Changes

==Tourists==

==Tourists==

By 1998 more than six million visitors came annually, and in 2005 over 8 million; despite its small size it ranks 16th among all overnight leisure destinations in the United States.  Tourists spend about $1.5 billion a year, and growth continues apace. The town attracts regional conferences and conventions, and is a favorite for church groups. A geographical profile of Branson visitors shows: 11% come from a radius of 100 miles; 22% from 101-300 miles; and 67% from 301+ miles.  The top three motivations for coming are  entertainment and shows, theme parks,  and shopping.  The average family income of the visitor is $55,186; the average age is 57, indicating a strong appeal to an older audience. Although there are activities available for children, it is not Disneyland.

By 1998 more than six million visitors came annually, and in 2005 over 8 million; despite its small size it ranks 16th among all overnight leisure destinations in the United States.  Tourists spend about $1.5 billion a year, and growth continues apace. The town attracts regional conferences and conventions, and is a favorite for church groups. A geographical profile of Branson visitors shows: 11% come from a radius of 100 miles; 22% from 101–300 miles; and 67% from 301+ miles.  The top three motivations for coming are  entertainment and shows, theme parks,  and shopping.  The average family income of the visitor is $55,186; the average age is 57, indicating a strong appeal to an older audience. Although there are activities available for children, it is not Disneyland.

==Entertainment industry==

==Entertainment industry==

As a country music center, Branson evolved through three stages of development: use of local talent, introduction of nationally recognized veteran performers, and an infusion of a younger generation of stars. For the country music artist, Branson provides a music setting historically associated with traditional country music, an opportunity to perform on a regular basis in a permanent location, cultural and physical landscapes ideally suited for establishment of residence, and investment possibilities. For the country music fan, Branson's advantages over Nashville, Tennessee, include low-cost, family entertainment clustered in one area, multiple theaters with greater seating capacities, and additional tourist-oriented amenities.<ref> George O. Carney, "Branson: The New Mecca of Country Music." ''Journal of Cultural Geography'' 1994 14(2): 17-32. 0887-3631 </ref>  

As a country music center, Branson evolved through three stages of development: use of local talent, introduction of nationally recognized veteran performers, and an infusion of a younger generation of stars. For the country music artist, Branson provides a music setting historically associated with traditional country music, an opportunity to perform on a regular basis in a permanent location, cultural and physical landscapes ideally suited for establishment of residence, and investment possibilities. For the country music fan, Branson's advantages over Nashville, Tennessee, include low-cost, family entertainment clustered in one area, multiple theaters with greater seating capacities, and additional tourist-oriented amenities.<ref>George O. Carney, "Branson: The New Mecca of Country Music." ''Journal of Cultural Geography'' 1994 14(2): 17-32. 0887-3631</ref>  

==Culture==

==Culture==

Branson has remained ethnically and religiously homogeneous and has used its image as a simple and safe country town with strong family values to attract increasing number of tourists. There is little liquor and no casinos, prostitution, or off-color venues.  The Osmonds, Yakov Smirnoff, Tony Orlando and Andy Williams have all drawn enormous crowds in Branson. Wayne Newton, Merle Haggard and Willie Nelson all flopped.

Branson has remained ethnically and religiously homogeneous and has used its image as a simple and safe country town with strong family values to attract increasing number of tourists. There is little liquor and no casinos, prostitution, or off-color venues.  The Osmonds, Yakov Smirnoff, Tony Orlando and Andy Williams have all drawn enormous crowds in Branson. Wayne Newton, Merle Haggard and Willie Nelson all flopped.

===Baldknobbers===

===Baldknobbers===

[[Image:Branson2.jpg|thumb|350px|The Baldknobbers in Branson, circa early 1960s]]

[[Image:Branson2.jpg|thumb|350px|The Baldknobbers in Branson, circa early 1960s]]

The mountain roots offer the promise and possibility of relating to the unhurried, happy-go-lucky lifestyle of the hillbilly.<ref> The word "hillbilly" dates to 1900, when the ''New York Journal'' explained that "a Hill-Billie is a free and untrammeled white citizen of Alabama, who lives in the hills, has no means to speak of, dresses as he can, talks as he pleases, drinks whiskey when he gets it, and fires off his revolver as the fancy takes him." Quoted in Archie Green, "Hillbilly Music: Source and Symbol." ''Journal of American Folklore'' 1965. 78: 204–227. The term "hillbilly music" was first noticed in the 1920s, and became "country music" in the 1930s.</ref> It is a way of life far removed from the complexities of the outside world. Branson celebrates them as "baldknobbers," with suggestions of the old popular image of barefoot, lanky country "hicks" standing beside ramshackle outhouses, wearing overalls, sporting toothy-grins, and clutching corncob pipes and jugs of moonshine.<ref> "Baldknobber" comes from the name of a vigilante group in Branson in the 1880s that tried to stamp out criminal gangs that preyed on travelers in the isolated area.</ref>

The mountain roots offer the promise and possibility of relating to the unhurried, happy-go-lucky lifestyle of the hillbilly.<ref>The word "hillbilly" dates to 1900, when the ''New York Journal'' explained that "a Hill-Billie is a free and untrammeled white citizen of Alabama, who lives in the hills, has no means to speak of, dresses as he can, talks as he pleases, drinks whiskey when he gets it, and fires off his revolver as the fancy takes him." Quoted in Archie Green, "Hillbilly Music: Source and Symbol." ''Journal of American Folklore'' 1965. 78: 204–227. The term "hillbilly music" was first noticed in the 1920s, and became "country music" in the 1930s.</ref> It is a way of life far removed from the complexities of the outside world. Branson celebrates them as "baldknobbers," with suggestions of the old popular image of barefoot, lanky country "hicks" standing beside ramshackle outhouses, wearing overalls, sporting toothy-grins, and clutching corncob pipes and jugs of moonshine.<ref>"Baldknobber" comes from the name of a vigilante group in Branson in the 1880s that tried to stamp out criminal gangs that preyed on travelers in the isolated area.</ref>

Branson entrepreneurs wove Christian sentiment into a fabric of nostalgia, romantic traditionalism, and whitewashed rusticity that downplays the extreme hardships of mountain life and plays up 21st century family values.<ref> Jerry Rodnitzky, "Back To Branson: Normalcy and Nostalgia in the Ozarks." ''Southern Cultures'' 2002 8(2): 97-105. 1068-8218 </ref>   

Branson entrepreneurs wove Christian sentiment into a fabric of nostalgia, romantic traditionalism, and whitewashed rusticity that downplays the extreme hardships of mountain life and plays up 21st century family values.<ref>Jerry Rodnitzky, "Back To Branson: Normalcy and Nostalgia in the Ozarks." ''Southern Cultures'' 2002 8(2): 97-105. 1068-8218</ref>   

Branson is the setting for ''The Shepherd of the Hills'' (1907), a novel by  Harold Bell Wright that depicted the folklore of the Ozarks in romantic fashion. A dramatic version has been a major highlight for visitors since 1960.

Branson is the setting for ''The Shepherd of the Hills'' (1907), a novel by  Harold Bell Wright that depicted the folklore of the Ozarks in romantic fashion. A dramatic version has been a major highlight for visitors since 1960.

==Further reading==

==Further reading==

* Francaviglia, Damien. "Branson, Missouri: Regional identity and the emergence of a popular culture community." ''Journal of American Culture'' Summer 1995, Vol. 18 Issue 2, pp 57-74, with a good history Online in [[EBSCO]]

* Francaviglia, Damien. "Branson, Missouri: Regional identity and the emergence of a popular culture community." ''Journal of American Culture'' Summer 1995, Vol. 18 Issue 2, pp 57–74, with a good history Online in [[EBSCO]]

* Harkins, Anthony. ''Hillbilly: A Cultural History of an American Icon'' (2005) [http://www.amazon.com/Hillbilly-Cultural-History-American-Icon/dp/0195189507 excerpt and text search]

* Harkins, Anthony. ''Hillbilly: A Cultural History of an American Icon'' (2005) [http://www.amazon.com/Hillbilly-Cultural-History-American-Icon/dp/0195189507 excerpt and text search]

* Ketchell, Aaron K. ''Holy Hills of the Ozarks: Religion and Tourism in Branson, Missouri'' (2008) [http://www.amazon.com/Holy-Hills-Ozarks-Religion-Religions/dp/0801886600/ref=sr_1_1?ie=UTF8&s=books&qid=1237536559&sr=8-1 excerpt and text search], a scholarly study  

* Ketchell, Aaron K. ''Holy Hills of the Ozarks: Religion and Tourism in Branson, Missouri'' (2008) [http://www.amazon.com/Holy-Hills-Ozarks-Religion-Religions/dp/0801886600/ref=sr_1_1?ie=UTF8&s=books&qid=1237536559&sr=8-1 excerpt and text search], a scholarly study  

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[[category:Missouri Cities and Towns]]

[[Category:Missouri Cities and Towns]]

[[Category: Bands]][[Category: Musicians]][[Category:Theater]]

[[Category:Bands]][[Category:Musicians]][[Category:Theater]]

[[Category: Tourist Attractions]][[Category:Vaudeville]]

[[Category:Tourist Attractions]][[Category:Vaudeville]]