LEADER 05143nam 2200565 450 001 9910788085503321 005 20230803200050.0 010 $a0-19-023373-7 010 $a0-19-931491-8 010 $a0-19-931493-4 035 $a(CKB)2670000000577998 035 $a(EBL)1870682 035 $a(MiAaPQ)EBC1870682 035 $a(Au-PeEL)EBL1870682 035 $a(CaPaEBR)ebr10990927 035 $a(CaONFJC)MIL664777 035 $a(OCoLC)897021543 035 $a(EXLCZ)992670000000577998 100 $a20140225h20142014 uy| 0 101 0 $aeng 135 $aur|n|---||||| 181 $2rdacontent 182 $2rdamedia 183 $2rdacarrier 200 14$aThe country music reader /$fTravis D. Stimeling 210 1$aNew York :$cOxford University Press,$d[2014] 210 4$dİ2014 215 $a1 online resource (409 p.) 300 $aDescription based upon print version of record. 311 $a1-322-33495-1 311 $a0-19-931492-6 320 $aIncludes bibliographical references and index. 327 $aCover; The Country Music Reader; Copyright; Dedication; Contents; Preface; Acknowledgments; Note on Sources; 1 Linton K. Starr, "Georgia's Unwritten Airs Played by Old 'Fiddlers' for Atlanta Prizes: Untutored Players from Hillsides and Marshes Perform Traditional Southern Melodies on Wire-Stringed Violins-Society Folk and Workers in Audiences 'Shuffle Feet'; 2 Cecil B. Sharp, English Folk Songs from the Southern Appalachians (1917) [excerpt]; 3 John A. Lomax, Cowboy Songs and Other Frontier Ballads (1910) ; 4 "What the Popularity of Hill-Billy Songs Means in Retail Profit Sensibilities 327 $a5 "Mountain Songs Recorded Here by Victor Co.: Notable Performers of This Section at Work at Station in This City" (1927)6 Ralph Peer, "Discovery of the 1st Hillbilly Great" (1953); 7 Bill Williams, "Interview with Mother Maybelle Carter" (1968/1971); 8 Harold A. Safford, "Bradley Kincaid" (1928); 9 Paul Hobson, "Radio's Hillbilly King, Carson Robison, who is, with his Pioneers, a regular attraction for Oxydol every Sunday from Luxembourg, Lyons and Normandy, tells us in this interview how he writes his world-famous songs" (1938); 10 John Wright, "J. E. Mainer" (1993) 327 $a11 Virginia Seeds, "Back Stage Ramble: Cowboys and Cow Belles Enjoy the Barn Dance" (1936)12 "No Hill Billies in Radio: Ballads Are Still Written, Says John Lair" (1935); 13 Alva Johnston, "Tenor on Horseback" (1939); 14 George D. Hay, A Story of the Grand Old Opry (1945); 15 Janis Stout, "The Light Crust Doughboys Were on the Air: A Memoir" (1996); 16 "Okies Reverse Order of Steinbeck's Tale" (1941); 17 Maurice Zolotow, "Hillbilly Boom" (1944); 18 Nicholas Dawidoff, "Earl Scruggs: Three Fast Fingers" (1997); 19 Rufus Jarman, "Country Music Goes to Town" (1953) 327 $a20 Johnny Cash on Recording at Sun with Sam Phillips, Cash: The Autobiography (1997)21 Charlie Louvin, "Elvis" (2012); 22 Murray Nash, "Miss Country Music and Her Family" (1955); 23 Linda Lamendola, "Steve Sholes-Star Maker" (1956); 24 Ben A. Green, "Chet Makes Guitar Talk with Rhythm and Melody" (1957); 25 "Coast Country Biz Booms" (1957); 26 Alan Lomax, "Bluegrass Background: Folk Music with Overdrive" (1959); 27 Tom T. Hall, The Storyteller's Nashville, on Song Writing and Song Plugging (1979); 28 "The Story of the Country Music Association" (1968); 29 "Ask Trina" (1968) 327 $a30 John Grissim Jr., "California White Man's Shit Kickin' Blues" (1969)31 Lee Arnold, "A DJ Tells Why-There's Country Music in the City Air" (1975); 32 Michael Bane, The Outlaws: Revolution in Country Music (1978); 33 Rex Rutkoski, "The Pill: Should It Be Banned from Airplay?" (1975); 34 George F. Will, "Of Pride and Country Music" (1975); 35 Aaron Latham, "The Ballad of the Urban Cowboy: America's Search for True Grit" (1978); 36 Tom Anthony, "Kenny Rogers: Drawing Full Houses" (1981); 37 Alanna Nash, "Emmylou Harris" (1988); 38 Holly G. Miller, "Randy Travis: Nice Guy Finishes First" (1988) 327 $a39 Bruce Feiler, Dreaming Out Loud: Garth Brooks, Wynonna Judd, Wade Hayes, and the Changing Face of Nashville (1998) 330 $aIn The Country Music Reader Travis D. Stimeling provides an anthology of primary source readings from newspapers, magazines, and fan ephemera encompassing the history of country music from circa 1900 to the present. Presenting conversations that have shaped historical understandings of country music, it brings the voices of country artists and songwriters, music industry insiders, critics, and fans together in a vibrant conversation about a widely loved yet seldom studied genre of American popular music. Situating each source chronologically within its specific musical or cultural context, Sti 606 $aCountry music$xHistory and criticism 615 0$aCountry music$xHistory and criticism. 676 $a781.64209 700 $aStimeling$b Travis D.$01535178 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910788085503321 996 $aThe country music reader$93783185 997 $aUNINA