Festivals have been one means of positioning places in national media landscapes, not only attracting tourists, but also changing the identity of places in ways that counter representations of rural decline and create a sense of community (Duffy, 2000). Country and western music presented "nostalgia for a country paradise, symbolized by longing for a simpler way of life, looking back to a simple place" (Kong, 1995, p. in Nashville, Tennessee. 167). Such estimates of music venues reflect, to some extent, the accumulation of production infrastructures, the raw number of active musicians, and the continuous recording of a relatively dense cast; in other cases, such associations are created as part of media campaigns and local marketing strategies, "invented traditions" (Hobsbawm, 1983) that have become central to the tourism industry and the music economy (Atkinson, 1997; Cohen, 1997; Gibson and Connell 200
) . Sometimes visual and audio texts combine to represent places in a particular way, such as in music videos and film soundtracks – or in festivals where music is combined with stage performances, dance, room design and decoration, and other visual elements. Notions of a natural or "natural" connection to the non-urban landscape became normalized in country music as it moved from unrecorded folk music to mass production by entertainment companies - as if the style of music was "country" because it originated from. compared to a city where John Denver, for example, considered only "money-hungry fools" and "black limousines" and where others found poverty, violence and unfulfilled dreams. 199). gramophone records.
