The Side-Eye Heard ‘Round the Country World
The recent American Music Awards (AMAs) served as an unexpected crucible for a critical dialogue concerning the historical narrative of country music. During the presentation of the Favorite Country Duo or Group award, country artist Shaboozey, known for his hit “A Bar Song (Tipsy),” stood alongside Megan Moroney. A pivotal moment occurred when Moroney, reading from the teleprompter, declared, “This award went to the Carter Family, who basically invented country music”. Cameras captured Shaboozey’s immediate and visibly puzzled reaction, culminating in a distinct “side-eye” that rapidly proliferated across social media platforms. Initially, public interpretation largely misconstrued this non-verbal gesture as a personal slight directed at his co-presenter, Megan Moroney.
Shaboozey swiftly addressed the misinterpretation, proactively defending Megan Moroney. He explicitly stated that his reaction “had nothing to do with her,” praising her as an “incredibly talented, hard-working artist” for whom he held “nothing but respect”. This crucial intervention redirected the public conversation away from personal animosity. More significantly, Shaboozey leveraged his platform to initiate a “mini history lesson” on X (formerly Twitter). In a now-deleted tweet, he directly challenged the simplistic narrative by listing a series of pivotal Black pioneers alongside the Carters: “Google: Lesley Riddle, Steve Tarter, Harry Gay, DeFord Bailey, and The Carter Family”. His subsequent, and still active, tweets further articulated his perspective, emphasizing that “When you uncover the true history of country music, you find a story so powerful that it cannot be erased.” He also conveyed a message of unity, stating that “The real history of country music is about people coming together despite their differences, and embracing and celebrating the things that make us alike”.
This report aims to provide a comprehensive analysis of the Carter Family’s undeniable contributions, contextualizing their revered “First Family of Country Music” title. It will then delve into Shaboozey’s “side-eye” as a significant cultural statement, interpreting it not as a trivial reaction, but as a contemporary call for historical accountability and a challenge to a long-standing, incomplete narrative. Finally, and most critically, this report will uncover the true, multicultural origins of country music, highlighting the foundational, yet often overlooked, roles of Black pioneers like Lesley Riddle, DeFord Bailey, Steve Tarter, and Harry Gay, whose profound contributions shaped the genre from its very inception.
The Carter Family: Architects of a Sound
The Carter Family—comprising A.P. Carter, his wife Sara, and his sister-in-law Maybelle—were indisputably “one of the biggest discoveries at the famed 1927 Bristol Sessions”. These sessions are frequently heralded as the “Big Bang” that fundamentally established country music on the commercial map. Their groundbreaking work positioned them as among the first groups to record commercially produced country music, and notably, they were the first vocal group to achieve widespread stardom within the nascent genre. Their profound influence transcended the boundaries of country, extending into the development of bluegrass, southern gospel, pop, and rock, and significantly impacting the American folk revival of the 1960s.
A.P. Carter was an unparalleled “song collector and arranger” in the annals of country music history. He bore the primary responsibility for discovering and adapting a vast repertoire of traditional songs, as well as managing the group’s performances. Driven by both artistic passion and financial incentive, he diligently traveled throughout southwestern Virginia, unearthing songs and subsequently copyrighting them, thereby expanding the family’s catalog and securing their financial future.
The trio’s vocal approach was revolutionary; they “essentially invented the kind of harmony singing used for years in the music,” establishing a foundational vocal style for the genre. Sara Carter typically carried the lead vocals, providing rhythmic accompaniment on guitar or autoharp. Maybelle, in turn, provided harmony vocals and played lead guitar, contributing significantly to the group’s distinctive sound. Maybelle’s most enduring legacy is her innovative guitar technique, variously known as the “Carter lick,” “thumb-brush,” or most famously, the “Carter Scratch”. This distinctive picking style became one of the genre’s most recognizable and widely imitated techniques. Her method involved playing melody lines on the bass strings with her thumb (often with a thumbpick) while simultaneously maintaining rhythm by brushing across the higher strings with her fingers. This approach was groundbreaking, as the guitar was rarely used as a lead or solo instrument in commercial recordings before their emergence. The “Carter Scratch” quickly became “one of the most copied styles of guitar playing” and was considered “the most widely imitated guitar style in music,” popularizing the guitar as a central instrument in country music.
Through their prolific recording career from 1927 to 1941, the Carter Family popularized countless songs that became enduring country standards, producing an “amazing number of hits”. Their repertoire included iconic tunes such as “Wabash Cannonball,” “Can the Circle Be Unbroken,” “Wildwood Flower,” “Keep on the Sunny Side,” and “I’m Thinking Tonight of My Blue Eyes”. The lasting impact of their songs is evident in instances like the melody of “I’m Thinking Tonight of My Blue Eyes” being adapted for other major hits, including Roy Acuff’s “The Great Speckled Bird”. The group’s exploration of diverse musical genres, from blues and gospel songs to British folk ballads and 19th-century parlor songs, showcased their versatility and the broad influences shaping early country music. Their lucrative radio contracts, particularly with the powerful border station XERA in Del Rio, Texas, significantly amplified their reach across North America, cementing their status. The Carter Family’s profound impact was formally recognized with their induction into the Country Music Hall of Fame in 1970, where they were affectionately dubbed “The First Family of Country Music”.
Analysis of their foundational role reveals that while the Carter Family profoundly shaped country music, their significant contribution lay primarily in the commercialization and standardization of an evolving sound, rather than its absolute genesis. The term “hillbilly music” predated “country” , indicating a pre-existing musical landscape. Furthermore, the genre was already recognized as a “fluid phenomenon passed back and forth between the races”. The Carter Family’s genius resided in their ability to synthesize and refine these existing musical traditions, including significant Black influences, and present them in a commercially viable and widely appealing format. They did not create music in a vacuum; rather, they codified and popularized a sound that was already evolving organically in the American South. Their “invention” was more about establishing a commercial blueprint and a recognizable sound for what became “country music,” rather than originating the fundamental musical elements themselves. This critical distinction is crucial for understanding the nuance of Shaboozey’s critique and the broader historical narrative.
Table: The Carter Family’s Landmark Contributions
| Key Innovation/Contribution | Description/Impact | Influential Songs (Examples) | Key Recognition |
|---|---|---|---|
| Maybelle Carter’s “Carter Scratch” guitar style | Revolutionary thumb-brush guitar technique, widely imitated, popularized guitar as a lead instrument. | “Wildwood Flower,” “Wabash Cannonball” | Country Music Hall of Fame (1970) |
| A.P. Carter’s song collecting and arranging | Preserved and adapted traditional folk songs, expanded repertoire. | “Keep on the Sunny Side,” “I’m Thinking Tonight of My Blue Eyes” | Grammy Hall of Fame (“Will the Circle Be Unbroken,” 1988) |
| Pioneering harmony singing | Established a foundational vocal style for the genre. | “Single Girl, Married Girl” | Grammy Lifetime Achievement Award (2005) |
| First commercial country stars | Paved the way for commercial country success and mass appeal. | “Can the Circle Be Unbroken” | U.S. Postal Service Commemorative Stamp (1993) |
| Popularization of country standards | Made numerous songs enduring hits and genre staples. | “Worried Man Blues,” “John Hardy Was a Desperate Little Man” | International Bluegrass Music Hall of Honor (2001) |
Shaboozey’s Stance: A Modern Call for Historical Truth
The pivotal moment that sparked widespread discussion occurred when Shaboozey and Megan Moroney were co-presenting an award at the American Music Awards. The script contained the declarative statement: “The Carter Family, who basically invented country music”. Shaboozey’s immediate response was a “visibly puzzled” expression, followed by a distinct “side-eye” that was captured by the cameras and quickly became a viral meme. Initially, many viewers misinterpreted this non-verbal cue as a slight directed at Megan Moroney, leading to public speculation and criticism.
Recognizing the misinterpretation and the ensuing online discourse, Shaboozey promptly took to social media to clarify his intentions. He issued a public defense of Megan Moroney, unequivocally stating that his “meme-worthy reaction” “had nothing to do with her”. He further lauded her as “an incredibly talented, hard-working artist who’s doing amazing things for country music,” emphasizing his respect for her. This swift action was crucial in dispelling any notion of personal animosity. Beyond defending Moroney, Shaboozey strategically used his platform to initiate a “mini history lesson” on X (formerly Twitter). In a now-deleted tweet, he directly challenged the awards show’s simplified narrative by urging followers to “Google: Lesley Riddle, Steve Tarter, Harry Gay, DeFord Bailey, and The Carter Family”. He followed this with two subsequent tweets, still publicly accessible, which broadened his message. He wrote, “When you uncover the true history of country music, you find a story so powerful that it cannot be erased,” and, on a note of unity, “The real history of country music is about people coming together despite their differences, and embracing and celebrating the things that make us alike”.
The “side-eye” was not a spontaneous, unthinking reaction but a deliberate, non-verbal critique of the problematic script. As the user query context explicitly states, it was “not targeted at Megan Maroney but instead his reaction to the script.” This interpretation is supported by other figures within the music community. Musician Rissi Palmer voiced her dismay, questioning “who wrote this script?” and asserting, “Behind every founding father and mother of Country music stands a Black musician playing Black roots music, strategically hidden in the mix”. Jon Blistein of Rolling Stone further contextualized the moment, explaining that while the Carter Family are celebrated pioneers, their legacy also “highlights how the genre’s history has often been whitewashed”. Historian and musician Dom Flemons, while acknowledging the Carters’ and producer Ralph Peer’s roles in establishing country music as a genre, also underscored that it took “many years for story to come out into the public,” implying a historical process of marginalization.
Shaboozey’s immediate, publicly visible, and viral reaction to a specific, problematic scripted line quickly escalated into a broader public discussion about the “erased Black roots” of country music. His subsequent social media activity, including the deleted tweet explicitly naming Black pioneers and the active tweets emphasizing “true history” and unity , demonstrates a deliberate strategy. The deletion of the specific names tweet, while retaining the broader historical statements, suggests a nuanced approach to guide the conversation towards a more inclusive understanding without alienating a wider audience. Shaboozey’s side-eye transcended a fleeting viral moment to become a significant cultural flashpoint. It was a calculated and highly effective act of digital activism, leveraging his platform to challenge a long-standing, institutionally sanctioned historical inaccuracy. By directly prompting his audience to “Google” specific Black pioneers, he empowered individuals to engage in self-directed historical inquiry, thereby shifting the responsibility for historical education from the awards show’s producers to the audience itself. This demonstrates how a seemingly small, non-verbal gesture can ignite a powerful public dialogue, forcing a critical re-evaluation of historical narratives and demanding greater inclusivity within a cultural genre.
The Unsung Roots: Black Contributions to Country Music’s Genesis
Country music, in its very essence, is deeply indebted to African and African-American traditions. These influences are evident across every facet of the genre, from its instrumentation and repertoire to its vocal and instrumental techniques.
The banjo, an instrument now synonymous with American folk and country music, and often conjuring images of a white pastoral South, has a profound and undeniable African heritage. It is a direct descendant of West African lutes, constructed from gourds, which were brought to the Americas by enslaved people. This instrument quickly became a central and indispensable part of slave music and culture throughout the American South, forming a core element of early Black musical traditions. The banjo’s distinctive “sonic signature is audible in country music to this day,” underscoring its foundational role and lasting influence, directly linking the genre’s sound to African musical traditions. Over time, the banjo was standardized, appropriated, and subsequently disseminated to white audiences, particularly through minstrel and blackface shows. These performances, though problematic, played a significant role in shaping and popularizing what would later be known as “hillbilly music,” the precursor to “country music”.
Many of the songs performed by early “hillbilly” artists were not original compositions but were inherited and adapted from Black sources. These sources included slave spirituals, field songs, religious hymnals, and the works of professional Black songwriters. A compelling example of this cross-pollination is how “When the World is On Fire,” a hymn arranged by a Black minister, was transformed into the Carter Family’s 1928 hit “Little Darling, Pal of Mine,” which in turn evolved into Woody Guthrie’s quintessential American folk anthem, “This Land is Your Land”. Despite the pervasive segregation of the American South in the 1920s and 1930s, Black and white musicians frequently collaborated and appeared together on recordings, demonstrating a shared musical landscape. Ken Burns’ acclaimed documentary Country Music highlights significant collaborations, such as the 1929 recording of “Blue Yodel Number 9” by Jimmie Rodgers, often called the “Father of Country Music,” featuring none other than jazz legend Louis Armstrong. Historical research indicates that “nearly 50 African-American singers and musicians” appeared on commercial hillbilly records between 1924 and 1932, underscoring that the music was not a racially exclusive tradition but a “fluid phenomenon passed back and forth between the races”.
The initial, formative phase of commercial country music was characterized by a rich, organic, and racially integrated exchange of musical traditions. The “Big Bang” of the Bristol Sessions itself was a testament to this diversity. While the Carter Family, a white group, made their significant early recordings there , Tarter & Gay, a Black blues duo, also recorded at Bristol in 1928 , and their recordings are included in “The Bristol Sessions” compilations. This demonstrates that the commercial genesis of country music was inherently diverse. However, as “hillbilly music” began to gain commercial traction in the 1920s, record labels made deliberate business decisions that fundamentally altered its racial narrative. They began to categorize and divide their releases into “hillbilly records” (marketed primarily to white consumers) and “race records” (marketed to Black consumers), operating under the assumption that consumers purchased music based on their race. This commercial segmentation led to the strategic positioning of country music as an “authentic return to the music of the idyllic rural white Mountain South.” This narrative was often presented in direct opposition to the “black ‘modern dance music'” of the era, creating a false dichotomy. A significant consequence of this marketing strategy was the systematic marginalization of Black performers. Many who contributed to early hillbilly records went uncredited, or worse, were “scrubbed from marketing images in favor of white stand-ins”. This deliberate act of erasure pushed Black artists to the periphery of the public narrative, even as their musical innovations remained foundational to the genre’s sound. This foundational act of commercial branding and racial division directly contributed to the historical obfuscation that Shaboozey’s actions now challenge, demonstrating that the “invention” of country music was a collective, multicultural process, while its branding was exclusionary and discriminatory.
Pioneers Beyond the Spotlight: Key Black Figures in Country’s Foundation
Lesley Riddle: The “Human Tape Recorder” and Guitar Innovator
Lesley “Esley” Riddle (1905–1979) was an African American musician born in North Carolina. A pivotal moment in his life occurred in August 1927 when a factory accident led to the amputation of his right leg. During his recovery, he immersed himself in guitar playing, developing an innovative picking and slide technique rooted in blues and gospel traditions. Riddle met A.P. Carter in December 1928, marking the beginning of a crucial collaboration. Riddle frequently accompanied Carter on song-collecting trips throughout the region, serving as a “human tape recorder” by memorizing melodies while Carter focused on gathering lyrics.
Riddle’s most significant, yet often unacknowledged, contribution was his direct influence on Maybelle Carter’s guitar technique. He taught both Maybelle and A.P. Carter how to play the guitar, specifically imparting his distinctive finger-picking technique to Maybelle. This technique became the bedrock of her iconic “Carter Scratch” guitar style, which is widely recognized as a hallmark of country music. His unique style, adapted due to the loss of two fingers, was even “coined ‘Carter Picking'” by some. The Carter Family went on to record numerous songs that Riddle either composed or transmitted, including “Cannonball Blues,” “Hello Stranger,” “I Know What It Means To Be Lonesome,” “Let the Church Roll On,” “Bear Creek Blues,” “March Winds Goin’ Blow My Blues Away,” and “Lonesome For You”.
The iconic “Carter Scratch,” widely celebrated as Maybelle Carter’s unique innovation and a cornerstone of country guitar, has demonstrably strong and direct roots in the technique imparted by Lesley Riddle. This pattern highlights a recurring phenomenon in music history: Black innovation is absorbed, adapted, and then often rebranded or primarily attributed to white artists within the commercial narrative. This is not merely about influence, but about the attribution and ownership of musical techniques in a commercial and cultural context. This process directly contributes to the “erased Black roots” and the whitewashing of genre history , as the origin of a fundamental technique is simplified and credited to a more commercially palatable figure, obscuring the true, multicultural genesis.
Despite his foundational influence, Riddle was “never given a career opportunity to be recognized as a peer” with the Carter Family and “fell to the wayside” in the early years, retiring from music in the 1940s and selling his guitar. He remained obscure for decades until Mike Seeger, after collaborating with Maybelle Carter, tracked him down in 1965 and persuaded him to return to recording. This led to the release of the album “Step by Step” in 1993. Maybelle Carter herself publicly acknowledged his profound influence on the Johnny Cash show, stating he was “the reason for their success”.
DeFord Bailey: The “Harmonica Wizard” and Grand Ole Opry Pioneer
DeFord Bailey (1899–1982) was an African American harmonica virtuoso born in rural Smith County, Tennessee. He began playing harmonica as a child, developing a unique style he called “black hillbilly music”. Bailey holds the distinction of being the “first African American member” of the Grand Ole Opry, making his initial documented appearance on June 19, 1926. He was among its “most popular early performers” and a founding member. Billed as “The Harmonica Wizard” for his exceptional virtuosity, his signature tune, “Pan American Blues,” frequently opened Opry broadcasts. His renditions of “Fox Chase” and “Pan American Blues” are still considered harmonica classics. A pivotal moment in the Opry’s history is directly tied to Bailey: after one of his performances, WSM program director George D. Hay declared, “For the past hour we have been listening to music taken largely from Grand Opera but from now on we will present the Grand Ole Opry.” This statement is credited with giving the iconic show its name.
Despite his immense popularity and foundational role, Bailey faced significant injustices due to Jim Crow segregation while touring. His race was largely hidden from his radio audience. He was treated “paternalistically” as a “mascot” and was “fired unceremoniously in 1941”. George D. Hay, the Opry’s founder, later made disparaging remarks, calling Bailey “lazy”. Tragically, Bailey spent the remainder of his life shining shoes to make a living, a stark contrast to his earlier stardom. His profound contributions were finally acknowledged with his posthumous induction into the Country Music Hall of Fame in 2005. A Nashville street in his former neighborhood was also renamed “DeFord Bailey Avenue” in his honor.
The historical marginalization of Black artists in country music was not simply an oversight or a lack of recognition; it was a systemic process deeply intertwined with racial prejudice, the discriminatory Jim Crow laws, and the commercial exploitation prevalent in the early music industry. DeFord Bailey’s experience exemplifies this: despite his significant artistic contributions and popularity, he was denied equitable opportunities, fair compensation, and lasting recognition during his active career. This created a cycle where his creative contributions were absorbed into the mainstream, but his career was stifled, leading to his historical obscurity until much later rediscovery. This reveals a deeper layer of economic and social injustice that underpinned the construction of country music’s historical narrative, impacting not just legacy but also the livelihoods and dignity of these pioneering musicians.
Steve Tarter & Harry Gay: Blues Duo at the Bristol Sessions
Stephen Tarter (1887–1935), a singer and guitarist, and Harry Gay (1904–1979), a guitarist, formed a blues duo both hailing from Scott County, Virginia. They made their mark by recording two titles for Victor in Bristol, Tennessee, on November 2, 1928: “Brownie Blues” and “Unknown Blues”. Their inclusion in “The Bristol Sessions 1927-1928: The Big Bang of Country Music” compilation is crucial. It directly demonstrates the diverse musical landscape present at the very commercial genesis of country music, showcasing that early “hillbilly” recordings were not exclusively white or country in the modern sense, but encompassed a broader spectrum of American roots music, including blues. Their recordings are preserved on numerous historical blues and country compilations, affirming their place in the early American sound.
Other Influential Figures: Mentors to Icons
The influence of Black musicians extended to direct mentorships with some of country music’s most legendary figures:
- Rufus “Tee Tot” Payne: A Black guitarist and bluesman, he famously mentored a young Hank Williams, imparting crucial musical knowledge and shaping his early sound.
- Gus Cannon: This influential Black banjo player and jug band leader taught a young Johnny Cash, contributing to the foundational influences of the “Man in Black”.
- Arnold Schultz: A Black fiddler and guitarist, Schultz profoundly influenced Bill Monroe, widely recognized as “The Father of Bluegrass,” through his unique musical style and technique.
These examples collectively illustrate the pervasive, yet often unacknowledged, Black influence that directly shaped the musical artistry of country music’s most celebrated and iconic figures, demonstrating a deep, interconnected history that goes far beyond surface-level recognition.
Table: Key Black Pioneers and Their Influence on Early Country Music
| Pioneer | Key Contribution/Influence | Impact on Country Music | Challenges/Recognition (Brief) |
|---|---|---|---|
| Lesley Riddle | Taught Maybelle Carter guitar technique; collected songs with A.P. Carter. | Shaped the iconic “Carter Scratch” and early Carter Family repertoire. | Remained obscure for decades; later rediscovered and recognized. |
| DeFord Bailey | First Black Grand Ole Opry star; harmonica virtuoso. | Pioneered harmonica as a lead instrument in country; helped name the Grand Ole Opry. | Faced severe segregation and discrimination; unceremoniously fired from Opry. |
| Steve Tarter & Harry Gay | Blues duo recorded at the pivotal Bristol Sessions. | Represented the diverse blues and folk sounds present at country’s “Big Bang.” | Limited commercial recognition at the time; contributions highlighted in historical compilations. |
| Rufus “Tee Tot” Payne | Mentored a young Hank Williams. | Transmitted blues and folk traditions directly to a country music icon. | Often uncredited or overshadowed by their famous mentees. |
| Gus Cannon | Taught a young Johnny Cash. | Contributed to the foundational influences of a country legend. | Often uncredited or overshadowed by their famous mentees. |
| Arnold Schultz | Influenced Bill Monroe, “The Father of Bluegrass.” | Influenced the development of bluegrass music. | Often uncredited or overshadowed by their famous mentees. |
Towards an Inclusive Narrative
The evidence presented conclusively demonstrates that country music is far from a monolithic or racially exclusive genre. Instead, it is a vibrant and complex tapestry woven from diverse cultural threads, with foundational contributions from both Black and white folk traditions of the American South. The “invention” of country music was not a singular act performed by one family, but rather a dynamic, collaborative, and multicultural process that evolved over time through a rich exchange of sounds, techniques, and repertoires.
Acknowledging the full, unvarnished history of country music, including the profound and often-overlooked contributions of Black artists, does not diminish the undeniable legacy of figures like the Carter Family. On the contrary, it enriches and authenticates the genre’s narrative, providing a more complete and truthful understanding of its origins and evolution. This comprehensive historical accounting is essential for correcting long-standing inaccuracies and addressing the systemic erasure that has unfortunately characterized the mainstream presentation of country music for decades.
Shaboozey’s viral “side-eye” at the AMAs transcends a mere fleeting moment of public reaction. It served as a significant contemporary catalyst, igniting a necessary and overdue public conversation about historical truth and inclusivity within country music. His deliberate actions, from defending Megan Moroney to directly prompting public research into Black pioneers, underscore the ongoing imperative for the music industry, cultural institutions, and audiences alike to embrace and present a complete and honest history of this uniquely American art form.
Country music continues to evolve, and there is a growing, though still incomplete, recognition of its diverse roots. The increasing visibility and success of contemporary Black artists within the genre signal a potential return to its more integrated, multicultural beginnings. The imperative moving forward is to not only acknowledge but actively celebrate this rich, multicultural heritage, fostering a more accurate, equitable, and vibrant future for country music that truly reflects its complex and beautiful origins.
