It's not perfect, but what's good here makes the collection indispensable.” — RJ Smith, NPR's The Record“Country music is white music.
It's not perfect, but what's good here makes the collection indispensable.” — RJ Smith, NPR's The Record“Country music is white music.Tags: Mathematical Term Mean Median And ModeEd English Gcse CourseworkPunctuation Rules For EssaysKarl Marx And Friedrich Engels The Communist Manifesto EssayTkam Essay Questions And AnswersWarehouse Gym Business Plan
Fiddling with Race Relations in Rural Kentucky: The Life, Times, and Contested Identity of Fiddlin' Bill Livers / Jeffrey A. Old-Time Country Music in North Carolina and Virginia: The 1970s and 1980s / Kip Lornell 1717.
Dancing the Habanera Beats (in Country Music): The Creole-Country Two-Step in St. Playing Chicken with the Train: Cowboy Troy's Hick-Hop and the Transracial Country West / Adam Gussow 23410.
If Only They Could Read between the Lines: Alice Randall and the Integration of Country Music / Barbara Ching 26311.
You're My Soul Song: How Southern Soul Changed Country Music / Charles L.
The contributors to Hidden in the Mix examine how country music became "white," how that fictive racialization has been maintained, and how African American artists and fans have used country music to elaborate their own identities.
They investigate topics as diverse as the role of race in shaping old-time record catalogues, the transracial West of the hick-hopper Cowboy Troy, and the place of U. country music in postcolonial debates about race and resistance.The authors in this volume tease out a number of complex ways that racial difference has been constructed, represented, and contested in country music.Bertrand, Register of the Kentucky Historical Society"The collection helpfully analyzes the paradox that country music has been stereotypically framed as 'white music,' but a long tradition of black performers and fans exists.Country music's debt to African American music has long been recognized. Carter produced much of the Carter Family's repertoire; the street musician Tee Tot Payne taught a young Hank Williams Sr.; the guitar playing of Arnold Schultz influenced western Kentuckians, including Bill Monroe and Ike Everly.Black musicians have helped to shape the styles of many of the most important performers in the country canon. Yet attention to how these and other African Americans enriched the music played by whites has obscured the achievements of black country-music performers and the enjoyment of black listeners.All in all, this is certainly a worthwhile text on the shelf of music historians engaged in modern American music." — Kenneth H.Marcus, Journal of African American History "Hidden in the Mix is a comprehensive and worthy addition to the canon of popular music history. By looking at both historical traditions (the banjo, early blues-hillbilly music) and contemporary cultural phenomena (hick-hop and country pop), as well as African American artists past and present (Bill Livers, Ray Charles, Cowboy Troy), the book greatly expands our knowledge of this intriguing subject." — Holly George-Warren, author of Public Cowboy No.Every decade of the 20th century has seen the introduction of huge cultural shifts across America.The 90’s were no exception, especially as far as country music is concerned.Revealing how music mediates both the ideology and the lived experience of race, Hidden in the Mix challenges the status of country music as "the white man’s blues."Contributors.Keith, Kip Lornell, Diane Pecknold, David Sanjek, Tony Thomas, Jerry Wever“Diane Pecknold rounds up some of the better music writers in academia in order to put a light on country's many black roots and the country's unease with said roots.