LEADER 04519nam 2200901 450 001 9910789287103321 005 20230126211850.0 010 $a0-520-95834-9 024 7 $a10.1525/9780520958340 035 $a(CKB)3710000000092498 035 $a(EBL)1650803 035 $a(SSID)ssj0001132853 035 $a(PQKBManifestationID)11663071 035 $a(PQKBTitleCode)TC0001132853 035 $a(PQKBWorkID)11155193 035 $a(PQKB)11546947 035 $a(StDuBDS)EDZ0000229858 035 $a(MiAaPQ)EBC1650803 035 $a(OCoLC)873805694 035 $a(MdBmJHUP)muse33445 035 $a(DE-B1597)518804 035 $a(DE-B1597)9780520958340 035 $a(Au-PeEL)EBL1650803 035 $a(CaPaEBR)ebr10846226 035 $a(CaONFJC)MIL581099 035 $a(EXLCZ)993710000000092498 100 $a20131213h20142014 uy| 0 101 0 $aeng 135 $aurcnu|||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aRednecks, queers, and country music /$fNadine Hubbs 210 1$aBerkeley :$cUniversity of California Press,$d[2014] 210 4$dİ2014 215 $a1 online resource (241 p.) 300 $aDescription based upon print version of record. 311 $a0-520-28066-0 311 $a0-520-28065-2 320 $aIncludes bibliographical references and index. 327 $apart I. Rednecks and country music -- part II. Rrednecks, country music, and the queer. 330 $aIn 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 1970's 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. Lucid, important, and thought-provoking, this book is essential reading for students and scholars of American music, gender and sexuality, class, and pop culture. 606 $aCountry music$xHistory and criticism 606 $aCountry music$xSocial aspects$zUnited States 606 $aHomosexuality and popular music$zUnited States 610 $aamerican bigotry. 610 $aanthropologist. 610 $aawareness. 610 $aclass and gender identity. 610 $aclass formation. 610 $acommunity activism. 610 $acountry music and homosexuality. 610 $acultural anthropology. 610 $ahistorical inquiry. 610 $ahomophobia. 610 $algbt. 610 $algbtqia rights leader. 610 $amiddle-class americans. 610 $amusical criticism. 610 $apolitically charged music. 610 $apopular music. 610 $asexual identity. 610 $asocial activist. 610 $asociological analysis. 610 $aworking class bigot. 615 0$aCountry music$xHistory and criticism. 615 0$aCountry music$xSocial aspects 615 0$aHomosexuality and popular music 676 $a781.642086/640973 700 $aHubbs$b Nadine$01019802 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910789287103321 996 $aRednecks, queers, and country music$93795752 997 $aUNINA 999 $p$97.00$u11/12/2017$5Music