Jewly Hight

On the coffee table of his cozy East Nashville apartment, Aaron Lee Tasjan has a notebook open to autobiographical scrawling — it's a kind of cheat sheet to his musical past, which he prepared, with his mother's help, just in case he forgot anything during his interview with NPR. To be fair, it isn't all that simple to retrace his weaving, winding musical path. The singer-songwriter tried out a variety of musical niches, cities and scenes before landing in Nashville.

Mary Bragg and Becky Warren are nursing beers and comparing notes on their conscientiousness.

For decades now, country's aesthetic and ideological sensibilities have been shaped as much by the music's modern, middle-class suburban appeal as its rural working-class roots, which can make for quite the rhetorical push-and-pull (likely one of many factors that contributed to the Dixie Chicks' famed expulsion from the format over voicing distaste for the second President Bush during a U.K. concert). Working-class political speech hasn't always been recognized as political at all; it's just as likely to be dismissed as class resentment.

In honor of the 50th anniversary of the CMA Awards, show producers worked a truly impressive number of performers into the Nov. 2 telecast, utilizing everything from moving medleys to photo montages and mentions of legends seated in the audience.

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