Review of Diane Pecknold and Kristine M. McCusker, eds., Country Boys and Redneck Women: New Essays in Gender and Country Music (University Press of Mississippi, 2016)

(A useful selected bibliography of this more recent work is included in this new book.) This work sharpens the analytical focus through another set of specific case studies, and is clearly articulated toward the end of Country Boys and Redneck Women by Georgia Christgau.[6] Recently, the role of rac...

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Bibliographic Details
Published in:Music Theory Online 2017, Vol.23 (3)
Main Author: King, Jonathan T.
Format: Review
Language:English
Subjects:
Aesthetics
Anthologies
Boys
Country music
Essays
Gender studies
Masculinity
Music history
Musical performances
Musicians & conductors
Parton, Dolly
Women
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Summary:(A useful selected bibliography of this more recent work is included in this new book.) This work sharpens the analytical focus through another set of specific case studies, and is clearly articulated toward the end of Country Boys and Redneck Women by Georgia Christgau.[6] Recently, the role of race in country-music history has been highlighted in another anthology curated by Pecknold, the essential Hidden in the Mix: The African American Presence in Country Music.Pecknold’s own contribution to Country Boys and Redneck Women makes intersectionality historically explicit in a race-sensitive comparison of two seemingly contrasting women, Linda Martell and Jeanne C. Reilly, whose career trajectories challenge many common race-, class-, and gender-based assumptions.Matthew D. Sutton’s reading of African-American country star Charley Pride’s autobiography highlights the carefully drawn links between race and masculinity in the country music universe.
ISSN:1067-3040
1067-3040
DOI:10.30535/mto.23.3.10