IMAGES OF AGING IN THE LYRICS OF AMERICAN COUNTRY MUSIC

Educational Gerontology, 26 : 135–154, 2000 Copyright Ó 2000 Taylor & Francis 0360-1277 /00 $12.00 1 .00

IMAGES OF AGING IN THE LYRICS OF AMERICAN COUNTRY MUSIC

Ronald H. Aday Aging Studies Program, Middle Tennessee State University, Murfreesboro, Tennessee, USA

Benjaman S. Austin Department of Sociology, Middle Tennessee State University, Murfreesboro, Tennessee, USA

This study examined the lyrics of American country music as potential sources for better understanding popular perceptions about aging and old age. Data for this study were collected from a sample of 52 country songs published between 1950 and 1995. A majority of the songs have been recorded and have received considerable public exposure. Using a content analysis approach, seven subjective themes were identiüed : (a) physical attributes, (b) mobility and reaction time, (c) mental health, (d) reminiscence, (e) loneliness and isolation, (f ) quality of relationships, and (g) mortality. Song lyrics in each category were evaluated in terms of positive or negative image portrayal and gender diþerences when apparent. Conclusions drawn from this study indicate that a substantial majority of the songs evaluated present negative images of aging and old age.

An important measure of the perception of the aging process is the manner in which aging and old age are depicted in various cultural forms. The condition of old age in primitive and prehistoric societies This research was supported by a Faculty Research Grant awarded by Middle Tennessee State University. Address correspondence to Ronald H. Aday, Director, Aging Studies Program, Box 132, Middle Tennessee State University, Murfreesboro, TN 37132, USA. E-mail : [email protected] 135

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has been described in folk tales and cave paintings (Fischer, 1978). Likewise, it is possible to understand current societal views of aging by the impressions left by contemporary agents of socialization. And, although it is difficult to determine whether stereotypical images are derived from reality or if such images create reality (Barrow, 1996 ; Bazzini, McIntosh, Smith, Cook, & Harris, 1997 ; Clark, 1980), it is possible to investigate how and to what extent certain institutions create various images of the aging process. In the last 2 decades a number of social scientists have investigated the ways in which informal agents of socialization provide or support current stereotypes and attitudes toward the elderly. A review of previous studies indicates that researchers have examined aging in jokes (Davies, 1977 ; Palmore, 1986 ; Richman, 1977), birthday cards (Demos & Jache, 1980), ülms (Bazzini et al., 1997), fairy tales (Steinberg, 1993), television (Bell, 1992 ; Bishop & Krause, 1984 ; Cassata & Irwin, 1997 ; Hajjar, 1997 ; Harris & Feinberg, 1978 ; Hickey, 1990), poetry (Clark, 1980 ; Loelterle 1993 ; Sohngen & Smith, 1978), novels (Loughman, 1977 ; Sohngen, 1977), and print media (Almerio & Fillmer, 1988 ; Buchholz & Bynum, 1982). Research on these various media reveals that aging and old age frequently have been portrayed in contradictory ways, with both positive and negative images. These various media forms can both reýect and create societyÄs views and can have a strong eþect on how people view growing old in America. Likewise, song lyrics provide uniquely potent means of arriving at basic attitudes, thoughts, and feelings. More speciücally, music plays an important role in our society, and its lyrics often deal with real concerns and problems of America and its people. Russell (1970) suggested some years ago that music may be an overlooked source of sociological information regarding human values. This suggests that the musical aspect of popular culture may provide valuable insights into the social dynamics and social structure of American society. Furthermore, it is contended that the stereotypical images of aging are intertwined through various cultural forms, and music in particu lar is a very powerful component of cultural norms. It is further suggested that an understanding of the attitudes conveyed in such song lyrics provides insight into societal attitudes about aging and old age (Gritzner, 1978). There has been little research, however, directly investigating the depiction of aging and old age in music lyrics. A review of the liter ature reveals two studies that have examined this media form. One such study (Cohen & Kruchwitz, 1990) focused on sheet music published between 1830 and 1980. Common themes reported included physical attributes of old age, sex and romance, growing old together,

Aging in Country Music

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ülial responsibility, reminiscences of times past, and fear of old age. Cohen and Kruschwitz concluded that persistent negative themes recurred almost uniformly throughout this period. Another study analyzed the images of old age and aging presented in the pop/ rock music of the 1960s and 1970s (Leitner, 1983). A theme common to most of the songs in that study was that of loneliness and sadness in old age. Although previous studies have focused on other musical forms (pop /rock and sheet music), it is felt that country music may provide a fruitful area for research. It has been suggested that ÃÃcountry music is important not simply as an aspect of popular culture or as a manifestation of folk culture, but as a literature in itself, worthy of serious studyÄÄ (Lawler, 1996, p. 6). First, country music is consistent ly and characteristically lyrical. As a genre, country music evolved out of the folk tradition transplanted to the United States from Great Britain, a tradition that relied heavily on the ballad. Second, folk songs in general are designed to carry a message or tell a story. The lyrics focus on real situations and people and therefore expose the fundamental values manifested in the culture of the time. Finally, country music is emotional, and its target is the heart rather than the viscera. It is directed to the thinking part of the listener rather than to the subconscious. Instrumentally and vocally, the songs are designed to focus attention on the lyrics, the message. The music is fairly simple, straightforward, and predictable, both in style and content. Country music has been commercially successful since the 1920s and has always involved a number of diþerent styles and sounds. Country music developed a large following during the 1940s and 1950s. It also became more sophisticated. Instead of comprising only ballads or narrative songs, its corpus began to expand. Before the 1950s, the genre was dominated by the honky-tonk style, with lyrics about drink, work, love, and loss. However, by the early 1960s, country music was represented by a more lush, orchestrated style (Jensen, 1998). These changes have continued until the present and have led to wider exposure and greater cultural impact. Reviewing how traditional ballads and lyric poetry depict aging in our society can üll one of the more prominent gaps in our knowledge about media portrayals of the elderly.

METHOD This study used a content analysis approach to access the positive and negative images of aging depicted in country music song lyrics.

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Content analysis essentially is a coding operation. In the analysis of written prose, sampling may occur at any or all of the following levels : words, phrases, sentences, or the themes or contexts relevant to the work. For this research, the primary consideration in including a particular song was whether the song contained, for whatever purpose, a depiction of aging or old age. The primary unit of analysis included words or phrases in the song lyrics that denoted a particular theme associated with aging.

Sample The search for country music songs with aging concerns was nonsystematic. The primary source for our song selection was Billboard magazine. Each year Billboard charts the top single songs (i.e., those that have had the widest circulation in terms of airplay and retail sales). Songs are charted weekly in Billboard’s ÃÃTop 40ÄÄ and com piled at the end of the year. In the early years, only the top 10 or so songs were charted ; however, since the mid-1950s, the top 40 or 50 songs have been charted. Songs also were collected for Country Song Roundup, which publishes the lyrics to the top songs from various anthologies of country music materials. Also, Dorothy HorstmanÄs Sing Your Heart out Country Boy (1986) and Frye GaillardÄs ÃÃWatermelon WineÄÄ The Spirit of Country Music (1978) were used to review additional songs published since 1950. Finally, it included searching through record and cassette tape selections. Data for this study were collected from a ünal sample of 52 country music songs published from 1950 to 1995 that address the issues of aging and the elderly.

COMMON THEMES Some songs speciücally identify major aging themes in their title. In such cases, the entire song is devoted to the theme of aging or old age [i.e., ÃÃOld Age and TreacheryÄÄ (1991), ÃÃOld Age Pension CheckÄÄ (1962), ÃÃOld Before My TimeÄÄ (1969), ÃÃ Old BonesÄÄ (1980), ÃÃOld Five and DimersÄÄ (1972), ÃÃOld FolksÄÄ (1987), ÃÃOld ManÄs SongÄÄ (1967), ÃÃOld ViolinÄÄ (1986), ÃÃToo Old to Cut the MustardÄÄ (1951)]. Other songs in which themes of aging are not so evident in the title but a theme of aging or old age is found in a portion of the songÄs lyrics were also included in the sample [i.e., ÃÃCrowd Around the CornerÄÄ (1979), ÃÃGrandpaÄÄ (1986), ÃÃHello in ThereÄÄ (1971), ÃÃI Wish I Was 18 AgainÄÄ (1978), ÃÃMemories of UsÄÄ (1975), ÃÃMr BojanglesÄÄ (1968), ÃÃThe WillÄÄ (1970), ÃÃWhereÄve You BeenÄÄ (1989), ÃÃYesterday When I was YoungÄÄ (1969)].


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The country music lyrics for this study were grouped into seven major categories. Each of these categories are described brieýy below : 1. Physical attributes—physical attractiveness, physical features such as hair color, changes in skin ; 2. Mobility and reaction time—ability to move, physical response, declining abilities ; 3. Mental health—diminishing mental capacities, negative in nature ; 4. Reminiscence—reýections of times past, generally positive view of yesteryear and memories of past relationships ; 5. Loneliness and isolation—feelings of abandonment by society, forced disengagement from the workforce, lack of purpose ; 6. Quality of relationships—growing old together, integenerational relationships, both positive and negative ; and 7. Mortality—views of death, emphasis on loss of loved ones, positive memories. It should be noted that some songs fall into more than one category. Some songs makes reference to the relevant dimensions of aging as a process, whereas others reýect on the elderly as a category. A few of the classiücations listed above include several subcategories. For example, the category describing quality of relationships includes the topics of couples growing old together as well as integenerational relationships and ülial obligations between children and their aging parents.

Physical Attributes Feelings about physical attractiveness or appearance serve as a powerful indicator for social interaction. These components tend to have deleterious consequences on how older people view themselves and are perceived by others. Numerous songs in our sample were preoccupied with the concept of physical aging and attractiveness, and this component of aging is frequently illustrated in the lyrics of country music from the last half of this century. Changes in the appearance and texture of skin and hair often are the most visible signs of aging. For example, negative views associated with the physical aging of older men is demonstrated in songs such as ÃÃLet Him RollÄÄ (1975) and ÃÃOld Before My TimeÄÄ (1969). An illustration is provided in the song ÃÃThese HandsÄÄ (1955) : ÃÃThese hands are calloused and old/ Now IÄm tried and IÄm old and I ainÄt got much gold.ÄÄ This negative view is also supported in the words ÃÃIÄll never again turn

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the young ladiesÄ headsÄÄ from ÃÃI Wish I Was 18 Again.ÄÄ (1978). ÃÃOld ManÄs SongÄÄ (1967) presents another negative depiction of aging : Hair on your head, white as the snow Old man, stand feeding the pigeons Your body is rust, skin is like dust Seen in the light of evening Lines on your face, each one a trace Of happiness, distance, and sorrow

Numerous country songs have also focused on the physical attributes of the aging woman who is likely to be viewed more positively. ÃÃTo me your beauty never fades awayÄÄ from ÃÃOur Golden Wedding DayÄÄ (1968) and ÃÃShe wore her age so gracefullyÄÄ from ÃÃGrandmaÄs SongÄÄ (1981) both accent the aging process in a most positive light. Likewise, the 1974 song ÃÃYouÄre Not Getting Older (YouÄre Getting Better)ÄÄ depicts the physical consequences of being an aging woman in an equally positive manner : Sometimes when you feel the babyÄs stretched your pretty skin And you ünd a new grey hair is showing evÄry now and then But changing to a woman is nothing to regret ÄCause to me youÄre just as pretty as you were the day we married YouÄre not getting older, youÄre getting better

However, some songs were more consistent with the way our culture views aging women (i.e., rough skinned, gray haired, or not so slender. An illustrative negative impression of the aging woman is found in the lyrics of ÃÃYard Full of Rusty CarsÄÄ (1972) : ÃÃLord, says the man with the yard full of rusty cars, that womanÄs gettinÄ wide / So much for beauty, son, hand me that TV Guide.ÄÄ The song ÃÃSlow MovinÄ OutlawÄÄ (1968) also describes the aging woman negatively. ÃÃThe women that warmed you, you once thought so pretty/ Now look haggard and old.ÄÄ This supports the frequent societal view that women in particular have been taught what constitutes beauty, and as they grow older, are beset by aging processes that often result in criticism.

Mobility and Reaction Time Another image of aging presented in the lyrics of country music focuses on changes in mobility and reaction time associated with the aging process. In this regard, old age is more frequently seen as a time of failing capacities. Again, the song ÃÃSlow-MovinÄ OutlawÄÄ


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(1968) refers to this theme with the line ÃÃWhere has a slow-movinÄ, once quick -draw old outlaw got to go ?ÄÄ Similarly, in the song ÃÃThis Ole HouseÄÄ (1954), the author states ÃÃThis ole house is a-gettinÄ feeble / This ole house is a-needinÄ paint/ Just like me itÄs tuckered out.ÄÄ The song ÃÃOld BonesÄÄ (1980) also presents an unfavorable view of motor functioning : Old bones inside an old rain coat Old bones inside of old shoes ItÄs time for taking it easy ItÄs time for taking it slow Old bones donÄt move so fast like they did in the past Now if I have to run I simply donÄt go

The 1951 song ÃÃToo Old to Cut the MustardÄÄ also describes decreased ability in motor functioning and physical vigor : When I was young, I had lots of pep I could get around, I didnÄt need no help But since IÄm old and a-gettingÄ grey The people look at me and say Too old, too old HeÄs too old to cut the mustard anymore

However, a more positive view of this component of aging is depicted in the 1968 song ÃÃMr BojanglesÄÄ : I knew a man, Bojangles, and he danced for you, in worn-out shoes Silver hair and ragged shirt and baggy pants, the old soft-shoe He jumped so high, he jumped so high, and then heÄd lightly touch down

In this song a positive image is presented as an aging man is depicted with agility and muscular strength beyond his years. The humorous song ÃÃOld Age and Treachery,ÄÄ recorded in 1991 by Willie Nelson and Waylon Jennings, also presents this dimension of aging in a more positive light : ÃÃOld age and treachery always overcome youth and skill.ÄÄ From the song ÃÃOld Age Pension CheckÄÄ (1962) another positive view is provided : ÃÃLife will just begin at 60/WeÄll all feel very frisky.ÄÄ

Mental Health In general, stereotypes of mental aging depict the elderly very negatively. Mental deterioration is well described in the song ÃÃLet

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Him RollÄÄ (1975) : ÃÃEvery day it gets a little harder to handle, and yet . . ./ Then he lost the thread and his mind got cluttered, and the words just rolled oþ down the gutter.ÄÄ A similar view is provided in ÃÃOld ManÄs SongÄÄ (1967), in which the author writes ÃÃOld man with too few tomorrows/ MemoryÄs gone, friends pass along / Old man, stand lost in your reverie.ÄÄ The more recent song ÃÃWhereÄve You BeenÄÄ (1989), recorded by Kathy Mattea, depicts the consequences of demen tia in old age : In separate beds on diþerent ýoors Claire soon lost her memory Forgot the names of the family She never spoke a word again

The song ÃÃOld FolksÄÄ (1987) also provides a vivid example of mental deterioration : HeÄs always up and out of bed before the morning comes He mumbles and grumbles about all that must be done ThereÄs 80 years of memories that rattle in his head Whiskey and cigars that he keeps stashed beside his bed Some say that heÄs lost his mind.

The humorous song ÃÃGrannyÄs oþ her RockerÄÄ (1982) also denotes older women as possessing a negative image associated with mental health : GrannyÄs oþ her rocker and the family is upset She took her life savings and brought a red Corvette ThereÄs talk of putting her away ; her new life styleÄs a shocker Since she met this man theyÄre saying GrannyÄs oþ her rocker

Reminiscence Reminiscence and life review are recurrent themes commonly addressed by country music songwriters. A common theme often found in country music lyrics concerns review of ÃÃthe good old days, or reýections of a special time in the past or of a particular experience or life style. This speciüc theme is depicted in the song ÃÃMemories of UsÄÄ (1975) : The old man who sold his apples IsnÄt there anymore


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And the city square donÄt seem as big As it did before They tore down that old drug store We used to love so much But everything is still the same In my memories of us

A more recent example of the ÃÃgood old daysÄÄ theme is illustrated in the song ÃÃGrandpa (Tell Me About the Good Ole Days)ÄÄ (1986) recorded by the Judds : Grandpa, take me back to yesterday When the line between right and wrong didnÄt seem so hazy A time when lovers fell in love to stay People kept promises, families prayed together, and daddy stayed home Grandpa, let me üll your whiskey glass Then paint me a picture of long ago

Similar sentiments are expressed in the song ÃÃGrandma HarpÄÄ (1982), which describes special memories from the past : Just think about the times that she lived through And think about the changinÄ world she saw Somehow she raised a decent family out of poverty And for 70 years she stayed married to the same old Grandpa

However, not all lyrics in our sample viewed the past in a positive light. For example, an honest, yet somewhat negative, appraisal of the past is presented in the song ÃÃIn the Good Ole Days (When Times Were Bad)ÄÄ (1978). Life review can contribute to anxiety and feelings of depression over what may be perceived as wasted life. Broken dreams and unülled promises were common negative themes in our sample. For instance, the lines, ÃÃIÄd play the Red River Valley / And heÄd sit in the kitchen and cry/ And run his üngers through 70 years of livinÄ/ And wonder Lord, has every well IÄd drilled run dry,ÄÄ in the song ÃÃDesperadoes Waiting for the TrainÄÄ (1973) illustrate a negative personal life review. Similarly, ÃÃI tried it all when I was young and in my natural prime, now itÄs old dogs and children and watermelon wineÄÄ from ÃÃOld Dogs, Children and Watermelon WineÄÄ (1980) provides a hint of depression and broken dreams. Likewise, ÃÃYesterday When I Was YoungÄÄ (1969) presents a view of a wasted life : The taste of life was sweet as rain upon my tongue I teased at life as if it were a foolish game

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The thousand dreams I dreamed, The splendid things I planned I always built, alas, on weak and shifty sand I lived by night and shunned the naked light of day And only now I see how the years ran away

Finally, in the song ÃÃLifeÄÄ (1975), the writer indicates that anxious moments come to the forefront with the passage : ÃÃLife, have I accom plished anything ? Have I caused anyone to sing a happy song ?ÄÄ

Loneliness and Isolation Loneliness is something feared by many individuals and often is a growing concern with increasing age. Older people frequently suþer from the fear of having no one to relate to. The prospect of growing old alone and ultimately dying alone with no one to note oneÄs passing becomes especially fearful to the elderly who are childless, widowed, or otherwise isolated. With the death of loved ones, there is a diminishing circle of signiücant people who are readily available. A general illustration of the theme of loneliness is presented in a passage from ÃÃHello in ThereÄÄ (1971) : You know that old trees just grow stronger Old rivers grow wider every day Old people just grow lonesome WaitinÄ for someone to say ÃÃHello in thereÄÄ

The song ÃÃChiseled in StoneÄÄ (1987) more speciücally depicts the loneliness and pain of an old widower who is coping with the loss of his beloved wife : You donÄt know about lonely Or how long nights can be ÄTil youÄve lived through the story ThatÄs still livinÄ in me You donÄt know about sadness ÄTil you face life alone You donÄt know about lonely ÄTil itÄs chiseled in stone

It is also interesting to note that the theme of loneliness or isolation as depicted in the lyrics of country music often is associated with the process of retirement and disengagement. There seems to be a common fear of the elderly that the younger generation will with-


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draw from them in their old age. This notion is present in such maleoriented song passages as the following : ÃÃHe said he was family till he got too oldÄÄ from the song ÃÃNashville CowboyÄÄ (1968) and ÃÃRemember Old Timer, when we were little kids /When weÄd talk about our mining days when weÄd get grown and big/But now weÄre old, broken men, they donÄt need us around,ÄÄ a passage from ÃÃClay County MinerÄÄ (1960). Likewise, the song ÃÃOld Dogs, Children, and Watermelon WineÄÄ (1980) paints a picture of a lonely old man who no longer can count on his family and friends. The song ÃÃCrowd Around the CornerÄÄ (1979) provides a view of the retirement years and the attempt of a group of aging men to üll the void : With golden chains the old men cling to watches inside their vests That tells them when itÄs time to move along Just rambling through the avenues they sometimes stop to rest But itÄs hard to ünd a place where they belong

Although the theme of disengagement is also present in lyrics depicting female images of aging, some songs hinted of not only withdrawal but also neglect. ÃÃWindows and WallsÄÄ (1984) states, ÃÃNobody ever comes by any more, nobody ever calls / The most she will do is just stare at the windows and walls.ÄÄ In addition, a verse in ÃÃRockinÄ Alone in an Old RockinÄ ChairÄÄ (1959) serves as an excellent example of this particular theme : Sitting alone in an old rockinÄ chair I saw an old mother with silvery hair She seemed so neglected by those who should care RockinÄ alone in an old rockinÄ chair

Finally, in the song ÃÃBetter Than the NewÄÄ (1974), the songwriter presents the story of an isolated, elderly widow who lived in the last house on a dead-end street : ÃÃShe was somebodyÄs mother, but no one ever bothered to call.ÄÄ

Quality of Relationships Another important area for depicting a particular image of aging in country music lyrics is interpersonal relationships. A number of songs address the eþect of aging on the quality of relations with friends, spouses, and family members. The spousal relationship in old age is a theme that frequently emerges in country music lyrics. It generally is assumed that older married persons are among the most

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fortunate of the older population. For example, with increased longevity, golden wedding anniversaries have become an important mark of a successful marriage. The song ÃÃOur Golden Wedding DayÄÄ (1968) illustrates this positive portrayal : ÃÃWhen we were young we vowed /That we would love until eternity / And hand in hand weÄve come a long way.ÄÄ Similarly, the song ÃÃOld Before My TimeÄÄ (1969), in which the central ügure says ÃÃI donÄt mind growing old before my time, if only I can grow old with you,ÄÄ illustrates this point equally well. Another interesting and perhaps accurate description of the marital relationship is illustrated in ÃÃThe Moon Is Still Over Her ShoulderÄÄ (1984) : ÃÃSheÄs üxed in his mind like the picture / HeÄs kept in his wallet for years/ And the image has never been tarnished by the blood, sweat, and tears.ÄÄ The theme of growing old successfully together is also depicted in the song ÃÃOld Five and DimersÄÄ (1972) : She stood beside me Letting me know she would be Something to lean on When everything ran out on me

However, marriage also sustains particular tensions that may strain that bond in later life. A lack of mutual intimacy is graphically illustrated in ÃÃHello in ThereÄÄ (1971) : Me and Loretta, we donÄt talk much any more She sits and stares out the back screen door And all the news just repeats itself Like some forgotten dream that weÄve both seen

Another illustration of a love relationship that failed to survive the ravages of time is found in ÃÃBlue Eyes Crying in the RainÄÄ (1975) : As we kissed goodbye and parted I knew weÄd never meet again Love is like a dying ember Only memories remain Now my hair has turned to silver All my life IÄve loved in vain

Finally, the shattered dreams that were never fulülled are expressed in the song ÃÃGrey Eyes, You KnowÄÄ (1977) : The cold north wind is blowing, grey eyes, you know The years are quickly going, grey eyes, you know


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And the good life I promised you so long ago Is dead but for the dreaming, grey eyes, you know

Yet another group of songs provides a positive view of intergenerational relations. Many of these songs tend to idealize notions of home and aging parents and express support and gratitude. For example, songs such as ÃÃGrandma HarpÄÄ (1982) and ÃÃDaddyÄs Hand,ÄÄ (1986) are representative of this. An appropriate example is taken from ÃÃMom and DadÄs WaltzÄÄ (1951) : IÄd work and slave And never rave To my mama and daddy Because I know I owe them my all

These images support the concept of intergenerational reciprocity, which stresses the notion that adult children will, in turn, support and be obligated to their aging parents during their later years. The song ÃÃCatÄs in the CradleÄÄ (1974) provides an illustration of an upwardly mobile son who no longer has time to visit his aging father : IÄve long since retired, my sonÄs moved away I called him up just the other day I said, ÃÃIÄd like to see you if you donÄt mind He said, ÃÃIÄd love to, Dad, if I can ünd the time You see, my new jobÄs a hassle and the kids have the ýu But itÄs sure nice talkinÄ to you

In the song ÃÃThe WillÄÄ (1970), even greater tension between a dying father and his children is presented. In this song, old John was a multimillionaire who, through the years, had experienced constant trouble from his children. As the song states ÃÃThey ýew in for the funeral/ Just in time to put the old man down/ They didnÄt shed no teardrops, and far as I could tell, they wasnÄt sad.ÄÄ The children are depicted as greedy, and in the end ÃÃIt all goes to Luke the hired hand.ÄÄ ÃÃThat Silver -Haired Daddy of Mine,ÄÄ written in 1931 and introduced again in 1960, also presents a history of intergenerational conýict between a parent and child : If I could recall all the heartaches Dear old Daddy, I caused you to bear If I could erase those lines from your face And bring back the gold to your hair

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Mortality Numerous songs in our sample made reference to concerns regarding mortality. Perhaps this is in keeping with the view that death is more salient for aging individuals than younger ones because the older peopleÄs own physical condition and the deaths of others in their age group serve as constant reminders of the sureness of death. One of the more graphically depictive views of death is provided in ÃÃSpeckled PonyÄÄ (1967), in which Freddy Jones, an aging ranch hand, faces death : I remember Freddy told me, when I ride my speckled pony, IÄm gonna let that pony know heÄs found a man whoÄll ride him well All my friends have gone before me, but IÄll ride him home to glory Out of nothing but my ornery and pride in my own self . . . Death ainÄt nothin but a speckled pony that ainÄt never been rode

In ÃÃDesperadoes Waiting for the TrainÄÄ (1973), Guy Clark compares the dying of an 80-year -old man with catching a train : ÃÃCome on Jack, that son of a bitch is coming /And weÄre desperadoes waiting for the train.ÄÄ These views of death are consistent with the notion that men tend to see death as an antagonist or the inevitable enemy whereas the deaths of aging women are described in a more peaceful vein. For example, in ÃÃGrey Eyes, You KnowÄÄ (1977) a more passive view of death is illustrated : Hard times took the blue right from your eyes Leaving them as grey as the winter sky WeÄve had our talk, Now I must walk away And leave you here beneath this mound of clay

The song ÃÃCountry BumpkinÄÄ (1974) also illustrates a more calm view of death : Forty years of hard work later, in a simple quiet and peaceful country place The heavy hand of time had not erased the raptured wonder from the womanÄs face She was lying in her deathbed knowing fully well her race was nearly run But she softly smiled and looked up at the sad eyes of her husband and her son

In several songs, death is accepted as inevitable and as a natural course of events. In this regard, death is viewed as a process ; a ünal


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station or stage of life that must be encountered. In the song ÃÃOld ViolinÄÄ (1986) the author presents the realization that as you grow older thoughts about death may become more imminent : When I looked in the mirror ThatÄs when I knew That there I was seeinÄ An old violin Soon to be put away And never played again And just like that it hit me That old violin and I were just alike WeÄd give our all to music And soon, weÄll give our life

Other songs demonstrate this view equally well. For example, the song ÃÃHow Can I Help You Say GoodbyeÄÄ (1993) recorded by Patty Loveless describes an aging mother and daughter who are attempting to accept death as a natural change in life : SittinÄ with mama, alone in her bedroom She opened her eyes, and then squeezed my hand She said, ÃÃI have to go now, my time here is overÄÄ Mama whispered softly, ÃÃTime will ease your pain LifeÄs about changing, nothinÄ ever stays the sameÄÄ

ÃÃIÄm three quarters home from the start to the endÄÄ in ÃÃI Wish I Was 18 AgainÄÄ (1978) and ÃÃAnd though our lives will soon be passed / We thank the Lord that we could last/ To celebrate our golden wedding dayÄÄ from ÃÃOur Golden Wedding DayÄÄ (1968) also illustrate this view. Death in old age frequently is viewed as an opportunity to escape from the physical or emotional suþering of this life. This view is evident in the song ÃÃBetter Than the NewÄÄ (1974), which describes the passing of an old widow : Oh life, youÄre so cruel to older people What do they have to look forward to YouÄre just so cruel to older people Is it any wonder that she gave up on you?

ÃÃThis Ole HouseÄÄ (1954), a song written about the death of an old prospector, states : This ole house is a-gettinÄ old This ole house lets in the rain

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This ole house lets in the cold Oh my knees are gettinÄ chilly But I feel no fear or pain ÄCause I see an angel peekingÄ Through a broken window pane

CONCLUSION The general ündings from this content analysis lend support to previous research (Cohen & Kruschwitz, 1990 ; Leitner, 1983) on music lyrics that reported more negative than positive impressions. More speciücally, lyrics addressing physical and mental attributes, mobility and reaction time, and loneliness and isolation were found to be negative in nature. However, when the elderly were viewed as a category (i.e., mother, father, grandparent), the impressions found in the lyrics of country music seemed to be more positive. For example, the manner in which elderly characters were depicted as a symbol or representing the ÃÃgood old daysÄÄ were overall positive. In addition, there seems to be a general acceptance or affirmation associated with old age and eventual death. However, it should be noted that these views were generally more positive in cases in which the song characters were considered to be signiücant others. One can conclude that it is difficult to examine the amount of inýuence television, magazines, newspapers, poetry, music, and other informal agents of socialization have on aging attitudes and stereotypes held in our society. Whether an accurate description of day -today living or simply song lyrics written for marketing purposes, agents of socialization such as songs do tell stories that are received by consumers. To the extent to which individuals digest such material, music lyrics can be inýuential in the production and reinforcement of the publicÄs negative views of aging and old age. The themes identiüed in this article are meant to be a starting point for investigation and are by no means conclusive. They are, however, similar to those themes reported by previous research (Cohen & Kruschwitz, 1990). It is hoped that this research will enable gerontologists and other social scientists to establish a more com prehensive picture of how aging and old age are depicted in this cultural form as well as suggesting new areas for additional research. For example, there is a need to compare these ündings in a more comprehensive fashion with other musical forms such as pop/ rock music. Certainly, a more in-depth analysis of any of the themes pre-


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sented here or the discovery of new ones would be of equal importance. Too, a more comprehensive content analysis is needed in compar ing any signiücant changes in how aging and the elderly have been depicted in musical lyrics over time. Although this research was limited to songs written and recorded during the last 50 years, com paring the ündings presented in this article to songs written in earlier periods might prove insightful. For example, with few exceptions, such songs written during the 1800s and 1900s depicted old age as a time of failing capacities, fear of loss of attractiveness, loneliness, and poverty (Barrow, 1996 ; Cohen & Kruschwitz, 1990). The song ÃÃOver the Hill to the Poor HouseÄÄ (1874) provides a most distressing view of aging : For IÄm old and helpless and feeble The days of my youth have gone by Then over the hill to the poor house I wander alone there to die

In comparison, the song ÃÃShoestringÄÄ (1989) presents a more positive view of life in the last days : They say heÄs in an old folks home Shoestring done retired on Uncle Sam HeÄs a-livinÄ it up in his private room PlayinÄ checkers and eatinÄ prunes

Although songs in our sample generally presented an overall negative view of old age, this view is perhaps not as negative as it was a century ago. Finally, it can be argued that the fears of aging commonly expressed in songs at the turn of the century were more relevant than at the present. Life expectancy was much lower, and the lack of advanced health and social programs presented few alternatives. Now, with elderly people leading more active, healthier lives with greater economic independence, it is likely that more positive images will emerge in song lyrics. However, Barrow (1996) maintains that the negative stereotypes still present in popular songs serve as an example of the cultural lag that contributes to continue negative images of aging and old age. To the extent that the depiction of aging and old age in country music reýects an accurate view of our cultural perceptions, the ündings presented in this article suggest that establishing a more positive view of aging remains a challenge.

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REFERENCES Almerio, G. M., & Fillmer, T. (1988). Portrayal of older characters in children ’s magazines. Educational Gerontology, 14, 15–31. Barrow, G. W. (1996). Aging in American society. Needham Heights, MA : Allyn & Bacon. Bazzini, D. G., McIntosh, W. D., Smith, S. M., Cook, S., & Harris, C. (1997). The aging woman in popular ülm : Underrepresented, unattractive, unfriendly, unintelligent. Sex Roles : A Journal of Research, 36, 531–544. Bell, J. (1992). In search of a discourse on aging: The elderly on television. The Gerontologist, 32, 79–80. Bishop, J. M., & Krause, D. R. (1984). Depictions of aging and old age on Saturday morning television. The Gerontologist, 24, 91–94. Buchholz, M., & Bynum, J. E. (1982). Newspaper presentation of America’s aged : A content analysis of image and role. The Gerontologist, 22, 83–88. Cassata, M., & Irwin, B. J. (1997). Young by day: The older person on daytime serial drama. In H. S. N. Al-Deen (Ed.), Cross-cultural communication and aging in the United States. Mahwah, NJ : Erlbaum. 215–230. Clark, M. (1980). The poetry of aging: Views of old age in contemporary American poetry. The Gerontologist, 20, 188–191. Cohen, E. S., & Kruschwitz, A. L. (1990). Old age in America represented in nineteenth and twentieth century popular sheet music. The Gerontologist, 30, 345–354. Davies, L. J. (1977). Attitudes toward aging as shown by humor. The Gerontologist, 17, 220–226. Demos, O., & Jache, A. (1980). When you care enough : An analysis of attitudes toward aging in humorous birthday cards. The Gerontologist, 21, 209–215. Fischer, D. H. (1978). Growing old in America. New York : Oxford University Press. Gaillard, F. (1978). Watermelon wine : The spirit of country music. New York : St. Martin’s Press. Gritzner, C. F. (1978). Country music: A reýection of popular culture. Journal of Popular Culture, 11, 857–864. Hajjar, W. J. (1997). The image of aging in television commercials : An update for the 1990s. In H. S. N. Al-Deen (Ed.), Cross -cultural communication and aging in the United States. Mahwah, NJ : Erlbaum. 231–244. Harris, A. J., & Feinberg, J. (1978). Television and aging : Is what you see what you get ? The Gerontologist, 18, 221–226. Hickey, N. (1990, October 20). Its audience is aging . . . So why is TV still chasing the kids ? TV Guide, pp. 22–24. Horstman, D. (1986). Sing your heart out country boy. New York : E. P. Dutton & Co. Jensen, J. (1998). Nashville sound, authenticity, commericialization and country music. Nashville, TN : Vanderbuilt University Press. Lawler, J. (1996). Songs of life: The meaning of country music. Nashville: Pogo Press. Leitner, M. J. (1983). The representation of aging in pop/rock music of the 1960s and 70s. Activities, Adaptation, and Aging, 15, 49–53. Loelterle, B. (1993). Ageless prose : A study of the media projected images of aging. New York : Garland. Loughman, C. (1977). Novels of senescence : A new naturalism. The Gerontologist, 17, 79–84. Palmore, E. (1986). Attitudes toward aging as shown by humor : A review. In L. Nahemow, K. A. McCluskey -Fawcett, & P. E. McGhee (Eds.), Humor and aging. Orlando, FL : Academic.


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Richman, J. (1977). The foolishness and wisdom of age: Attitudes toward the elderly as reýected in jokes. The Gerontologist, 17, 210–219. Russell, T. (1970) Blacks, Whites, and blues. New York : Stein & Day. Sohngen, M. (1977). The experience of old age as depicted in contemporary novels. The Gerontologist, 17, 70–78. Sohngen, M., & Smith, R. J. (1978). Images of old age in poetry. The Gerontologist, 18, 181–186. Steinberg, D. (1993, March 13). Seniorities : How fairy tales help perpetuate ageist mytholody. San Francisco Examiner, p. C7.

APPENDIX

Music Bibliography ‘‘Better Than the New,’’ Fred Foster, Combine Music Corp., 1974 ‘‘Blue Eyes Crying in the Rain,’’ Willie Nelson, Milene Music Co., 1975 ‘‘Cats in the Cradle,’’ Harry Chapin, Story Songs Ltd., 1974 ‘‘Chiseled in Stone,’’ Vern Gosdin and Max Barnes, Hokem Music, 1987 ‘‘Clay Country Miner, ’’ Don Wayne, Warden Music Corp., 1960 ‘‘Country Bumpkin,’’ Don Wayne, Tree Publishing Co., 1974 ‘‘Crowd Around the Corner, ’’ E. T. Connelly, Hall Clement Co., 1979 ‘‘Daddy’s Hands,’’ Holly Dunn, Uncle Artie, 1986 ‘‘Desperadoes Waiting for the Train,’’ Guy Clark, Chappell Co., Inc., 1973 ‘‘Grandma Harp,’’ Merle Haggard, Blue Book Music Co., 1982 ‘‘Grandma’s Song,’’ Gail Davies, Great Cumberland Music Co., 1981 ‘‘Grandpa (Tell Me About the Good Ole Days),’’ Jamie O’Hara, Cross Keys Publishing Co., 1986 ‘‘Granny’s oþ Her Rocker, ’’ David Allen, Cedarwood Publishing Co., 1982 ‘‘Grey Eyes, You Know,’’ Harlan Howard, Glaser Publishing, 1977 ‘‘Hello in There, ’’ John Prine, Walden Music, Inc., 1971 ‘‘How Can I Help You Say Goodbye,’’ Burton Collins and Karen Taylor, BMI Music Corp., 1993 ‘‘I Wish I Was 18 Again,’’ Sonny Throckmorton, Tree Publishing Co., 1978 ‘‘In the Good Ole Days (When Times Were Bad),’’ Dolly Parton, EMI, Inc., 1978 ‘‘Let Him Roll,’’ Guy Clark, Sunbury Music Inc., 1975 ‘‘Life,’’ Marty Robbins,’’ ATV Music Corp., 1975 ‘‘Memories,’’ Billy Strange and Scott Davis, Gladys Music, Inc., 1969 ‘‘Memories of Us,’’ Dave Kirby and Glenn Martin, Tree Publishing Co., 1975 ‘‘Mom and Dad’s Waltz,’’ Lefty Frizzell, Peer Southern Organization, 1951 ‘‘Mr. Bojangles,’’ Jerry Jeþ Walker, Cotillin Music, Inc., 1968 ‘‘Nashville Cowboy,’’ Bob Talbert, Tree Publishing Co., 1968 ‘‘Old Age and Treachery, ’’ Willie Nelson, EPIC Music, Inc., 1991 ‘‘Old Age Pension Check, ’’ Roy Acuþ, Acuþ-Rose Publications, 1962 ‘‘Old Before My Time,’’ Steve Karliski, Metro -Goldwyn-Mayer, Inc., (M.G.M.), 1969 ‘‘Old Bones,’’ John Hadley, Tree Publishing Co., 1980 ‘‘Old Dogs, Children, and Watermelon Wine,’’ Tom T. Hall, Halfnote Music, 1980 ‘‘Old Five and Dimers,’’ Billy Joe Shaver, ATV Music Corp., 1972 ‘‘Old Folks,’’ Mike Reid, BMG Music Publishing, 1987

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‘‘Old Man’s Song,’’ Tom Rush, Tree Publishing Co., 1967 ‘‘Old Violin,’’ Johnny Paycheck, BMI, 1986 ‘‘Our Golden Wedding Day,’’ Jonny and Jonie Bosby, Buckhorn Music Co., 1968 ‘‘Rockin’ Alone in an Old Rocking Chair,’’ Bob Miller, MCA Music, 1959 ‘‘Shoestring,’’ Sam Hogin and David Gillon, Big Sky Music, 1989 ‘‘Slow-Movin’ Outlaw,’’ Dee Moeller, EMI, Inc., 1968 ‘‘Speckled Pony,’’ Dave Hickey, ABC/Dunhill Music, Inc., 1967 ‘‘That Silver-Haired Daddy of Mine,’’ Gene Autry, ABC/Dunhill Music, Inc., 1960 ‘‘The Older the Violin, The Sweeter the Music,’’ Curly Putman, Northridge Music Co., 1974 ‘‘The Moon Is Still Over Her Shoulder,’’ Lawyer’s Daughter, Hugh Prestwood, 1984 ‘‘The Grandpa That I Know,’’ Shawn Camp, Tree Publishing Co., 1987 ‘‘The Will,’’ Sheb Wooley, MGM, 1970 ‘‘These Hands,’’ Eddie Novack, Hill and Range Songs, Inc., 1955 ‘‘This Ole House,’’ Stuart Hamblen, Hamblen Music, Inc., 1954. ‘‘Too Old to Cut the Mustard,’’ Bill Carlisle, Acuþ-Rose Publications, Inc., 1951 ‘‘Where’ve You Been, ’’ Jon Vezner and Don Henry, ASCAP, Inc., 1989 ‘‘Windows and Walls,’’ Dan Fogelberg, EPIC Music, Inc., 1984 ‘‘Yard Full of Rusty Cars,’’ Shel Silverstein, Hill and Range Songs, 1976 ‘‘Yesterday When I Was Young,’’ Herbert Kretzner, Hampshire House Publishing Co., 1969 ‘‘You’re not Getting Older (You’re Getting Better), ’’ Freddy Weller, Roadmaster Music Corp., 1974