In her provocative new book Rednecks, Queers, and Country Music, Nadine Hubbs looks at how class and gender identity play out in one of America’s most culturally and politically charged forms of popular music. Skillfully weaving historical inquiry with an examination of classed cultural repertoires and close listening to country songs, Hubbs confronts the shifting and deeply entangled workings of taste, sexuality, and class politics. In Hubbs’s view, the popular phrase “I’ll listen to anything but country” allows middle-class Americans to declare inclusive “omnivore” musical tastes with one crucial exclusion: country, a music linked to low-status whites. Throughout Rednecks, Queers, and Country Music, Hubbs dissects this gesture, examining how provincial white working people have emerged since the 1970s as the face of American bigotry, particularly homophobia, with country music their audible emblem. Bringing together the redneck and the queer, Hubbs challenges the conventional wisdom and historical amnesia that frame white working folk as a perpetual bigot class. With a powerful combination of music criticism, cultural critique, and sociological analysis of contemporary class formation, Nadine Hubbs zeroes in on flawed assumptions about how country music models and mirrors white working-class identities. She particularly shows how dismissive, politically loaded middle-class discourses devalue country’s manifestations of working-class culture, politics, and values, and render working-class acceptance of queerness invisible. Lucid, important, and thought-provoking, this book is essential reading for students and scholars of American music, gender and sexuality, class, and pop culture.
Detailed and one-of-a-kind, Queer Country reinterprets country and Americana music through the lives and work of artists forced to the margins of the genre's history.
Further, both melodies highlight penta- tonicism and use the same folkish-sounding pentaton (i.e., ... All these features are shared between Thomson's and Copland's compositions, and moreover, all constitute key elements of the ...
In 2004 Gretchen Wilson exploded onto the country music scene with 'Redneck Woman.
Throughout, La Chapelle's keen attention to shifting geographies and urban and suburban spaces is one of the work's real strengths. Another strength is the book's focus on dress, ethnicity, and the manufacturing of style.
New Encyclopedia of Southern Culture: Volume 9, Literature (Chapel Hill: University of North Carolina Press, 2008), s.v. “Literature,” by M. Thomas Inge, 1–16; “Fugitives and Agrarians,” ...
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The sentiment was echoed in the 1950s by advertising legend David Ogilvy in his introduction to a new edition of Hopkins and, later, in his own writings; the urbane adman, “enraged by the barrage” of mass media advertising, attempted to ...
; This book is intended for american studies, American history postwar social and cultural history, political history, Black history, Race and Ethnic studies and Cultural studies together with the general trade music.
This important book adds immeasurably to our knowledge of West Coast American music, whilst simultaneously challenging a number of historiographical shibboleths.” —David Nicholls, contributing editor of The Cambridge History of American ...
Bebey, Francis. 1975. African Music: A People's Art. Translated by Josephine Bennett. New York: Lawrence Hill. Bell, Catherine. ... Blum, Stephen, Philip V. Bohlman, and Daniel M. Neuman. 1991. Ethnomusicology and Modern Music History.