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15 The first National Barn Dance performer who used these popular concepts was Kentuckian Bradley Kincaid, and it was Kincaid who was primarily responsible for their prominence at the beginning of barn dance radio’s commercial age in the late 1920s. A Berea College graduate, Kincaid migrated to Chicago to work for the YMCA, and then joined WLS’s staff in 1928. 16 Kincaid’s use of Appalachia was apparent in a series of radio addresses he broadcast, probably in 1929, in which he erased what he considered the more immoral implications of Appalachia’s image, especially its workingclass orientation and the hillbillies who seemed to dominate it.

16 Kristine M. McCusker On other shows, Lair used this musical trope to acknowledge that many migrants found it difficult to go home. Whereas cold water and the reliance on oil lamps had been a part of everyday rural life before a migrant moved, modern conveniences such as running water and electric lights made these formerly trivial matters unendurable. Thus, migrants may have stayed away from home to avoid those hardships. Others feared that home was not what it used to be. Mother, in this instance, represented the old traditional life of hardship and sacrifice, and Lair reminded his audiences that a migrant had to remain responsible to her or her memory.

16 34 Peter La Chapelle This emphasis on housework and the private sphere of the suburban home as the ultimate setting for country music publicity marked a major departure not just from prewar radio programming and early fan journalism, but from local country music publicity efforts in general.

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