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Sons of Britches. The Great American Chuckwagon Dinner Show. These are just a couple of the many shows performed in Branson, MO, where the seemingly innocent entertainment fuels American conservatism.
Branson, Missouri, the Ozark Mountain mecca of wholesome entertainment, has been home to countless stage shows espousing patriotism and Christianity, welcoming over ten million visitors a year. Some consider it "God's Country" and others "as close to Hell as anything on Earth." For Joanna Dee Das, Branson is a political, religious, and cultural harbinger of a certain enduring dream of what America is. She takes Branson more seriously than the light-hearted fun it advertises—and maybe we should too.
For Das, Branson's performers offer visions of the American Dream that embody a set of values known as the three Fs: faith, family, and flag. Branson boosters insist that these are universal values that welcome all people; the city aims to capture as many tourists as possible. But over the past several decades, faith, family, and flag have become markers of contemporary conservatism. The shows and culture of Branson, for all their fun and laughter, have been a galvanizing political force for white, working-and-middle class, Christian Americans. For social and economic conservatives alike, Branson is practically proof-of-concept for America as they want it to be.
Faith, Family, Flag is a comprehensive history of the Branson entertainment industry, within the context of America's long culture wars. Das reveals how and why a town known for popular entertainment, a domain associated most often with the political left ("Hollywood liberals"), came to be so important to the political right and its vision for America.
Contents
Introduction: Branson as Real America
1. Foundation: God's Country
2. The Folk and the Frontier: Performing America's Past
3. Family: The Hillbilly Variety Show
4. Free Enterprise: The Business of Show Business
5. Faith: The Culture Wars
6. Flag: The Most Patriotic City in America
7. Future: The City on a Hill
Epilogue: On the Ground in the Culture War
Acknowledgments
Appendix: Branson Shows, 1959 to 2024
Notes
Bibliography
Index
