Edited By William M. Reynolds
Chapter Six: Redneck Piece of White Trash: Southern Rebels and Music: Epistemologies ofClass, Masculinity, and Race Identity
Redneck Piece of White Trash: Southern Rebels and Music: Epistemologies of Class, Masculinity, and Race Identity
WILLIAM M. REYNOLDS
And you would speak the grammar of dirt farmers and Negroes [sic], using ain’t’s and reckless verb forms with such natural instinct that the right ones would have sounded high-blown and phony, and pushing the country talk to such limits that making it as flamboyant as possible became an end in itself.
—Willie Morris (1967, p. 124)
Never a dominant component in mainstream country music, overt, class-conscious treatment of blue-collar resentment and pride had been more the stock-in-trade of southern and country rockers such as the Charlie Daniels Band and the ill-fated Lynyrd Skynyrd, whose partly ironic 1974 hit “Sweet Home Alabama,” was immediately embraced by many white southerners as a classic expression of regional pride and spoiling-for-a-fight defiance.
—James Cobb (2011, p. 253)
Flashback early 1970s—my friends and I are sitting around (hanging out) in my buddy Jeff’s house in Rochester, New York, wearing western shirts, jeans, and boots listening to New Riders of the Purple Sage, the Band, Marshall Tucker, and Lynyrd Skynyrd. I have often wondered why we were listening to Southern/country rock music in New York in the early 1970s. I have thought about that over the years. Sure, we were working-class kids, but I am not sure how that influenced our choice of these bands—it may have...
You are not authenticated to view the full text of this chapter or article.
This site requires a subscription or purchase to access the full text of books or journals.
Do you have any questions? Contact us.Or login to access all content.