04678nam 2200589Ia 450 991081015240332120200520144314.03-8428-2845-4(CKB)2670000000250462(EBL)1035426(OCoLC)815391710(SSID)ssj0001073875(PQKBManifestationID)11694421(PQKBTitleCode)TC0001073875(PQKBWorkID)11212603(PQKB)11154577(MiAaPQ)EBC1035426(Au-PeEL)EBL1035426(CaPaEBR)ebr10596604(EXLCZ)99267000000025046220120916d2012 uy 0engurcn|||||||||txtccr"Cashville" dilution of original country music identity through increasing commercialization /Stephanie Schafer1st ed.Hamburg Diplomica Verlag20121 online resource (120 p.)Description based upon print version of record.3-8428-7845-1 Includes bibliographical references."Cashville": Dilution of Original Country Music Identity through Increasing Commercialization; Table of Contents; I. Introduction: Country Music as Manifestation of Identity and Cultural Expression; II. Stereotypes and Recognition of American Country Music; III. Perspectives of Identity and Music: Social Identity Theory; 1. Country Music Identity; 2. Where I Come From: Southern Working Class Identity and Country Music; 2.1 Peculiarities of Southern Culture: Sense of Place; 2.2 Working-Class Culture; IV. Generic Themes of Country MusicV. History of Country Music: Blending of Cultures vs. Preservation of Identity 1. Cowboy Music; 2. 1930's: Western Swing: Bob Wills; 3. The 1940's and 1950's; 3.1 Hillbilly/Honky-Tonk; 3.2 The Bar: An Alternative Home; 4. Reaching a Broader Audience: The Emergence of Radio Broadcasting; 5. Early 1970's: Cosmic Cowboy/ Outlaw Movement; 6. 1970's: Mainstream Country/Country-Pop; 7. Late 1970's/1980's: Urban Cowboy; 8. 1980's: New Traditionalists; 9. 1990's - Today: Young Country; VI. Musical Hybrids; 1. Alternative Country; 2. Country-Rock/Southern Rock/Americana3. Blending of Cultures: Conjunto and Tejano Music VII. "Don't Get Above Your Raisin'": Authentic Regional Identity vs.Commercialization; 1. Class Identity; 2. Authenticity and Commodification; 3. Back to the Roots: Country Identity and Regional Pride; 3.1 Texas Country; 3.2 Texas Regional Pride; 3.3 Austin and Lubbock - Lone Star Country Music Arenas; 3.4 Anti-Nashville Sentiments; 4. Nashville Country; 4.1 The (Countrypolitan) Nashville Sound; 4.2 Commercialization and Performance; 4.3 Grand Ol' Opry; 4.4 Cowboy Lifestyle; 4.5 Back to the Roots: The Story of Willie Nelson4.6 "Gone Country": The Changing Face of Nashville VIII. Preliminary Conclusion; IX. Red, White, and Blue: National Expansion of Country Music; 1. Country Music Goes to War; 1.1 World War II; 1.2 United Forces against Communism; 2. Walls came tumbling down: Country Music after 9/11; 2.1 Unity in Crisis: National Identity; 2.1.1 Toby Keith: "Courtesy of the Red, White, and Blue (The Angry American)"; 2.1.2 Alan Jackson: "Where Were You (When the World Stopped Turning)"; 2.2 Country Songs in the Patriotic Tradition; 2.2.1 Darryl Worley: "Have you Forgotten"; 2.2.2 Brooks & Dunn: "Holy War"3. Political Campaigns and Country Music 4. Country Musicians in Political Battle: Dixie Chicks vs. Toby Keith; X. Conclusion; XI. Bibliography; Author's ProfileHauptbeschreibung Where I come from, it's cornbread and chicken. This line from Alan Jackson's country hit defines the genre as the music of the American South. All its ambiguity set aside, the South stands proudly for its hospitality, politeness, sense of place and community. Family and religion are traditionally more important down there than in the rest of the country. As Southern culture becomes more and more americanized and the music of the small town Southern man (another Jackson song) is adapted for a mainstream audience, the original rustic identity that defines the true AmCountry musicHistory and criticismMusic tradeTennesseeNashvilleCountry musicHistory and criticism.Music trade781.642Schafer Stephanie1177004MiAaPQMiAaPQMiAaPQBOOK9910810152403321"Cashville"3936743UNINA