In her provocative new book Rednecks, Queers, and Country Music, Nadine Hubbs looks at how class and gender identity play out in one of AmericaÕs 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 HubbsÕs view, the popular phrase ÒIÕll listen to anything but countryÓ allows middle-class Americans to declare inclusive ÒomnivoreÓ 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 countryÕs 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.
Our lives are saturated by color. We live in a world of vivid colors, and color marks our psychological and social existence. But for all color’s inescapability, we don’t know much about it. Now authors David Scott Kastan and Stephen Farthing offer a fresh and imaginative exploration of one of the most intriguing and least understood aspects of everyday experience. Kastan and Farthing, a scholar and a painter, respectively, investigate color from numerous perspectives: literary, historical, cultural, anthropological, philosophical, art historical, political, and scientific. In ten lively and wide-ranging chapters, each devoted to a different color, they examine the various ways colors have shaped and continue to shape our social and moral imaginations. Each individual color becomes the focal point for a consideration of one of the extraordinary ways in which color appears and matters in our lives. Beautifully produced in full color, this book is a remarkably smart, entertaining, and fascinating guide to this elusive topic.
Country music boasts a long tradition of rich, contradictory gender dynamics, creating a world where Kitty Wells could play the demure housewife and the honky-tonk angel simultaneously, Dolly Parton could move from traditionalist "girl singer" to outspoken trans rights advocate, and current radio playlists can alternate between the reckless masculinity of bro-country and the adolescent girlishness of Taylor Swift. In this follow-up volume to A Boy Named Sue, some of the leading authors in the field of country music studies reexamine the place of gender in country music, considering the ways country artists and listeners have negotiated gender and sexuality through their music and how gender has shaped the way that music is made and heard. In addition to shedding new light on such legends as Wells, Parton, Loretta Lynn, and Charley Pride, it traces more recent shifts in gender politics through the performances of such contemporary luminaries as Swift, Gretchen Wilson, and Blake Shelton. The book also explores the intersections of gender, race, class, and nationality in a host of less expected contexts, including the prisons of WWII-era Texas, where the members of the Goree All-Girl String Band became the unlikeliest of radio stars; the studios and offices of Plantation Records, where Jeannie C. Riley and Linda Martell challenged the social hierarchies of a changing South in the 1960s; and the burgeoning cities of present-day Brazil, where "college country" has become one way of negotiating masculinity in an age of economic and social instability.
Canadians have come to embrace their country as a “postmodern state”—a nation that downplays its history and makes few demands on its citizens, allowing them to find their allegiances where they may—in their region, their ethnic heritage or the language they speak. The notion of a Canadian national identity, with shared responsibilities and a common purpose, is considered out of date, even a disadvantage in a borderless world of transnational economies, resurgent regions and global immigration. In his timely and provocative book Who We Are, Rudyard Griffiths argues that this vision of Canada is an intellectual and practical dead end. Without a strong national identity, and robust Canadian civic values and engagement, the country will be hard pressed to meet the daunting challenges that lie ahead: the social costs of an aging population, the unavoidable effects of global warming and the fallout of a dysfunctional immigration system. What’s needed is a rediscovery of the founding principles that made Canada the nation it is today, core values that can form a civic creed for our own times. In a passionate call to revitalize our shared Canadian citizenship, Griffiths reminds us of who we are and what we’ve accomplished.
In "The Redneck Manifesto", Goad elucidates redneck politics, religion, and values in his own unique way. "A furious, profane, smart, and hilariously smart-aleck defense of working-class white culture".--"Fort Lauderdale Sun-Sentinel".
Our generation made hip-hop. But hip-hop also made us. Why are suburban kids referring to their subdivision as “block”? Why has the pimp become a figure of male power? Why has dodging the feds become an act of honor long after one has made millions as a legitimate artist? What happens when fantasy does more harm than reality?—From the Introduction Hip-hop culture has been in the mainstream for years. Suburban teens take their fashion cues from Diddy and expect to have Three 6 Mafia play their sweet-sixteen parties. From the “Boogie Down Bronx” to the heartland, hip-hop’s influence is major. But has the movement taken a wrong turn? In Beats Rhymes and Life, hot journalists Kenji Jasper and Ytasha Womack have focused on what they consider to be the most prominent symbols of the genre: the fan, the turntable, the ice, the dance floor, the shell casing, the buzz, the tag, the whip, the ass, the stiletto, the (pimp’s) cane, the coffin, the cross, and the corner. Each is the focus of an essay by a journalist who skillfully dissects what their chosen symbol means to them and to the hip-hop community.The collection also features many original interviews with some of rap’s biggest stars talking candidly about how they connect to the culture and their fans. With a foreword by the renowned scholar Michael Eric Dyson, Beats Rhymes and Life is an innovative and daring look at the state of the hip-hop nation.
This intoxicating book by the author of The Revolution of Little Girls combines autobiography, reporting, and the dressed-up lies we call fiction. An underground classic since its initial publication, it is the wildly funny personal testament of Blanche McCrary Boyd, sixties radical and born-again Southerner, a lesbian with an un-P.C. passion for skydiving and stock-car racing, a graduate of Esalen and kundalini yoga who now takes her altered states "raw, like oysters." The Redneck Way of Knowledge is about family reunions and kamikaze love affairs. It is about crashing an arts festival with two precociously decayed Charleston aristocrats and watching the Pope deliver Communion at Yankee Stadium. It is about the selves we try on and slough off on the way to becoming who we are. Throughout, Blanche Boyd travels the expressway between the realm of the senses and the state of grace, and reports on the journey in prose that combines riotous humor, diamond-hard intelligence, and savage lyricism.