he was inducted into the Country Music Hall of Fame, which he chose not to attend until later on. In 2007 he was posthumously awarded the Cliffie Stone Pioneer Award by the Academy of Country Music.

Early life[link]

Waylon Jennings was born in Littlefield, Texas, the seat of Lamb County, the son of Lorene Beatrice (née Shipley) and William Albert Jennings.^[1] His original birth name was Wayland, meaning land by the highway, but it was changed after a Baptist preacher visited Jennings' parents and congratulated his mother for naming him after the Wayland Baptist University in Plainview, Texas. Lorene Jennings, who had been unaware of the college, changed the spelling to Waylon. Jennings later expressed in his autobiography "I didn't like Waylon. It sounded corny and hillbilly, but it's been good to me, and I'm pretty well at peace with it right now."^[2] When Jennings was eight, his mother taught him to play guitar with the tune "Thirty Pieces of Silver". Jennings used to practice with the guitars of his relatives, until his mother bought him a used Stella, and later ordered a Harmony Patrician.^[3] Jennings never learned to read music, but he practiced to seek a career in music and avoid a possible future picking cotton and other temporary jobs.^[4][5]

Music career[link]

Beginnings in music[link]

The twelve-year-old Jennings auditioned for a spot on KVOW in Littlefield, Texas. Owner J.B. McShan, along with Emil Macha, recorded Jennings' performance. McShan liked his style, and hired him for a weekly thirty-minute program. Following this successful introduction, Jennings formed his own band. He asked Macha to play bass for him, and gathered other friends and acquaintances to form The Texas Longhorns. The style of the band, a mixture of country & western and bluegrass, often was not well received. At seventeen, Jennings and band recorded a demo of the songs "Stranger in My Home" and "There'll Be a New Day" at KFYO radio in Lubbock, Texas.^[6] In addition to performing on air for KVOW, Jennings later worked as a D.J for the station.^[7] Jennings dropped out of high school in tenth grade to pursue music. His early influences were Bob Wills, Floyd Tillman, Ernest Tubb, Hank Williams, Carl Smith and Elvis Presley.^{[8][9][10][11]} He moved to Lubbock, where he initially worked for KDAV, and later for KLLL, Jennings' show was successful in both venues.^[7]

Waylon Jennings (left) and Buddy Holly (right) in 1959

While working in KDAV, Jennings met Buddy Holly, during the broadcasts of Sunday Party. Holly, who wanted to start in record production, arranged a session for Jennings. On September 10, Jennings recorded the songs "Jolie Blon" and "When Sin Stops (Love Begins)", with Holly and Tommy Allsup on guitars with saxophonist King Curtis. The single was released on Brunswick in 1959 with limited success. Holly then hired Jennings to play electric bass for him during his "Winter Dance Party Tour".^[7]

	Jole Blon noicon During his first recording session in 1958, Jennings was accompanied by Buddy Holly on the guitar and King Curtis on the saxophone
Problems listening to this file? See media help.

After a show in Clear Lake, Iowa, Holly chartered a plane for himself, Allsup and Jennings to avoid a long bus trip to Fargo, North Dakota. Allsup lost a coin toss to Ritchie Valens for his seat on the plane, while Jennings gave up his seat to J. P. Richardson, who was suffering from a cold and complaining about how uncomfortable a long bus trip was for a man of his size.^[12] Holly jokingly told Jennings, "I hope your ol' bus freezes up!". Jennings replied, "Well, I hope your ol' plane crashes!" During the early morning hours of February 3, 1959, later known as The Day the Music Died, the charter crashed outside Clear Lake, killing all on board.^[13] Jennings and Allsup continued the tour for two more weeks, featuring Jennings as the lead singer.^[7] Jennings later admitted that he felt severe guilt and responsibility for the crash, and that his words would haunt him for the rest of his life.^[13]

He later returned to KLLL and performed regionally.^[8] He released recordings under Trend Records, and experienced moderate success with his single "Another Blue Day".^[14]

Phoenix and the Nashville Sound[link]

Waylon Jennings publicitary portrait for RCA Victor circa 1965

In 1961, Jennings lived briefly in Coolidge, Arizona working in radio, before moving to Phoenix, where he formed a rockabilly band, The Waylors. Jennings and his band performed at a newly opened nightspot called JD's. The band earned a small fan base, eventually signing with the independent label Trend Records. The recordings were not successful and Jennings began working as a record producer. In 1963, he moved to Los Angeles, California where he signed a contract with Herb Alpert of A&M Records.^[14][15]