In the 1920s there was a growing interest in country music, and bluegrass was one of the genres of hillbilly music that attracted attention across the country. Known for their unique guitar sound, gentle, religious ballads, and mountain singing practices, the Carter family is considered one of the great representatives of bluegrass music in the Appalachian region. Beloved by audiences across the country, they established a “standard” sound that people would expect from bluegrass music. Taking a deeper look at the genre, almost all bluegrass bands are made up exclusively of white people. Why were there no traces of other races in the region involved in the music? As the listener might imagine in the good old days and pretty settings depicted in bluegrass ballads, very few details about the lives of people living in the present could be heard from the songs. Bluegrass music is not a genre that provides listeners with a genuine picture of the musical and social landscape of the Appalachian region, but the commercialized musical genre created by white residents of Appalachia for white people throughout the United States of America using a broadcast Newly developed and commercial recording technology. In the 1930s, the United States was recovering from the Great Depression, and urban audiences needed products that offered comfort and opportunities for escape. At the same time, radio broadcasts became more common in the country, offering audiences affordable entertainment. In one story, ordinary Southerners listened to the radio on Saturday nights because “there was nothing else to do.” Producers traveled the South, including the Appalachian region, to record the rich, local, and traditional music...... middle of paper ......ed to Be Good People': Responsibility, Crazy Water Crystals, and Hillbilly Music on the Air, 1933-1935. The Journal of American History 81, no. 4 (March 1995): 1591-1620.Hayes, John. "Religion and Country Music." Religion Compass 4/4 (2010): 245-252.Kahn, Ed. “The Carter Family on Frontier Radio.” American Music 14, no. 2 (Summer 1996): 206-217.Mills, Susan W. "Bringing Family Tradition in Bluegrass Music into the Music Classroom." General music today 22, n. 2 (January 2009): 12-18.Roy, William G. “Aesthetic Identity, Race, and American Popular Music.” Qualitative Sociology 25, no. 3 (Fall 2002): 459-469. Sweet, Stephen. “Bluegrass Music and Its Misleading Portrayal of Appalachia.” Popular Music and Society, no.3 (1996): 37-51.Thompson, Deborah J. “Searching for Silenced Voices in Appalachian Music.” GeoJournal 65, no. ½, Geography and music (2006): 67-78.