Redneck Liberation: Country Music as Theology
Mercer University Press, 2003 - 170 من الصفحات
In this unique book, David Fillingim explores country music as a mode of theological expression. Following the lead of James Cone's classic, "The Spirituals and the Blues, Fillingim looks to country music for themes of theological liberation by and for the redneck community. The introduction sets forth the book's methodology and relates it to recent scholarship on country music. Chapter 1 contrasts country music with Southern gospel music--the sacred music of the redneck community--as responses to the question of theodicy, which a number of thinkers recognize as the central question of marginalized groups. The next chapter "The Gospel according to Hank," outlines the career of Hank Williams and follows that trajectory through the work of other artists whose work illustrates how the tradition negotiates Hank's legacy. "The Apocalypse according to Garth" considers the seismic shifts occuring during country music's popularity boom in the 1980s. Another chapter is dedicated to the women of country music, whose honky-tonky feminism parallels and intertwines with mainstream country music, which was dominated by men for most of its history. Written to entertain as well as educate and advance, "Redneck Liberation will appeal to anyone who is interested in country music, Southern religion, American popular religiosity, or liberation theology.
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ain't Alan Jackson album American Appalachian audience blues Brooks's career celebrates cheatin Chris Gaines Christian core country artists country music Country Music Culture country songs cowboy Dance Daughters Shall Prophesy Dixie Chicks Dolly Parton dualism embodies expressed fans female Friends in Low Garth Brooks George Jones George Strait Gonna Goodson Gospel Music Haggard Hank Williams Hank's gospel songs heaven hillbilly humanism hillbilly humanist Honky Tonk honky-tonk hope human dignity Jesus Journal of Country Learned from Country liberation life's listeners living Loretta Lynn Low Places Lynn's mainstream male marginalized moral musical traditions Nashville one's oppression Opry Popular Culture portrays protagonist radio record redneck redneck community religion religious rock romantic love rural secular sexual singer sings social song's Southern Gospel Spirituals style suffering Tammy Wynette Tex Sample themes theological Tichi Twain ultimate concern voice woman women artists women in country women's experience Wynette's
الصفحة 1 - He sings more sincere than most entertainers because the hillbilly was raised rougher than most entertainers. You got to know a lot about hard work. You got to have smelt a lot of mule manure before you can sing like a hillbilly.