JSTOR is a digital library for scholars, researchers, and students. Kelli Marshall explores a brief history of the word. Willie Robertson, of Duck Dynasty. By: Kelli Marshall. April 7, October 3, Share Tweet Email Print. Rednecks, Back in the Day In America, the word redneck dates back to the s, and in different parts of the country at different times, its meaning has shifted. Communists a term black southerners used—alongside poor white trash, cracker, and peckerwood —to poke fun at poor white country folks white coal miners who belonged to labor unions in West Virginia, eastern Kentucky, western Pennsylvania, and southern Illinois and Indiana any white racist, regardless of his or her class position or birthplace These are all pretty degrading characterizations and perhaps what most people have in mind when they hear the word redneck.
Weekly Newsletter. Have a correction or comment about this article? Please contact us. At that time, he bought his first personal weapon. Self-described Russian rednecks enjoy certain markers that have political meaning in America. But for them, the meaning is cultural. And our people also contributed to its development. I stuck it on the car for the atmosphere. And he hates when people call him a racist because of it. Trucks, Confederate images, hats, weapons and other attributes of American rural life cause, if not mockery, then amazement.
Because I finally found my place in life. I just like pickups and simple clothes. There we are strangers. Sorry , an error occurred. Get Started. Log In Register. You are logged in. Switch accounts. Offers go here. Choose wisely! We won't share it with anyone else. If you forget it, you'll be able to recover it using your email address. Create Account. Have an account? Log In. Thank you. Your account has been registered, and you are now logged in. Check your email for details.
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Thank you! Any judgement of the working class as negative waste, excess, vulgar, unmodern, authentic, etc. That is what the representations of the working-class should be seen to be about; they have absolutely nothing to do with the working-class themselves, but are about the middle-class creating value for themselves in a myriad of ways, through distance, denigration and disgust as well as appropriation and affect of attribution. There is a phrase I have heard on the first day of classes for the past decade, ever since-for ice breaking as much as informational purposes-I began asking my undergraduates, "What do you listen to?
In discussions of popular music on campuses throughout the Midwest and in the Northeast, mid-South, and Deep South, college students have told me that this phrase prevails it is the standard answer, one Alabama undergraduate attested in response to questions about listening preferences-questions, as the students well know, that get at who one is and wants to be. The same "ABC" formula circulates off campus, too, among adults out in the world, when they are asked to declare their musical tastes.
Indeed, across generational groups, country stands out as a music that Americans are often at pains to exclude in these culture-focused moments of social self-construction. This chapter asks what is going on in such instances. Why is "Anything but country" such a common refrain? Who invokes it? What does it mean? And is it really about the music? My approach to these questions begins with an investigation of the meanings of country music-meanings not from inside the songs the subject of chapter 2 but from outside.
That is, I begin by examining the meanings that attach to country music as a cultural category and brand. Long heard as an affront by those targeted with it, the word hillbilly marks one as being from the country, originally, from Appalachia, and it bears connotations of ignorance and lack of sophistication. Notably, "hillbilly" was also for thirty years the standard industry label for the music now known as country. The music's name change to "country and western" in the s recognized hillbilly 's derogatory status, but it was not a complete image makeover.
Country audiences are still associated with white working-class, provincial, and southern identities, as well as ignorance and, in recent decades, bigotry. Bryson's empirical study yields perspective on the social meaning and function of country music in late capitalist U.
The study confirms previous research finding that high-status individuals no longer brandish cultural capital by the means that reigned throughout most of the twentieth century-that is, narrow, exclusive involvement with classical music and "high" culture forms uncontaminated by mass culture.
By contrast, in the current cultural system solidified since the s , entitled middle-class subjects wield multi cultural capital through knowledge and engagement in a broad range of global musics-deploying them as "potential ingredients in a singular and singularly distinctive cultural mix. The "cultural omnivores" in Bryson's study expressly excluded the categories of music associated with the least educated audiences, including country published research identified country audiences as lacking in education and occupational status as early as
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