Despite—or perhaps because of—Southern Protestantism’s intense mistrust “worldly” sensuality, a unique strain of Southern hedonism emerged. In the seminal The Mind of the South (1941), W. J. Cash describes this streak of Southern hedonism as a “hell of a fellow”, which was to “stand on his head in a bar, to toss down a pint of raw whisky at a gulp, to fiddle and dance all night...to fight harder and love harder than the next man” ([21], p. 50). Historian Ted Ownby writes of the divided soul of God-fearing Southerners drawn towards hedonistic pleasures: “The two forces operated against each other in an emotionally charged dialectic, the intensity of each reinforcing the other” ([22], p. 17). Historian Paul Harvey points to evidence of this Southern religious tension by noting that the states that compose the evangelical “Bible Belt “ also have “the highest rates of violence, incarceration, divorce, alcoholism, obesity, and infant mortality” in America ([23], p. 6). To put it another way, if drinking one beer damns your soul as much as twelve beers, and you have decided you are going to drink beer, then why stop at one and limit your forbidden fun?
Most significantly, this streak of “sinful” Southern hedonism does not typically function as a
rebellion against the church—it is not a rival set of moral values or a challenge to God’s authority.
Rather, “sinful” behavior is fully recognized as such by the “sinner”. Rock n’ Roll pioneer Jerry Lee
Lewis alludes to Luke 16:13 when he declared, “I’m draggin’ the audience to hell with me. How
am I gonna git ‘em to heaven with [the song] ‘Whole Lotta Shakin’ Goin’ On’? You can’t serve two
masters; you’ll hate one an’ love the other” ([24], p. 245). Lewis is affirming his belief in the strict
religious system that sharply divides the world into “saved” and “damned”, “secular” and “sacred”.
He manages to keep his faith in this religious system despite believing he will wind up on the “wrong”
side of it. Lewis knows who is “master”; he also believes he is a bad “servant”. W.J. Cash speaks to
this when describing the religious burden of the “hell of a fellow”: “But even as he danced, and even
though he had sloughed off all formal religion, his thoughts were with the piper and his fee” ([21],
p. 55).
Many of the most influential blues, country, and Rock n’ Roll musicians in the first half of the
twentieth century grew up in the religious culture of evangelical Protestantism, with the church often
being where they first learned to play and love music. However, as they moved away from playing
overtly Christian “gospel” music, evangelical Protestantism held that they were participating in secular,
sinful activities that were part of a Fallen world. The dominant religious culture held that God and the
Devil, salvation and damnation, are at war with one another; each human soul is a battlefield, and
the stakes could not be higher. In this harsh, all-or-nothing religious culture, the entire burden for
salvation or damnation is on the individual, causing Georgia’s Flannery O’Connor to state, “while
the South is hardly Christ-centered, it is most certainly Christ-haunted” ([6], p. 818). The South’s
prolific production of Gospel music—music often performed in church with explicit Christian themes,
exemplified the South as “Christ-centered”, but many blues, country, and Rock n’ Roll musicians were
examples of the South at its most “Christ-haunted”.
3. The Blues and Southern Soul
Much of Rock n’ Roll’s rebellious spirit is inherited from in its primary musical precursor, the
blues. Blues music developed as the music of Saturday night, performed in the free time and place
when African Americans in the Jim Crow South could express themselves in ways discouraged or
impossible in other spaces. Adam Gussow argues that “black southerners evolved blues song as a way
of speaking back to, and maintaining psychic health in the face of, an ongoing threat of lynching ([25],
p. xii). Being a blues musician was in itself an act of resisting the neo-slavery labor system in the South,
since blues musicians could avoid the hard physical labor that was the lot of most African Americans
during this period. Mississippi bluesman David “Honeyboy” Edwards describes this when remarking,
“When the white man sees you with that guitar he thinks, ‘You got that machine so I know you ain’t
goin’ to do no work” ([26], p. 125).
In a society that defined “secular” pleasures of the flesh as sinful, the blues often reveled in the
pleasures of this world, in terms of its lyrics, the lives of blues musicians, and the sensuous atmosphere
