000 03222cam a2200445 i 4500
001 11949082
003 MiTN
005 20190729110706.0
008 131213t20142014caua b 001 0 eng
010 _a 2013049681
020 _a9780520280656 (cloth : alk. paper)
020 _a0520280652 (cloth : alk. paper)
020 _a9780520280663 (pbk. : alk. paper)
020 _a0520280660 (pbk. : alk. paper)
024 8 _a40023526335
035 _a(OCoLC)ocn879649240
035 _a11949082
040 _aDLC
_erda
_beng
_cDLC
_dYDX
_dYDXCP
_dBTCTA
_dBDX
_dOCLCO
_dCUZ
_dCtY-Mus
042 _apcc
043 _an-us---
050 0 0 _aML3524
_b.H78 2014
079 _aocn861955196
100 1 _aHubbs, Nadine,
245 1 0 _aRednecks, queers, and country music /
_cNadine Hubbs.
264 1 _aBerkeley :
_bUniversity of California Press,
_c[2014]
264 4 _a©2014
300 _axiv, 225 pages :
_billustrations ;
_c23 cm
336 _atext
_2rdacontent
337 _aunmediated
_2rdamedia
338 _avolume
_2rdacarrier
504 _aIncludes bibliographical references and index.
505 0 0 _aPart I. Rednecks and country music. Anything but country -- Sounding the working-class subject -- Part II. Rednecks, country music, and the queer. Gender deviance and class rebellion in "Redneck woman" -- "Fuck Aneta Briant" and the queer politics of being political.
520 0 _a 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 [Publisher description].
650 0 _aCountry music
_xHistory and criticism.
650 0 _aCountry music
_xSocial aspects
_zUnited States.
650 0 _aHomosexuality and popular music
_zUnited States.
596 _a1
948 _au621296
903 _a34720
999 _c34720
_d34720