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Give Me That Old-Time Music. . . or Not

Give Me That Old-Time Music. . . or Not American popular culture would be unimaginable without the music created by the South's disfranchised, impoverished, and forgotten peoples, black, brown, and white -- jazz and country, gospel and bluegrass, salsa and zydeco, blues and rock 'n' roll. Photograph courtesy of the Mississippi Development Authority/ Division of Tourism. Southerners have every right to be proud of the music we have produced and bequeathed to the entire globe. American popular culture would be unimaginable without the music -- blues and rock 'n' roll, jazz and country, gospel and bluegrass, salsa and zydeco -- created by the South's disfranchised, impoverished, and forgotten peoples, black, brown, and white. Toe-tapping, feet-shuffling, arm-waving music. Whiskey-drinking, down-in-the-dumps, my-baby-done-me-wrong music. That's southern music, whether it's exuberantly body-moving or mournfully storytelling. But the music originating or popularized below the Mason-Dixon line has always meant more to southerners than an excuse to shake our booties or, bottle in hand, get downright maudlin. Scholars believe that "southern vernacular music," to borrow a term from historian and folklorist Charles Joyner, has molded our racial and regional identities, reflected both our conservatism and our radicalism, expressed our class and racial resentments, spoke to our alienation from the prosperous and the proper, http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Southern Cultures University of North Carolina Press

Give Me That Old-Time Music. . . or Not

Southern Cultures , Volume 12 (4)

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Publisher
University of North Carolina Press
Copyright
Copyright © 2006 Center for the Study of the American South.
ISSN
1534-1488
Publisher site
See Article on Publisher Site

Abstract

American popular culture would be unimaginable without the music created by the South's disfranchised, impoverished, and forgotten peoples, black, brown, and white -- jazz and country, gospel and bluegrass, salsa and zydeco, blues and rock 'n' roll. Photograph courtesy of the Mississippi Development Authority/ Division of Tourism. Southerners have every right to be proud of the music we have produced and bequeathed to the entire globe. American popular culture would be unimaginable without the music -- blues and rock 'n' roll, jazz and country, gospel and bluegrass, salsa and zydeco -- created by the South's disfranchised, impoverished, and forgotten peoples, black, brown, and white. Toe-tapping, feet-shuffling, arm-waving music. Whiskey-drinking, down-in-the-dumps, my-baby-done-me-wrong music. That's southern music, whether it's exuberantly body-moving or mournfully storytelling. But the music originating or popularized below the Mason-Dixon line has always meant more to southerners than an excuse to shake our booties or, bottle in hand, get downright maudlin. Scholars believe that "southern vernacular music," to borrow a term from historian and folklorist Charles Joyner, has molded our racial and regional identities, reflected both our conservatism and our radicalism, expressed our class and racial resentments, spoke to our alienation from the prosperous and the proper,

Journal

Southern CulturesUniversity of North Carolina Press

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