American Popular Music – serie

Massively popular for the past century, country music has often been associated with political and social conservatism. While such figures as George Wallace, Richard Nixon, and Ted Cruz have embraced and even laid claim to this musical genre over the years, country performers have long expressed bold and progressive positions on a variety of public issues, whether through song lyrics, activism, or performance style.Bringing together a wide spectrum of cultural critics, The Honky Tonk on the Left takes on this conservative stereotype and reveals how progressive thought has permeated country music from its beginnings to the present day. The original essays in this collection analyze how diverse performers, including Fiddlin' John Carson, Webb Pierce, Loretta Lynn, Johnny Cash, O. B. McClinton, Garth Brooks, and Uncle Tupelo, have taken on such issues as government policies, gender roles, civil rights, prison reform, and labor unrest. Taking notice of the wrongs in their eras, these musicians worked to address them in song and action, often with strong support from fans.In addition to the volume editor, this collection includes work by Gregory N. Reish, Peter La Chapelle, Stephanie Vander Wel, Charles L. Hughes, Ted Olson, Nadine Hubbs, Stephanie Shonekan, Stephen A. King, P. Renee Foster, Tressie McMillan Cottom, Travis D. Stimeling, and Jonathan Silverman.

Lawrence Gellert has long been a mysterious figure in American folk and blues studies, gaining prominence in the left-wing folk revival of the 1930s for his fieldwork in the U.S. South. A "lean, straggly-haired New Yorker," as Time magazine called him, Gellert was an independent music collector, without formal training, credentials, or affiliation. At a time of institutionalized suppression, he worked to introduce white audiences to a tradition of black musical protest that had been denied and overlooked by prior white collectors.By the folk and blues revival of the 1960s, however, when his work would again seem apt in the context of the civil rights movement, Gellert and his collection of Negro Songs of Protest were a conspicuous absence. A few leading figures in the revival defamed Gellert as a fraud, dismissing his archive of black vernacular protest as a fabrication -- an example of left-wing propaganda and white interference. A Sound History is the story of an individual life, an excavation of African American musical resistance and dominant white historiography, and a cultural history of radical possibility and reversal in the defining middle decades of the U.S. twentieth century.

Lawrence Gellert has long been a mysterious figure in American folk and blues studies, gaining prominence in the left-wing folk revival of the 1930s for his fieldwork in the U.S. South. A "lean, straggly-haired New Yorker," as Time magazine called him, Gellert was an independent music collector, without formal training, credentials, or affiliation. At a time of institutionalized suppression, he worked to introduce white audiences to a tradition of black musical protest that had been denied and overlooked by prior white collectors.By the folk and blues revival of the 1960s, however, when his work would again seem apt in the context of the civil rights movement, Gellert and his collection of Negro Songs of Protest were a conspicuous absence. A few leading figures in the revival defamed Gellert as a fraud, dismissing his archive of black vernacular protest as a fabrication -- an example of left-wing propaganda and white interference. A Sound History is the story of an individual life, an excavation of African American musical resistance and dominant white historiography, and a cultural history of radical possibility and reversal in the defining middle decades of the U.S. twentieth century.