Skip to main content Accessibility help
×
Hostname: page-component-78c5997874-m6dg7 Total loading time: 0 Render date: 2024-11-13T01:43:03.415Z Has data issue: false hasContentIssue false

Bibliography

Published online by Cambridge University Press:  03 February 2023

Paula J. Bishop
Affiliation:
Bridgewater State University
Jada E. Watson
Affiliation:
University of Ottawa
Get access

Summary

Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Chapter
Information
Whose Country Music?
Genre, Identity, and Belonging in Twenty-First-Century Country Music Culture
, pp. 264 - 295
Publisher: Cambridge University Press
Print publication year: 2022

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

“29 of the Best Country Music Festivals Worth Traveling to This Summer.” n.d. Vacationsmadeeasy.com. www.vacationsmadeeasy.com/TheBLT/29oftheBestCountryMusicFestivalsWorthTravelingtoThisSummer.html.Google Scholar
“60 Minutes II [60 Minutes Wednesday] Stories with Dan Rather.” n.d. https://danratherjournalist.org/sites/default/files/documents/60MinsII%20LIST.pdf.Google Scholar
“Henley, Love, Austin Testify to Limit Record Contracts.” 2001. The Lompoc Record. September 6, p. 2.Google Scholar
“U.S. Sales Database.” n.d. RIAA. www.riaa.com/u-s-sales-database/.Google Scholar
“The Women of Country Music Sing ‘He Thinks He’ll Keep Her.’” 2020. Country Music Thang Daily. May 4. www.countrythangdaily.com/he-thinks-hell-keep-her/.Google Scholar
Ahmed, Sara. 2014. “White Men.” feministkilljoys (blog), November 4. https://feministkilljoys.com/2014/11/04/white-men/.Google Scholar
Ahmed, Sara. 2019. What’s the Use? On the Uses of Use. Durham, NC: Duke University Press.Google Scholar
All Things Considered. 2015. “You Know Exactly What These Six Country Songs Have in Common.” NPR, January 9. www.npr.org/2015/01/09/376145745/you-know-exactly-what-these-six-country-songs-have-in-common.Google Scholar
All Things Considered. 2020. “Interview with ‘Color Me Country’ Radio Host Rissi Palmer.” NPR, November 28. www.npr.org/2020/11/28/939737483/interview-with-color-me-country-radio-host-rissi-palmer.Google Scholar
Amiradakis, Mark Jacob. 2016. “Social Networking Services: A Digital Extension of the Surveillance State?South African Journal of Philosophy 35 (3): 281–92.Google Scholar
Anderson, Carol. 2016. White Rage: The Unspoken Truth of Our Racial Divide. New York: Bloomsbury.Google Scholar
Anderson, Chris. 2004. “The Long Tail.” Wired, January 10. www.wired.com/2004/10/tail/.Google Scholar
Anderson, Chris. 2008. The Long Tail: Why the Future of Business Is Selling Less of More. New York: Hyperion.Google Scholar
Andsager, Julie, and Roe, Kimberly. 2003. “‘What’s Your Definition of Dirty, Baby?’: Sex in the Music Video.” Sexuality & Culture 7 (3): 7997.Google Scholar
Anzaldúa, Gloria, and Keating, AnaLouise. 2009. The Gloria Anzaldúa Reader. Durham, NC: Duke University Press.Google Scholar
Appadurai, Arjun. 1996. Modernity at Large: Cultural Dimensions of Globalization. Minneapolis: University of Minnesota Press.Google Scholar
Arizona Rural Policy Institute, Northern Arizona University. n.d. “Demographic Analysis of the Navajo Nation Using 2010 Census and 2010 American Community Survey Estimates.” Window Rock, AZ: Navajo Nation Planning and Development.Google Scholar
Askin, Noah, and Mauskapf, Michael. 2017. “What Makes Popular Culture Popular? Product Features and Optimal Differentiation in Music.” American Sociological Review 82 (5): 910–44.Google Scholar
Aspers, Patrik. 2006. Markets in Fashion: A Phenomenological Approach. London: Routledge.Google Scholar
Aspers, Patrik, and Godart, Frédéric. 2013. “Sociology of Fashion: Order and Change.” Annual Review of Sociology 39: 171–92.Google Scholar
Aspley, Janet. 2020. Hillbilly Deluxe: Male Performance Dress and Authenticity in Country Music 1947–92. PhD dissertation, University of Brighton.Google Scholar
Associated Press. 2007. “As a Black Woman, Rissi Palmer Is Country Rarity.” USA Today, October 15. www.today.com/popculture/black-woman-rissi-palmer-country-rarity-wbna21307946.Google Scholar
Associated Press. 2017. “Sam Hunt Makes History, Explains Origin of Single ‘Body Like a Back Road’.” Fox News, July 31. www.foxnews.com/entertainment/sam-hunt-makes-history-explains-origin-of-single-body-like-a-back-road.Google Scholar
Auslander, Philip. 2006. “Musical Personae.” TDR: The Journal of Performance Studies 50 (1): 100–19.CrossRefGoogle Scholar
Auslander, Philip. 2019. “Framing Personae in Music Videos.” In The Bloomsbury Handbook of Popular Music Video Analysis, edited by Burns, Lori A. and Hawkins, Stan, 91109. New York: Bloomsbury Academic.Google Scholar
Baker, Deborah. 2006. “Racism Fears a ‘Simmering Pot’ at N.M. Rez Border Town.” Arizona Daily Sun, August 5. https://azdailysun.com/news/racism-fears-a-simmering-pot-at-n-m-rez-border-town/article_c74eab2c-54bb-5578-b2df-fd5df8babbaf.html.Google Scholar
Balaji, Murali. 2012. “The Construction of ‘Street Credibility’ in Atlanta’s Hip-Hop Music Scene: Analyzing the Role of Cultural Gatekeepers.” Critical Studies in Media Communication 29 (4): 313–30.Google Scholar
Banet-Weiser, Sarah. 2012. Authentic TM: The Politics of Ambivalence in a Brand Culture. New York: New York University Press.Google Scholar
Barlow, William. 1999. Voice Over: The Making of Black Radio. Philadelphia: Temple University Press.Google Scholar
Barrett, Frederick S., Grimm, Kevin J., Robins, Richard W., Wildschut, Tim, Sedikides, Constantine, and Janata, Petr. 2010. “Music-Evoked Nostalgia: Affect, Memory, and Personality.” Emotion 10 (3): 390403.Google Scholar
Baumgartner, Hans. 1992. “Remembrance of Things Past: Music, Autobiographical Memory, and Emotion.” Advances in Consumer Research 19 (1): 613–20.Google Scholar
Becker, Howard S. 1982. Art Worlds. Berkeley: University of California Press.Google Scholar
Bellamy, David, Bellamy, Howard, and Kosser, Michael. 2018. Let Your Love Flow: The Life and Times of the Bellamy Brothers. Dade City, FL: DarBella Publishing.Google Scholar
Cusic, Don. 2022. “Diversity in Country Music.” International Country Music Journal: 4676.Google Scholar
Beltran, Mary. 2002. “The Hollywood Latina Body as Site of Social Struggle: Media Constructions of Stardom and Jennifer Lopez’s Cross-over Butt.” Quarterly Review of Film and Video 19 (1): 7186.Google Scholar
Bender, Mark T., and Wang, Yongsheng. 2009. “The Impact of Digital Piracy on Music Sales: A Cross-Country Analysis.” International Social Science Review 84 (3/4): 157–70.Google Scholar
Bennett, Jessica. 2021. “The Working Woman’s Anthem ‘9 to 5’ Needed an Update. But This?” New York Times, February 7. https://www.nytimes.com/2021/02/07/business/dolly-parton-5-to-9-super-bowl.htmlGoogle Scholar
Bentham, Jeremy. 1791. Panopticon: Postscript; Part I: Containing Further Particulars and Alterations Relative to the Plan of Construction Originally Proposed; Principally Adapted to the Purpose of a Panopticon Penitentiary-House. London: T. Payne, Mews-Gate.Google Scholar
Bergman, David. 1993. Introduction. In Camp Grounds: Style and Homosexuality, edited by Bergman, David, 318. Amherst: University of Massachusetts Press.Google Scholar
Berkvist, Robert. 2020. “Olivia de Havilland, 104, Who Starred in ‘Gone With the Wind,’ Dies.” New York Times, July 26, p. 24.Google Scholar
Berlatsky, Noah. 2014. “The Racial Dynamics of ‘Hick Hop’.” Atlantic, July 15. www.theatlantic.com/entertainment/archive/2014/07/the-hick-hop-moment/374251/.Google Scholar
Bernstein, Jonathan. 2019. “Lydia Loveless Alleges Sexual Misconduct by Domestic Partner of Record Label Head.” Rolling Stone Country, February 18. www.rollingstone.com/music/music-country/lydia-loveless-bloodshot-records-sexual-harassment-796005/.Google Scholar
Bernstein, Jonathan, Freeman, John, Hudak, Joseph, McKenna, Brittney, and Moss, Marissa R.. 2019. “Baby You a Song: Bro Country’s 30 Biggest Bangers,” Rolling Stone, December 3. www.rollingstone.com/music/music-country-lists/baby-you-a-song-bro-countrys-30-biggest-bangers-919249/.Google Scholar
Berry, Chad. 2008. The Hayloft Gang: The Story of the National Barn Dance. Urbana: University of Illinois Press.Google Scholar
Beyer, Alexa. 2021. “The Gay Songwriters Who Secretly Ruled the Country Charts are Ready for the Spotlight.” Mic, July 26. www.mic.com/p/the-gay-songwriters-who-secretly-ruled-the-country-charts-are-ready-for-the-spotlight-82589639.Google Scholar
Blau, Jnan. 2009. “More than ‘Just’ Music: Four Performative Topoi, the Phish Phenomenon, and the Power of Music in/and Performance.” Trans: Transcultural Music Review, 13 (January). www.sibetrans.com/trans/articulo/44/more-than-just-music-four-performative-topoi-the-phish-phenomenon-and-the-power-of-music-in-and-performance.Google Scholar
Bloodshot Records. 2019. Too Late to Pray: Defiant Chicago Roots. BS 273. Liner notes.Google Scholar
Bloodshot Records. 2020. Pandemophenia. BS 621. Liner notes.Google Scholar
Bonini, Tiziano, and Gandini, Alessandro. 2019. “‘First Week Is Editorial, Second Week Is Algorithmic’: Platform Gatekeepers and the Platformization of Music Curation.” Social Media + Society 5 (4): 111.Google Scholar
Born, Georgina. 2000. “Music and the Representation/Articulation of Sociocultural Identities.” In Western Music and Its Others: Difference, Representation, and Appropriation in Music, edited by Born, Georgina and Hesmondhalgh, David, 3137. Berkeley: University of California Press.Google Scholar
Bourdieu, Pierre. 1977. Outline of a Theory of Practice. Cambridge: Cambridge University Press.Google Scholar
Bourdieu, Pierre. 1984. Distinction: A Social Critique of the Judgement of Taste. Translated by Richard Nice. Cambridge: Harvard University Press.Google Scholar
Bowen, Dawn S. 1997. “Lookin’ for Margaritaville: Place and Imagination in Jimmy Buffett’s Songs.” Journal of Cultural Geography 16 (2): 99108.Google Scholar
Boym, Svetlana. 2001. The Future of Nostalgia. New York: Basic Books.Google Scholar
Brackett, David. 2016. Categorizing Sound: Genre and Twentieth Century Popular Music. Oakland: University of California Press.CrossRefGoogle Scholar
Brady, Erika. 2013. “Contested Origins: Arnold Shultz and the Music of Western Kentucky.” In Hidden in the Mix: The African American Presence in Country Music, edited by Pecknold, Diane, 100–18. Durham: Duke University Press.Google Scholar
Breezy, Elle. 2016. “Beyonce Performs ‘Daddy Lessons’ with the Dixie Chicks at CMAs, Faces Backlash from Country Music Fans.” Singersroom.com, November 3. https://singersroom.com/content/2016-11-03/beyonce-performs-daddy-lessons-dixie-chicks-cmas-faces-backlash-country-music-fans/.Google Scholar
Brothers, Eryn. 2020. “Is This the First Queer Country Song?” Country Queer, September 11. https://countryqueer.com/article/is-this-the-first-queer-country-song/.Google Scholar
Brøvig-Hanssen, Ragnhild, and Harkins, Paul. 2012. “Contextual Incongruity and Musical Congruity: The Aesthetics and Humor of Mash-Ups.” Popular Music 31 (1): 87104.Google Scholar
Brown, Dorothy A. 2021. The Whiteness of Wealth: How the Tax System Impoverishes Black Americans – And How We Can Fix It. New York: Crown.Google Scholar
Browne, David. 2020. “Country’s Lost Pioneer.” Rolling Stone, September 2. www.rollingstone.com/music/music-features/linda-martell-black-country-grand-ole-opry-pioneer-1050432/.Google Scholar
Browne, Simone. 2015. Dark Matters: On the Surveillance of Blackness. Durham: Duke University Press.Google Scholar
Brynjolfsson, Erik, Hu, Yu (Jeffrey), and Smith, Michael D.. 2003. “Consumer Surplus in the Digital Economy: Estimating the Value of Increased Product Variety at Online Booksellers.” Management Science 49 (11): 1580–96.Google Scholar
Bryson, Bethany. 1996. “‘Anything but Heavy Metal’: Symbolic Exclusion and Musical Dislikes.” American Sociological Review 61 (5): 884–99.Google Scholar
Bufwack, Mary A., and Oermann, Robert K.. 2003. Finding Her Voice: Women in Country Music, 1800–2000. Nashville: Country Music Foundation/Vanderbilt University Press.Google Scholar
Bull, Michael, and Back, Les. 2003. “Introduction.” In The Auditory Culture Reader, edited by Bull, Michael and Back, Les, 114. Oxford: Berg.Google Scholar
Burns, Chelsea. 2020. “The Racial Limitations of Country-Soul Crossover in Bobby Womack’s BW Goes C&W, 1976.” Journal of Popular Music Studies 32 (2): 112–27.Google Scholar
Bush, George H. W. 1991. “Country Music Month, 1991, Proclamation 6358 of October 15, 1991.” Federal Register 56 (201): 51969.Google Scholar
Burns, Ken. 2019. Country Music: A Film by Ken Burns. PBS.Google Scholar
Byrne, David. 2012. How Music Works. New York: Three Rivers Press.Google Scholar
Caplan, Lucy. 2020. “‘Strange What Cosmopolites Music Makes of Us’: Classical Music, the Black Press, and Nora Douglas Holt’s Black Feminist Audiotopia.” Journal of the Society for American Music 14 (3): 308–36.Google Scholar
Caramanica, Jon. 2016. “Review: Why ‘Hero’ is an Outstanding Country Music Debut.” New York Times, June 1. www.nytimes.com/2016/06/02/arts/music/maren-morris-hero-review.html.Google Scholar
Caramanica, Jon. 2017a. “Bye, Bro. In Country Music, It’s the Year of the Gentleman.” Popcast, September 22. New York Times. www.nytimes.com/2017/09/22/arts/music/popcast-bro-country-gentlemen.html.Google Scholar
Caramanica, Jon. 2017b. “In Country Music, Nice Guys Finish First (For Now).” New York Times, September 21. www.nytimes.com/2017/09/21/arts/music/country-gentleman-thomas-rhett.html.Google Scholar
Caramanica, Jon. 2019. “Ken Burns’s ‘Country Music’ Traces the Genre’s Victories, and Reveals its Blind Spots.” New York Times, September 12. www.nytimes.com/2019/09/12/arts/television/ken-burns-country-music.html.Google Scholar
Carlisle, Madeleine. 2020. “‘Everything Has to Pass.’ Why Dolly Parton is Optimistic About Life after Coronavirus.” Time, May 28. https://time.com/5840666/dolly-parton-coronavirus-time100-talks/.Google Scholar
Carmean, Derek. 1999. “Reunited Knitters Play Benefit in San Francisco.” Rockabilly Central. www.rockabilly.net/articles/knitters.shtml.Google Scholar
Carson, Charles D. 2012. “‘Melanin in the Music’: Black Music History in Sound and Image.” Current Musicology 93 (Spring): 95114.Google Scholar
Carter, Maria. 2017. “The Real-Life Love Story Behind Thomas Rhett’s ‘Die a Happy Man’,” Country Living, November 8. www.countryliving.com/life/entertainment/a38112/real-love-story-behind-thomas-rhetts-die-a-happy-man/.Google Scholar
Casey, Jim. 2018. “Top 15 Best-Selling Country Albums of All Time, According to RIAA.” Country Daily, March 14. www.thecountrydaily.com/2018/03/14/top-15-best-selling-country-albums-of-all-time-according-to-the-riaa/.Google Scholar
Cash, W.J. 1941. The Mind of the South. New York: Alfred A. Knopf.Google Scholar
Castonguay, Roger. 2018. “Genettean Hypertextuality as Applied to the Music of Genesis: Intertextual and Intratextual Approaches.” In The Pop Palimpsest: Intertextuality in Recorded Popular Music, edited by Burns, Lori and Lacasse, Serge, 6182. Ann Arbor: University of Michigan Press.Google Scholar
Chalkley, Tony. 2012. “Surveillance: Why is Everybody Staring?” In Communication, New Media and Everyday Life, edited by Chalkley, Tony, Brown, Adam, Cinque, Toija, Warren, Brad, Hobbs, Mitchell and Finn, Mark, 201–14. South Melbourne: Oxford University Press.Google Scholar
Chang, Connie. 2002. “Can’t Record Labels and Recording Artists All Just Get Along? The Debate Over California Labor Code 2855 and Its Impact on the Music Industry.” DePaul Journal of Art, Technology and Intellectual Property Law. 12 (1): 1324. https://via.library.depaul.edu/cgi/viewcontent.cgi?article=1239&context=jatip.Google Scholar
Chávez, Alex E. 2017. Sounds of Crossing: Music, Migration and the Aural Poetics of Huapango Arribeño. Durham: Duke University Press.Google Scholar
Cheng, William. 2018. “Black Noise, White Ears: Resilience, Rap, and the Killing of Jordan Davis.” Current Musicology 102: 115–89.Google Scholar
Ching, Barbara. 2003. Wrong’s What I Do Best: Hard Country and Contemporary Culture. Oxford: Oxford University Press.Google Scholar
Christenson, Peter, Roberts, Donald F., and Bjork, Nicholas. 2012. “Booze, Drugs, and Pop Music: Trends in Substance Portrayals in the Billboard Top 100 1968–2008.” Substance Use & Misuse 47 (2): 121–29.Google Scholar
Clarke, Betty. 2003. “The Dixie Chicks.” Guardian, March 12. www.theguardian.com/music/2003/mar/12/artsfeatures.popandrock.Google Scholar
Cobble, D. 1991. Waitresses and Their Unions in the Twentieth Century. Urbana: University of Illinois Press.Google Scholar
Coe, Tyler Mahan. 2017. “Harper Valley PTA, Part 3: Tom T. Hall.” Cocaine and Rhinestones, December 19. https://cocaineandrhinestones.com/tom-t-hall-harper-valley-pta.Google Scholar
Cohn, Nudie, and Mitchum, Petrine. 1979. Rhinestone Cowboy. Unpublished.Google Scholar
Cole, Shaun. 2015. “Looking Queer? Gay Men’s Negotiations between Masculinity and Femininity in Style and Dress in the Twenty-First Century.” Clothing Cultures 2 (2): 193208.Google Scholar
Coleman, Annie Gilbert. 1996. “The Unbearable Whiteness of Skiing.” Pacific Historical Review 65 (4): 583614.Google Scholar
Collins, Patricia Hill. 2000. Black Feminist Thought: Knowledge, Consciousness, and the Politics of Empowerment. New York: Routledge.Google Scholar
Cook, Nicholas. 1998. Analysing Musical Multimedia. New York: Oxford University Press.Google Scholar
Cottom, Tressie McMillan. 2018. “Reading Hick-Hop: The Shotgun Marriage of Hip-Hop and Country Music.” In The Honky Tonk on the Left: Progressive Country Music, edited by Jackson, Mark Allan, 236–56. Amherst: University of Massachusetts Press.Google Scholar
Cottom, Tressie McMillan. 2021a. “Why I Keep Returning to Country Music as a Theme.” Essaying, March 4. https://tressie.substack.com/p/why-i-keep-returning-to-country-musicGoogle Scholar
Cottom, Tressie McMillan. 2021b. “The Dolly Moment: Why We Stan a Post-Racism Queen.” Essaying, February 24. https://tressie.substack.com/p/the-dolly-moment.Google Scholar
Country Music Association. 2016. “CMA Announces Key Consumer Research Findings During Member Webinar.” May 4. www.cmaworld.com/cma-announces-key-consumer-research-findings-member-webinar/.Google Scholar
Country Music Hall of Fame and Museum. 2012. Encyclopedia of Country Music, 2nd ed. New York: Oxford University Press.Google Scholar
Cox, Julia. 2018a. The Protest Song: Bridge Leadership, Sonic Innovation, and the Long Civil Rights Movement. PhD dissertation, University of Pennsylvania.Google Scholar
Cox, Julia. 2018b. “‘Sing It So Loudly’: The Long History of ‘Birmingham Sunday’” Southern Cultures 24 (1): 6275.Google Scholar
Craik, Jennifer. 2009. Fashion: The Key Concepts. London: Berg.Google Scholar
Crain, Zac. 2000. “Please Kill Me.” Dallas Observer, January 20, 2000. www.dallasobserver.com/music/please-kill-me-6396524?storyPage=2.Google Scholar
Crenshaw, Kimberlé. 1989. “Demarginalizing the Intersection of Race and Sex: A Black Feminist Critique of Antidiscrimination Doctrine, Feminist Theory and Antiracist Politics.” University of Chicago Legal Forum 1989 (1): 139–67.Google Scholar
Cunningham, Patricia A. 2005. “Dressing for Success: The Re-Suiting of Corporate America in the 1970s.” In Twentieth Century American Fashion, edited by Cunningham, Patricia and Welters, Linda, 191208. Oxford and New York: Berg.Google Scholar
Cusic, Don. 1993. “Comedy and Humor in Country Music.” The Journal of American Culture 16 (2): 4550.Google Scholar
Cusic, Don. 2011. The Cowboy in Country Music: An Historical Survey with Artist Profiles. Jefferson, and London: McFarland and Company.Google Scholar
D’Ignazio, Catherine, and Klein, Lauren F.. 2020. Data Feminism. Boston: MIT Press.Google Scholar
Daley, Dan. 1998. Nashville’s Unwritten Rules: Inside the Business of Country Music. New York: Overlook Books.Google Scholar
Dansby, Andrew. 2001a. “Sony Sues Dixie Chicks.” Rolling Stone, July 17. www.rollingstone.com/music/music-news/sony-sues-dixie-chicks-234848/.Google Scholar
Dansby, Andrew. 2001b. “Dixie Chicks Sue Sony.” Rolling Stone, August 28. www.rollingstone.com/music/music-news/dixie-chicks-sue-sony-236628/Google Scholar
Davidson, Justin. 2019. “Rhiannon Giddens’ 21st-Century Sound Has a Long History.” Smithsonian 49 (10). www.smithsonianmag.com/arts-culture/rhiannon-giddens-american-music-history-21st-century-sound-180971449/Google Scholar
Davis, Fred. 1977. “Nostalgia, Identity, and the Current Nostalgia Wave.” Journal of Popular Culture 11 (2): 414–24.Google Scholar
Denetdale, Jennifer Nez. 2016. “‘No Explanation, No Resolution, and No Answers’: Border Town Violence and Navajo Resistance to Settler Colonialism.” Wicazo Sa Review 31 (1) (Spring): 111–31.Google Scholar
Densley, Rebecca Lin, and Rasmussen, Eric. 2018. “Why Don’t We Get Drunk and Screw?: A Content Analysis of Women, Sex and Alcohol in Country Music.” Journal of Popular Music Studies 30 (3): 115–28.Google Scholar
Despres, Tricia. 2018. “Lauren Alaina Debuts ‘Ladies in the ’90s’ Live in Concert [Watch].” Taste of Country, September 7. https://tasteofcountry.com/lauren-alaina-ladies-in-the-90s-concert-video/.Google Scholar
DiCola, Peter, and Thomson, Kristin. 2002. “Radio Deregulation: Has It Served Musicians and Citizens?” Future of Music Coalition, November 18. http://futureofmusic.org/article/research/radio-deregulation-has-it-served-musicians-and-citizens.Google Scholar
Dijk, Teun A. van. 2006. “Discourse and Manipulation.” Discourse & Society 17 (3): 359–83.Google Scholar
Donaldson, Lisa W. 2006. “Indian Rolling”: White Violence against Native Americans in Farmington, New Mexico. PhD dissertation, University of New Mexico.Google Scholar
Donougho, Martin. 2016. “Hegelian Comedy.” Philosophy & Rhetoric 49 (2): 196220.Google Scholar
Douglas, Mary. 1966. Purity and Danger: An Analysis of Concepts of Pollution and Taboo. London: Routledge & Keegan Paul.Google Scholar
Drew, Rob. 2005. “Mixed Blessings: The Commercial Mix and the Future of Music Aggregation,” Popular Music and Society 28 (4): 533–51.Google Scholar
Du Bois, W.E.B. 1903. The Souls of Black Folk. Chicago: A.C. McClurg & Co.Google Scholar
Du Bois, W.E.B. 1940. The Dusk of Dawn. New York: Harcourt, Brace & Co.Google Scholar
Dukes, Billy. 2018. “Remember When Garth Brooks Signed Autographs For 23 Hours Straight?” Taste of Country, June 15. https://tasteofcountry.com/remember-when-garth-brooks-set-autograph-record-fan-fair/.Google Scholar
Durrett, Deanne. 2009. Unsung Heroes of World War II: The Story of the Navajo Code Talkers. Lincoln: University of Nebraska Press.Google Scholar
Dyer, Richard. 1979. Stars. London: British Film Institute.Google Scholar
Edgar, Amanda Nell, and Toone, Ashton. 2017. “‘She Invited Other People to that Space’: Audience Habitus, Place, and Social Justice in Beyoncé’s Lemonade.Feminist Media Studies 19 (1): 87101.Google Scholar
Edgers, Geoff. 2018. “Watch out, Country Bros. The Pistol Annies are Back.” Washington Post, November 1. www.washingtonpost.com/entertainment/music/watch-out-country-bros-the-pistol-annies-are-back/2018/11/01/91ac4924-dc51-11e8-b732-3c72cbf131f2_story.html.Google Scholar
Edwards, Leigh. 2009. Johnny Cash and the Paradox of American Identity. Bloomington: Indiana University Press.Google Scholar
Edwards, Leigh. 2018. Dolly Parton, Gender, and Country Music. Bloomington: Indiana University Press.Google Scholar
Eicher, Ashley, and Kelly, Hunter. 2019. “Lauren Alaina.” All Our Favorite People, March 13.Google Scholar
Eidsheim, Nina. 2012. “Voice as Action: Toward a Model for Analyzing the Dynamic Construction of Racialized Voice.” Current Musicology 93 (Spring): 933.Google Scholar
Elasfar, Dara. 2020. “Woman’s Powerful Post on Being a Black Country Music Fan Goes Viral.” Good Morning America, June 10. www.goodmorningamerica.com/culture/story/womans-powerful-post-black-country-music-fan-viral-71153147.Google Scholar
Ellis, Iain. 2010. “Resistance and Relief: The Wit and Woes of Early Twentieth Century Folk and Country Music.” Humor 23 (2): 161178.Google Scholar
Ellison, Curt. 1995. Country Music Culture: From Hard Times to Heaven. Jackson: University Press of Mississippi.Google Scholar
Enriquez, Sophia. 2020. “‘Penned Against the Wall’: Migration Narratives, Cultural Resonances, and Latinx Experiences in Appalachian Music.” Journal of Popular Music Studies 32 (2): 6376.Google Scholar
Epstein, Dena J. 1977. Sinful Tunes and Spirituals: Black Folk Music to the Civil War. Urbana: University of Illinois Press.Google Scholar
Estes, Nick, Yazzie, Melanie K., Denetdale, Jennifer Nez, and Correia, David. 2021. Red Nation Rising: From Bordertown Violence to Native Liberation. San Francisco: PM Press.Google Scholar
Estes, Nick. 2015. “Blood Money: Life and Death in Gallup, N.M.” Indian Country Today, January 14. https://indiancountrytoday.com/archive/blood-money-life-and-death-in-gallup-nm-iH8U5802bE6gg_hKLuAYRw.Google Scholar
Fairchild, Charles. 2015. “Crowds, Clouds, and Idols: New Dynamics and Old Agendas in the Music Industry, 1982–2012.American Music 33 (4): 441–76.Google Scholar
Fanjoy, Trey. 2006. “The King and I.” Country Weekly, June 5, pp. 26–28, 31.Google Scholar
Faris, Marc. 2004. “‘That Chicago Sound’: Playing with (Local) Identity in Underground Rock.” Popular Music and Society 27 (4): 429–54.Google Scholar
Feiler, Bruce. 1996. “Has Country Music Become a Soundtrack for White Flight?” New York Times, October 20. www.nytimes.com/1996/10/20/arts/has-country-music-become-a-soundtrack-for-white-flight.html.Google Scholar
Feiler, Bruce. 2014. “Dreaming Out Loud: Garth Brooks, Wynonna Judd, Wade Hayes, and the Changing Face of Nashville (1998).” In The Country Music Reader, edited by Stimeling, Travis, 280–89. New York: Oxford University Press, 2014.Google Scholar
Ferguson, Maeri. 2019. “Love Letter to Chicago.” No Depression, November 7. www.nodepression.com/album-reviews/bloodshot-records-celebrates-25-years-with-musical-love-letter-to-chicago/.Google Scholar
Ferrandino, Matthew, and Osborn, Brad. 2019. “Seeing Stories, Hearing Stories in Narrative Music Video.” SMT-V 5.5. https://vimeo.com/357096231.Google Scholar
Filene, Benjamin. 2000. Romancing the Folk: Public Memory and American Roots Music. Chapel Hill: University of North Carolina Press.Google Scholar
Finn, Heather. 2020. “CMA Fest Host Thomas Rhett and His Wife Lauren Akins’ Love Story Almost Never Happened.” Good Housekeeping, August 10. www.goodhousekeeping.com/life/entertainment/a28591518/thomas-rhett-wife-lauren-akins/.Google Scholar
Fishkin, Shelley Fisher. 1995. “Interrogating ‘Whiteness,’ Complicating ‘Blackness’: Remapping American Culture.” American Quarterly 47 (3): 428–66.Google Scholar
Fleming, Andrew, dir. 2019. Dolly Parton’s Heartstrings. Season 1, episode 1, “Jolene.” Aired November 22, 2019, on Netflix.Google Scholar
Fletcher, Michael A. 2017. “At American Legion Hall, Patriotism is Complicated by the Persistent Realities of Being Black.” The Undefeated, September 25, 2017. https://theundefeated.com/features/american-legion-hall-patriotism-is-complicated/.Google Scholar
Ford, Jaclyn H., Rubin, David C., and Giovanello, Kelly S.. 2016. “The Effects of Song Familiarity and Age on Phenomenological Characteristics and Neural Recruitment during Autobiographical Memory Retrieval.” Psychomusicology: Music, Mind, and Brain 26 (3): 199210.Google Scholar
Foucault, Michel. 1980. Power/Knowledge: Selected Interviews and Other Writings. New York: Pantheon Books.Google Scholar
Fox, Aaron A. 1992. “The Jukebox of History: Narratives of Loss and Desire in the Discourse of Country Music.” Popular Music 11 (1): 5372.Google Scholar
Fox, Pamela. 2009. Natural Acts: Gender, Race and Rusticity in Country Music. Ann Arbor: University of Michigan.Google Scholar
Fox, Pamela, and Ching, Barbara. 2008. “The Importance of Being Ironic – Toward a Theory and Critique of Alt.Country Music.” In Old Roots, New Routes: The Cultural Politics of Alt.Country Music, edited by Fox, Pamela and Ching, Barbara, 154–74. Ann Arbor: University of Michigan.Google Scholar
Fredriksson, Kristine. 2000. “Minnie Pearl and Southern Humor in Country Entertainment.” In Country Music Annual, edited by Wolfe, Charles K. and Akenson, James E., 7588. Lexington: University of Kentucky Press.Google Scholar
Friskics-Warren, Bill. 2002. “Music: The Dixie Chicks Keep the Heat on Nashville.” New York Times, August 25. www.nytimes.com/2002/08/25/arts/music-the-dixie-chicks-keep-the-heat-on-nashville.html.Google Scholar
Frith, Simon. 1996. Performing Rites: On the Value of Popular Music. Cambridge, MA: Harvard University Press.Google Scholar
Garber, Marjorie. 2009. “The Transvestite Continuum: Liberace-Valentino-Elvis.” In The Men’s Fashion Reader, edited by McNeil, Peter and Karaminas, Vicki, 210–29. Oxford and New York: Berg.Google Scholar
García-Quijano, Carlos G., and Lloréns, Hilda. 2019. “Using the Anthropological Concept of ‘Core Cultural Values’ to Understand the Puerto Rican 2019 Summer Protests.” American Anthropologist, October 29. www.americananthropologist.org/2019/10/29/understanding-the-puerto-rican-2019-summer-protests/.Google Scholar
Garcia, David F. 2019. “When the Borders Crossed Us: A Latinx Musicology for Trumpism.” Paper presented at Early American Music and the Construction of Race: An Interdisciplinary Workshop. Philadelphia, October 12, 2019.Google Scholar
Garcia, F. Chris. 1973. Political Socialization of Chicano Children: A Comparative Study with Anglos in California Schools. New York: Praeger.Google Scholar
Garcia, F. Chris. 1995. “Mexican American Values in the American Southwest.” SHRI Publications 56. Albuquerque: Southwest Hispanic Research Institute at The University of New Mexico Digital Repository.Google Scholar
Gebler, Leo, Moore, Joan W., and Guzmán, Ralph C.. 1970. The Mexican American People. New York: Free Press.Google Scholar
Geczy, Adam, and Karaminas, Vicki. 2013. Queer Style. London: Bloomsbury Academic.Google Scholar
Genette, Gérard. 1997. Paratexts: Thresholds of Interpretation. Cambridge: Cambridge University Press.Google Scholar
George-Warren, Holly, and Freedman, Michelle. 2006. How the West Was Worn: A History of Western Wear. New York: Harry N. Abrams.Google Scholar
Giddens, Rhiannon. 2015. Liner notes for Tomorrow is My Turn. Nonesuch Records.Google Scholar
Giddens, Rhiannon. 2017. “Rhiannon Giddens’ Keynote Address at IBMA Conference: Community and Connection.” Nonesuch Journal, October 3. www.nonesuch.com/journal/rhiannon-giddens-keynote-address-ibma-conference-community-connection-2017-10-03.Google Scholar
Gilbert, Samuel, and Malcolm, Adria. 2019. “Why Violence Persists in New Mexico’s Indigenous Border Towns.” VICE Magazine, September 9. www.vice.com/en_us/article/pa7ev9/why-violence-persists-in-new-mexicos-indigenous-border-towns-v26n3.Google Scholar
Ginell, Cary. 1994. Milton Brown and the Founding of Western Swing. Urbana: University of Illinois Press.Google Scholar
Glasrud, Bruce A., and Searles, Michael N.. 2016. Black Cowboys in the American West: On the Range, on the Stage, Behind the Badge. Norman: University of Oklahoma Press.Google Scholar
Gnagy, Caroline. 2017. “Goin’ Hillbilly Nuts: Fashion Culture and Visual Style in Country Music.” In The Oxford Handbook of Country Music, edited by Stimeling, Travis D., 415–60. Oxford: Oxford University Press.Google Scholar
González-Martin, Rachel. 2020. “The Future of Folklore is Feminist: Intersectional Feminist Practice and US American Folklore Studies.” Keynote Address, Ohio State University, Columbus, OH.Google Scholar
Green, Douglas B. 1976. Country Roots: The Origins of Country Music. New York, Hawthorn.Google Scholar
Grimshaw, Michael. 2002. “‘Redneck Religion and Shitkickin’ Saviours?’: Gram Parsons, Theology and Country Music.” Popular Music 21 (1): 93105.Google Scholar
Gross, Emmeline. 2010. The Southern Gentleman and the Idea of Masculinity: Figures and Aspects of the Southern Beau in the Literary Tradition of the American South, PhD dissertation, Georgia State University.Google Scholar
Hall, Kristin M. 2021. “Album Sales Surge for Morgan Wallen after Racist Comment.” AP News, February 8. https://apnews.com/article/morgan-wellen-album-sales-surge-3641ae1b0ac656e4af6445f226ffc8eb.Google Scholar
Hall, Stuart, and Whannel, Paddy. 1964. The Popular Arts. London: Hutchinson.Google Scholar
Hamessley, Lydia. 2005. “A Resisting Performance of an Appalachian Traditional Murder Girl Ballad: Giving Voice to ‘Pretty Polly.’” Women and Music: A Journal of Gender and Culture 9: 1336.Google Scholar
Hamessley, Lydia R. 2020. Unlikely Angel: The Songs of Dolly Parton. Champaign: Illinois University Press.Google Scholar
Hammond, Angela D. 2011. Color Me Country: Commercial Country Music and Whiteness. PhD dissertation, University of Kentucky.Google Scholar
Handke, Christian. 2012. “Plain Destruction or Creative Destruction? Copyright Erosion and the Evolution of the Record Industry.” Review of Economic Research on Copyright Issues 3 (2): 2951.Google Scholar
Harvey, Eric. 2017. “Beyoncé’s Digital Stardom.” Black Camera: An International Film Journal 9 (1): 114–30.Google Scholar
Heidemann, Kate. 2016. “Remarkable Women and Ordinary Gals: Performance of Identity in Songs by Loretta Lynn and Dolly Parton.” In Country Boys and Redneck Women: New Essays in Gender and Country Music, edited by Pecknold, Diane and McCusker, Kristine M., 166–88. Jackson: University Press of Mississippi.Google Scholar
Hess, Amanda. 2020. “The Chicks Are Done Caring What People Think.” New York Times, July 8, www.nytimes.com/2020/07/08/arts/music/dixie-chicks-gaslighter.html.Google Scholar
Hiatt, Brian, and Serpick, Evan. 2007. “The Record Industry’s Decline.” Rolling Stone, June 28, 2007. www.rollingstone.com/news/story/15137581/the_record_industrys_decline.Google Scholar
Hickman, Susan E., and Muehlenhard, Charlene L.. 1999. “By the Semi-Mystical Appearance of a Condom: How Young Women and Men Communicate Sexual Consent in Heterosexual Situations.” Journal of Sexual Research 36 (3): 258272.Google Scholar
Hight, Jewly. 2016. “Beyoncé and The Dixie Chicks Offer Up Lessons on Country Music’s Past (and Future).” NPR, November 4. www.npr.org/sections/therecord/2016/11/04/500562813/beyonc-and-the-dixie-chicks-offer-up-lessons-on-country-musics-past-and-future.Google Scholar
Hight, Jewly. 2018a. “Annies Return with Their Humor Intact.” New York Times, November 1, 2018, C2.Google Scholar
Hight, Jewly. 2018b. “How the Sound of Country Music Changed.” NPR, March 20. www.npr.org/sections/therecord/2018/03/20/594037569/how-the-sound-of-country-music-changed.Google Scholar
Himmelman, Isaac. 2019. “Why is Country Music Considered So White?” Huffington Post, July 17. www.huffpost.com/entry/country-music-black-artists_n_5d2de760e4b085eda5a25516.Google Scholar
Hirsch, Paul M. 1972. “Processing Fads and Fashions: An Organization-Set Analysis of Cultural Industry Systems.” American Journal of Sociology 77 (4): 639–59.Google Scholar
Hoekstra, Dave. 1998. “The Three Decade Night of the Sundowners.” Journal of Country Music 20 (1): 3035.Google Scholar
Holbrook, Morris B. 1993. “Nostalgia and Consumption Preferences: Some Emerging Patterns of Consumer Tastes.” Journal of Consumer Research 20 (2): 245–56.Google Scholar
Holson, Laura M. 2002. “Dixie Chicks and Sony May End Contract Dispute.” New York Times, June 17. www.nytimes.com/2020/07/08/arts/music/dixie-chicks-gaslighter.html.Google Scholar
Hooks, Bell. 2004. The Will to Change: Men, Masculinity, and Love. New York: Simon & Schuster.Google Scholar
Hubbs, Nadine, and Royster, Francesca T.. 2020. “Introduction: Uncharted Country: New Voices and Perspectives in Country Music Studies.” Journal of Popular Music Studies 32 (2): 110.Google Scholar
Hubbs, Nadine. 2014. Rednecks, Queers and Country Music. Berkeley: University of California Press.Google Scholar
Hubbs, Nadine. 2015. “‘Jolene,’ Genre, and the Everyday Homoerotics of Country Music.” Women and Music 19 (August): 7176.Google Scholar
Hubbs, Nadine. 2020. “Vaquero World: Queer Mexicanidad, Trans Performance, and the Undoing of Nation.” In Decentering the Nation: Music, Mexicanidad, and Globalization, edited by Ramos-Kittrell, Jesús A., 7596. Lanham, MD: Lexington Books.Google Scholar
Huber, Patrick. 2008. Linthead Stomp: The Creation of Country Music in the Piedmont South. Chapel Hill: University of North Carolina Press.Google Scholar
Huber, Patrick. 2013. “Black Hillbillies: African American Musicians on Old-Time Records, 1924–1932.” In Hidden in the Mix: The African American Presence in Country Music, edited by Pecknold, Diane, 1981. Durham, NC: Duke University Press.Google Scholar
Huber, Patrick. 2014. “The New York Sound: Citybilly Recording Artists and the Creation of Hillbilly Music, 1924–1932.” Journal of American Folklore 127 (504): 140158.Google Scholar
Huber, Patrick. 2017. “The ‘Southernness’ of Country Music.” In The Oxford Handbook of Country Music, edited by Stimeling, Travis D., 3146. Oxford: Oxford University Press.Google Scholar
Hudak, Joseph. 2014. “Frankie Ballard Revels in Number-One Success of ‘Sunshine and Whiskey’,” Rolling Stone, November 21. www.rollingstone.com/music/music-country/frankie-ballard-revels-in-number-one-success-of-sunshine-whiskey-181844/.Google Scholar
Hudak, Joseph. 2020. “That Time Mary Chapin Carpenter Played the Super Bowl with Beausoleil.” Rolling Stone, October 19. www.rollingstone.com/music/music-country/mary-chapin-carpenter-twist-and-shout-beausoleil-1077854/.Google Scholar
Hughes, Charles. 2015. Country Soul: Making Music and Making Race in the American South. Chapel Hill: University of North Carolina Press.Google Scholar
Hughes, Charles. 2017. “‘I’m the Other One’: O.B. McClinton and the Racial Politics of Country Music in the 1970s.” In The Honky Tonk on the Left: Progressive Thought in Country Music, 121–46. Amherst: University of Massachusetts Press.Google Scholar
Humphreys, Terry. 2007. “Perceptions of Sexual Consent: The Impact of Relationship History and Gender.” Journal of Sex Research 44: 4, 307315.Google Scholar
Hurtado, Ludwig. 2019. “Country Music is Also Mexican Music.” The Nation, January 3. www.thenation.com/article/archive/country-mexico-ice-nationalism/Google Scholar
Hutcheon, Linda. 2000. “Irony, Nostalgia, and the Postmodern: A Dialogue.” Methods for the Study of Literature as Cultural Memory, Studies in Comparative Literature 30 (6): 189207.Google Scholar
Irons, Aaron. 2020. “Wherever We Have to Go: Bruce Robison on The Next Waltz & Finding Great Songs.” Sound and Soul, November 18. www.soundandsoulonline.com/2020/11/18/wherever-we-have-to-go-bruce-robison-on-the-next-waltz-finding-great-songs/.Google Scholar
Isaac, Veronica. 2014. “Costume.” In The Oxford Handbook of Opera, edited by Greenwald, Helen M., 553–81. Oxford: Oxford University Press.Google Scholar
Istvandity, Lauren, and Cantillon, Zelmarie. 2019. “The Precarity of Memory, Heritage and History in Remembering Popular Music’s Past.” In Remembering Popular Music’s Past, edited by Istvandity, Lauren, Baker, Sarah, and Cantillon, Zelmarie, 110. London: Anthem Press.Google Scholar
Istvandity, Lauren. 2018. “Popular Music and Autobiographical Memory: Intimate Connections over the Life Course.” In The Routledge Companion to Popular Music History and Heritage, edited by Baker, Sarah, Strong, Catherine, Istvandity, Lauren, and Cantillon, Zelmarie, 199207. New York: Routledge.Google Scholar
Jackson, Mark Allan, ed. 2018. The Honky Tonk on the Left: Progressive Thought in Country Music. Amherst: University of Massachusetts Press.Google Scholar
Jacobsen, Kristina. 2009. “Rita(hhh): Placemaking and Country Music on the Navajo Nation.” Ethnomusicology 53 (3): 449–77.Google Scholar
Jacobsen, Kristina. 2017. The Sound of Navajo Country: Music, Language and Diné Belonging. Chapel Hill: University of North Carolina Press.Google Scholar
Jameson, Fredric. 1991. Postmodernism, or the Cultural Logic of Late Capitalism. Durham: Duke University Press.Google Scholar
Jamison, Phil. 2015. Hoedowns, Reels, and Frolics: Roots and Branches of Southern Appalachian Dance. Urbana: University of Illinois Press.Google Scholar
Jenkins, Henry. 2006. Convergence Culture: Where Old and New Media Collide. New York: New York University Press.Google Scholar
Jensen, Joli. 1998. The Nashville Sound: Authenticity, Commercialization and Country Music. Nashville: The Country Music Foundation Press and Vanderbilt University Press.Google Scholar
Joannou, Cliff. 2020. “A Fine Bromance.” Attitude, May, 2020, 31–43.Google Scholar
John, Emma. 2018. “‘White People Are so Fragile, Bless ′Em’ … Meet Rhiannon Giddens, Banjo Warrior.” The Guardian. July 23. www.theguardian.com/music/2018/jul/23/white-people-are-so-fragile-bless-em-rhiannon-giddens-banjo-warrior-cambridge-folk-festival.Google Scholar
Jones, Loyal. 2008. Country Music: Humorists and Comedians. Urbana: University of Illinois Press.Google Scholar
Juslin, Patrik, Liljeström, Simon, Västfjäll, Daniel, Barradas, Goncalo, and Silva, Ana. 2008. “An Experience Sampling Study of Emotional Reactions to Music: Listener, Music, and Situation.” Emotion 8 (5): 668–83.Google Scholar
Kaufmann-Buhler, Jennifer, Pass, Victoria Rose, and Wilson, Christopher S.. 2019. Design History Beyond the Canon. London: Bloomsbury Publishing.Google Scholar
Keane, Colleen. 2014. “Since Brutal Killings, Community Waiting for City and Tribe to Take Action.” Navajo Times, December 31. https://navajotimes.com/reznews/homeless-community-innocent-victims-violent-assaults/.Google Scholar
Keel, Beverly. 2004. “Between Riot Grrl and Quiet Girl: The New Women’s Movement in Country Music.” In A Boy Named Sue: Gender and Country Music, edited by McCusker, Kristine M. and Pecknold, Diane, 155177. Jackson: University Press of Mississippi.Google Scholar
Keel, Beverly. 2015a. “Sexist ‘Tomato’ Barb Launches Food Fight on Music Row.” The Tennessean, May 27. www.tennessean.com/story/entertainment/music/2015/05/27/sexist-tomato-barb-launches-food-fight-music-row/28036657/.Google Scholar
Keel, Beverly. 2015b. “Tomato-gate Galvanizes Women in Country Music.” The Tennessean, June 21. www.tennessean.com/story/entertainment/music/2015/06/18/tomato-gate-galvanizes-women-country/28936501/.Google Scholar
Kendrick, G. D., ed. 1981. The River of Sorrows: The History of the Lower Dolores River Valley. Denver: U.S. Department of the Interior Rocky Mountain Regional Office.Google Scholar
Kenney, Andrew. 2018. “Surprise, Colorado: The Guy Who Sold all Those ‘NATIVE’ Stickers is a Transplant.” Denverite, May 25. https://denverite.com/2018/05/25/surprise-colorado-natives-inventor-beloved-bumper-sticker-utah/.Google Scholar
Kibler, Alison. 1999. Rank Ladies: Gender and Cultural Hierarchy in American Vaudeville. Chapel Hill: University of North Carolina Press.Google Scholar
Kierkegaard, Søren. 1987. “Concluding Unscientific Postscript.” In The Philosophy of Laughter and Humor, edited by Morreall, John, 8389. Albany: State University of New York Press.Google Scholar
Killen, Buddy. 1993. By the Seat of My Pants: My Life in Country Music. New York: Simon & Schuster.Google Scholar
Kinder, Elizabeth. 2015. “Rhiannon Giddens: Turn for the Best.” fRoots, May 2015, 28–33.Google Scholar
King, Stephen A., and Renee Foster, P.. 2018. “‘Leave Country Music to White Folk’? Narratives from Contemporary Africa-American Country Artists on Race and Music.” In Honky Tonk on the Left: Progressive Thought in Country Music, edited by Jackson, Mark Allan, 214–35. Amherst: University of Massachusetts Press.Google Scholar
Knight, George P., Gonzales, Nancy A., Saenz, Delia S., Bonds, Darya D., Germán, Miguelina, Deardorff, Julianna, Roosa, Mark W., and Updegraff, Kimberly A.. 2010. “The Mexican American Cultural Values Scales for Adolescents and Adults.” The Journal of Early Adolescence 30 (3): 444–81.Google Scholar
Krager, Caroline. 2020. “Lil Nas X’s Stylist on Creating the Star’s Most Iconic Looks.” i-d.vice.com, January 28. https://i-d.vice.com/en_uk/article/v74bed/lil-nas-xs-stylist-hodo-musa-grammys.Google Scholar
Krumhansl, Carol Lynne, and Zupnick, Justin Adam. 2013. “Cascading Reminiscence Bumps in Popular Music.” Psychological Science 24 (10): 2057–68.Google Scholar
La Chapelle, Peter. 2001. “All That Glitters: Country Music, Taste, and the Politics of the Rhinestone ‘Nudie’ Suit.Dress: The Annual Journal of the Costume Society of America 28 (1): 312.Google Scholar
Lacasse, Serge. 2000. “Intertextuality and Hypertextuality in Recorded Popular Music.” In The Musical Work: Reality or Invention?, edited by Talbot, Michael, 3558. Liverpool: Liverpool University Press.Google Scholar
Lacasse, Serge. 2018. “Toward a Model of Transphonography.” In The Pop Palimpsest: Intertextuality in Recorded Popular Music, edited by Burns, Lori and Lacasse, Serge, 1960. Ann Arbor: University of Michigan Press.Google Scholar
Lacasse, Serge, and Bennett, Andy. 2018. “Mix Tapes, Memory, and Nostalgia: An Introduction to Phonographic Anthologies.” In The Pop Palimpsest: Intertextuality in Recorded Popular Music, edited by Burns, Lori and Lacasse, Serge, 313–29. Ann Arbor: University of Michigan Press.Google Scholar
Lafrance, Marc, Scheibling, Casey, Burns, Lori, and Durr, Jean. 2018. “Race, Gender, and the Billboard Top 40 Charts between 1997 and 2007.” Popular Music & Society 41 (5): 522–38.Google Scholar
Lafrance, Marc, Worcester, Lara, and Burns, Lori. 2011. “Gender and the Billboard Top 40 Charts between 1997 and 2007.” Popular Music & Society 34 (5): 557–70.Google Scholar
Laird, Tracey E. W. 2015. Louisiana Hayride: Radio and Roots Music along the Red River. American Musicspheres. Oxford: Oxford University Press. First published 2005.Google Scholar
Lakoff, George. 1987. Women, Fire, and Dangerous Things: What Categories Reveal about the Mind. Chicago: University of Chicago Press.Google Scholar
Landry, Alysa. 2014. “Teens Murder for Fun: Smash Heads of Homeless Men with Cinderblocks.” Indian Country Today, July 24. https://indiancountrytoday.com/archive/teens-murder-for-fun-smash-heads-of-homeless-men-with-cinder-blocks.Google Scholar
Lange, Jeffrey J. 2004. Smile When You Call Me a Hillbilly: Country Music’s Struggle for Respectability, 1939–1954. Athens: University of Georgia Press.Google Scholar
Laver, Mark. 2019. “Lil Nas X and the Continued Segregation of Country Music.” Washington Post, June 20. www.washingtonpost.com/outlook/2019/06/20/lil-nas-x-continued-segregation-country-music/.Google Scholar
Lavitt, Pamela Brown. 1999. “First of the Red Hot Mamas: ‘Coon Shouting’ and the Jewish Ziegfeld Girl.” American Jewish History 87 (4): 253–90.Google Scholar
Leap, Braden. 2020. “A New Type of (White) Provider: Shifting Masculinities in Mainstream Country Music from the 1980s to the 2010s.” Rural Sociology 85 (1): 165189.Google Scholar
LeCompte, Mary Lou. 1985. “The Hispanic Influence on the History of Rodeo, 1823–1922.” Journal of Sport History 12 (1): 2138.Google Scholar
Lee, Elizabeth M., and LaDousa, Chaise, eds. 2015. College Students’ Experiences of Power and Marginality: Sharing Spaces and Negotiating Differences. New York: Routledge.Google Scholar
Lee, Stephen. 1995. “Re-Examining the Concept of the ‘Independent’ Record Company: The Case of Wax Trax! Records.” Popular Music 14 (1): 1331.Google Scholar
Lena, Jennifer C. 2012. Banding Together: How Communities Create Genres in Popular Music. Princeton, NJ: Princeton University Press.Google Scholar
Levin, Sam. 2016. “Rebel Cowboys: How the Bundy Family Sparked a New Battle for the American West.” The Guardian, August 29. www.theguardian.com/us-news/2016/aug/29/oregon-militia-standoff-bundy-family.Google Scholar
Levine, Daniel S. 2021. “Bobby Bones Defends Morgan Wallen After Racist Slur Scandal: ‘Move On’.” Popculture, July 18. https://popculture.com/country-music/news/bobby-bones-defends-morgan-wallen-racist-slur-scandal-move-on/#3.Google Scholar
Lewin, Kurt. 1947. “Frontiers in Group Dynamics II: Channels of Group Life; Social Planning and Action Research.” Human Relations 1: 143–53.Google Scholar
Lewis, George H. 1991. “Ghosts, Ragged But Beautiful: Influences of Mexican Music on American Country‐Western and Rock ‘N’ Roll.” Popular Music and Society 15 (4): 85103.Google Scholar
Lewis, George H. 1997. “Lap Dancer or Hillbilly Deluxe? The Cultural Constructions of Modern Country Music.” Journal of Popular Culture 31, no. 3 (Winter): 163–73.Google Scholar
Lewis, George H. 2001. “The Color of Country: Black Influence and Experience in American Country Music.” Popular Music and Society 25 (3–4): 107119.Google Scholar
Lindquist, David. 2017. “Garth Brooks Lives Up To ’90s Lore on Opening Night,” Indianapolis Star, October 6. www.indystar.com/story/entertainment/music/2017/10/06/garth-brooks-indianapolis-concert-keeps-it-country/727310001/.Google Scholar
Lipsitz, George. 1990. Time Passages: Collective Memory and American Popular Culture. Minneapolis: University of Minnesota Press.Google Scholar
Lipsitz, George. 2018. The Possessive Investment in Whiteness: How White People Profit from Identity Politics. Twentieth Anniversary Edition. Philadelphia: Temple University Press.Google Scholar
Lizardo, Omar, and Skiles, Sara. 2015. “Musical Taste and Patterns of Symbolic Exclusion in the United States 1993–2012: Generational Dynamics of Differentiation and Continuity.” Poetics 53: 921.Google Scholar
Lorde, Audre. 1984. Sister Outsider: Essays and Speeches. Berkeley, CA: Crossing Press.Google Scholar
Lordi, Emily. 2020. “Working Girl: The Grit and Glory of Dolly Parton.” T: New York Times Style Magazine, December 6, 70–75.Google Scholar
Lornell, Kip, and Rasmussen, Anne K., eds. 2016. The Music of Multicultural America: Performance, Identity, and Community in the United States. Jackson: University Press of Mississippi.Google Scholar
Lotz, Amanda D. 2017. Portals: A Treatise on Internet-Distributed Television. Ann Arbor: Maize Publishing.Google Scholar
Lugones, María. 1987. “Playfulness, ‘World’‐Travelling, and Loving Perception.” Hypatia 2 (2): 319.Google Scholar
Luu, Christopher. 2018. “Post Malone Was Definitely Thirsty at the AMAs.” Instyle.com, October 8. www.instyle.com/news/post-malone-amas-drinks.Google Scholar
Lynch, Kimery S. 2020. “Fans as Transcultural Gatekeepers: The Hierarchy of BTS’ Anglophone Reddit Fandom and the Digital East-West Media Flow.” New Media & Society (September).Google Scholar
Mack, Kimberly. 2020a. “‘She’s a Country Girl All Right’: Rhiannon Giddens’s Powerful Reclamation of Country Culture.” Journal of Popular Music Studies 32 (2): 144–61.Google Scholar
Mack, Kimberly. 2020b. “‘What Are You Gonna Tell Her?’: The Power of Black Women’s Narratives.” American Music Perspectives 1 (2): 151–58.Google Scholar
Mackenzie, Mairi. 2011. Dream Suits: The Wonderful World of Nudie Cohn. Tielt, Belgium: Lanoo.Google Scholar
Madrid, Alejandro L., ed. 2011. Transnational Encounters: Music and Performance at the U.S.-Mexico Border. New York: Oxford University Press.Google Scholar
Mall, Andrew. 2018. “Concentration, Diversity, and Consequences: Privileging Independent over Major Record Labels.” Popular Music 37 (3): 444–65.Google Scholar
Malone, Bill C. 1968. Country Music, USA. Austin: University of Texas for the American Folklore Society.Google Scholar
Malone, Bill C. 2002. Don’t Get above Your Raisin’: Country Music and the Southern Working Class. Urbana: University of Illinois Press.Google Scholar
Malone, Bill C. 2003. Singing Cowboys and Musical Mountaineers: Southern Culture and the Roots of Country Music, 2nd ed. Athens: University of Georgia Press.Google Scholar
Malone, Bill C., and Laird, Tracey. 2018. Country Music, USA. 50th Anniversary Edition. Austin, TX: University of Texas Press.Google Scholar
Mann, Geoff. 2008. “Why Does Country Music Sound White? Race and the Voice of Nostalgia.” Ethnic and Racial Studies 31 (1): 73100.Google Scholar
Mann, Steve, Nolan, Jason, and Wellman, Barry. 2003. “Sousveillance: Inventing and Using Wearable Computing Devices for Data Collection in Surveillance Environments.” Surveillance & Society 1 (3): 331–55.Google Scholar
Marshall, Lee. 2013. “The 360 Deal and the ‘New’ Music Industry.” European Journal of Cultural Studies 16 (1): 7799.Google Scholar
Martinez, Amanda Marie. 2019. “The Country Audience and the Fragility of Country’s Whiteness in the 1970s.” Paper presented at the International Country Music Conference, Nashville, Tennessee.Google Scholar
Martinez, Amanda Marie. 2020. “Redneck Chic: Race and the Country Music Industry in the 1970s.” Journal of Popular Music Studies 32 (2): 128–43.Google Scholar
Martinez, Amanda Marie. 2021a. “As Country Music Faces a Racial Reckoning, a New Question: Where Are the Latino Artists?” Los Angeles Times, June 28. www.latimes.com/entertainment-arts/music/story/2021-06-28/country-music-nashville-latino-artists.Google Scholar
Martinez, Amanda Marie. 2021b. “Why Do We Need Dolly to Be a Saint?” NPR, August 20. –www.npr.org/2021/08/20/1029306864/dolly-parton-nashville-sevier-park-real-estate-why-need-be-saint.Google Scholar
Mather, Olivia Carter. 2017. “Race in Country Music Scholarship.” In The Oxford Handbook of Country Music, edited by Stimeling, Travis D., 327–45. Oxford: Oxford University Press.Google Scholar
McCarthy, Tom. 2007. Auto Mania: Cars, Consumers, and the Environment. New Haven: Yale University Press.Google Scholar
McCusker, Kristine M. 2008. Lonesome Cowgirls and Honky-Tonk Angels: The Women of Barn Dance Radio. Urbana: University of Illinois Press.Google Scholar
McCusker, Kristine M. 2017. “Gendered Stages: Country Music, Authenticity, and the Performance of Gender.” In The Oxford Handbook of Country Music, edited by Stimeling, Travis D., 355–74. New York: Oxford University Press.Google Scholar
McCusker, Kristine M., and Pecknold, Diane, eds. 2004. A Boy Named Sue: Gender and Country Music. Jackson: University of Mississippi Press.Google Scholar
McDonald, Paul. 2000. The Star System: Hollywood’s Production of Popular Identities. London: Wallflower Publishing Ltd.Google Scholar
McKay, Mary-Jayne. 2000. “Dixie Chicks Not Whistling Dixie.” 60 Minutes. www.cbsnews.com/news/dixie-chicks-not-whistling-dixie/.Google Scholar
McKenna, Brittney. 2017. “Sam Hunt is Country Drake: Here are Eight Reasons Why,” Billboard. February 4, 2017. www.billboard.com/articles/columns/country/7677943/sam-hunt-country-drake-eight-reasons-why-body-like-back-road.Google Scholar
McLaurin, Melton A., and Peterson, Richard A.. 1992. You Wrote My Life: Lyrical Themes in Country Music, New York and London: Gordon & Breach.Google Scholar
McRobbie, Angela. 2002. “From Holloway to Hollywood: Happiness at Work in the New Cultural Economy?” In Cultural Economy: Cultural Analysis and Commercial Life, eds. du Gay, Paul and Pryke, Michael, 97114. London: Sage.Google Scholar
Meier, Kennth J. 2018. “Looking for Meaning in All the Wrong Places: Country Music and the Politics of Identity.” Social Science Quarterly 100 (1): 89108.Google Scholar
Middleton, Richard. 2000. “Work-in(g)-Practice: Configurations of the Popular Music Intertext.” In The Musical Work: Reality or Invention?, edited by Talbot, Michael, 5987. Liverpool: Liverpool University Press.Google Scholar
Miller, Karl Hagstrom. 2010. Segregating Sound: Inventing Folk and Pop Music in the Age of Jim Crow. Durham, NC: Duke University Press.Google Scholar
Miller, Rob. 1999. Quoted in Poor Little Knitter on the Road: A Tribute to the Knitters. BS 052. Liner notes.Google Scholar
Misztal, Barbra A. 2003. Theories of Social Remembering. Philadelphia: Open University Press.Google Scholar
Molina-Guzmán, Isabel. 2010. Dangerous Curves: Latina Bodies in the Media. New York: New York University Press.Google Scholar
Molina-Guzmán, Isabel, and Valdivia, Angharad N.. 2004. “Brain, Brow, and Booty: Latina Iconicity in US Popular Culture.” Communication Review 7 (2): 205–21.Google Scholar
Molinary, Rosie. 2007. Hijas Americanas: Beauty, Body Image, and Growing Up Latina. Emeryville: Seal Press.Google Scholar
Moody, Rebecca, and Bischoff, Paul. 2021. “Surveillance Camera Statistics: Which City Has the Most CCTV Cameras?” Comparitech, May 17. www.comparitech.com/blog/vpn-privacy/the-worlds-most-surveilled-cities/.Google Scholar
Moon, Dreama G., and Holling, Michelle A.. 2020. “‘White Supremacy in Heels’: (White) Feminism, White Supremacy, and Discursive Violence.” Communication and Critical/Cultural Studies, 17 (2): 253–60.Google Scholar
Moore, Bobby. 2022. “Linda Martell Documentary Will Tell Country Pioneer’s Crucial Story on Her Own Terms.” Wide Open Country, March 23. www.wideopencountry.com/linda-martell-documentary/.Google Scholar
Moreno, Rosario. 2019. “Latinxs and Country Music.” The Medium, January 8. https://medium.com/@rosariomorenocorona/latinxs-country-music-2bd449a0f226.Google Scholar
Moss, Marissa R. 2018. “Inside Country Radio’s Dark, Secret History of Sexual Harassment and Misconduct.” Rolling Stone, January 16. www.rollingstone.com/music/music-country/inside-country-radios-dark-secret-history-of-sexual-harassment-and-misconduct-253573/.Google Scholar
Moss, Marissa. 2019. “One More Scoop of Vanilla: A New Proposal Looks to Loosen Radio Ownership Rules.” NPR, 7 June. www.npr.org/2019/06/07/730323196/one-more-scoop-of-vanilla-a-new-proposal-looks-to-loosen-radio-ownership-rules.Google Scholar
Muir, Peter C. 2010. Long Lost Blues: Popular Blues in America. Urbana: University of Illinois Press.Google Scholar
Murphy, Patricia. 2018. “Commander Quits Seattle Veterans Group over Harassment, Racism.” KUOW News and Information, March 9. http://archive.kuow.org/post/commander-quits-seattle-veterans-group-over-harassment-racism.Google Scholar
Myerhoff, Barbara. 1982. “Life History among the Elderly: Performance, Visibility and Re-membering.” In A Crack in the Mirror: Reflective Perspectives in Anthropology, edited by Ruby, Jay, 99117. Philadelphia: University of Pennsylvania Press.Google Scholar
National Indian Council on Aging. 2019. “American Indian Veterans Have Highest Record of Military Service.” Albuquerque: National Indian Council on Aging. www.nicoa.org/american-indian-veterans-have-highest-record-of-military-service/.Google Scholar
Navajo Nation Human Rights Commission. 2010. “Assessing Race Relations between Navajos and non-Navajos, 2008–2009: A Review of Border Town Race Relations.” St. Michaels, AZ: Navajo Nation Human Rights Commission. www.nnhrc.navajo-nsn.gov/docs/NewsRptResolution/071810%20Assessing%20Race%20Relations%20Between%20Navajos%20and%20Non-Navajos.pdf.Google Scholar
Neal, Jocelyn R. 1998. “The Metric Makings of a Country Hit.” In Reading Country Music, edited by Tichi, Cecelia, 322–37. Durham: Duke University Press.Google Scholar
Neal, Jocelyn R. 2006. “Dancing Around the Subject: Race in Country Fan Culture.” Musical Quarterly 89 (4): 555–79.Google Scholar
Neal, Jocelyn R. 2007. “Narrative Paradigms, Musical Signifiers, and Form as Function in Country Music.” Music Theory Spectrum, 29, 4172.Google Scholar
Neal, Jocelyn R. 2016. “Why ‘Ladies Love Country Boys’: Gender, Class, and Economics in Contemporary Country Music. In Country Boys and Redneck Women: New Essays in Gender and Country Music, edited by Pecknold, Diane and McCusker, Kristine M., 325. Jackson: University Press of Mississippi.Google Scholar
Neal, Jocelyn R. 2019. Country Music: A Cultural and Stylistic History, 2nd ed. New York: Oxford University Press.Google Scholar
Neal, Jocelyn R. 2020. “‘Tennessee Whiskey’ and the Politics of Harmony.” Journal of Popular Music Studies, Uncharted Country Special Issue 32 (2): 214–37.Google Scholar
Neely, Emily C. 2004. “Charline Arthur: The (Un)Making of a Honky-Tonk Star.” In A Boy Named Sue: Gender and Country Music, edited by McCusker, Kristine M. and Pecknold, Diane, 4458. Jackson: University Press of Mississippi.Google Scholar
Newman, Melinda. 2020. “Dolly Parton Steers Her Empire Through the Pandemic – and Keeps It Growing.” Billboard, August 15. www.billboard.com/articles/columns/country/9432581/dolly-parton-country-power-players-billboard-cover-story-interview-2020.Google Scholar
No Depression. 2012. “Peek Inside Gram Parsons’ Notebook at the AMA Conference.” NoDepression.com, September 3. www.nodepression.com/peek-inside-gram-parsons-notebook-at-the-ama-conference/.Google Scholar
Noble, Safiya Umoja. 2018. Algorithms of Oppression: How Search Engines Reinforce Racism. New York, NY: New York University Press.Google Scholar
O’Connor, Brendan H., and Brown, Gilbert. 2013. “Just Keep Expanding Outwards: Embodied Space as Cultural Critique in the Work of a Navajo Hip Hop Artist.” In Indigenous Youth and Multilingualism: Language Identity, Ideology, and Practice in Dynamic Cultural Worlds, edited by Wyman, Leisy T., McCarty, Teresa L., and Nicholas, Sheilah E., 7495. New York: Routledge.Google Scholar
O’Neal, Jim, and Amy van, Singel 2002. The Voice of the Blues: Classic Interviews from Living Blues Magazine. New York: Routledge.Google Scholar
Orosz, Jeremy. 2019. “‘Straight Outta Nashville’: Allusions to Hip Hop in Contemporary Country Music.” Popular Music and Society 44 (1): 4959.Google Scholar
Ortega, Mariana. 2006. “Being Lovingly, Knowingly Ignorant: White Feminism and Women of Color.” Hypatia 21 (3): 5674.Google Scholar
Osborn, Brad. 2021. Interpreting Music Video: Popular Music in the Post-MTV Era. New York: Routledge.Google Scholar
Parton, Chris. 2015. “Proof that all country music sounds the same? YouTube user strikes gold with six-song mashup.” CMT.com, January 9. www.cmt.com/news/1747657/proof-that-all-country-music-sounds-thesame.Google Scholar
Parton, Dolly, and Oermann, Robert K.. 2020. Dolly Parton, Songteller: My Life in Lyrics. San Francisco: Chronicle Books.Google Scholar
Parton, Dolly. 1994. Dolly: My Life and Other Unfinished Business. New York: HarperCollins.Google Scholar
Paterson, Kent. 2015. “Cowboy, Rabbit, and Border Town Violence.” NMPolitics.net, July 24. https://nmpolitics.net/index/2015/07/cowboy-rabbit-and-border-town-violence/.Google Scholar
Paul, James. 2003. “Last Night a Mix Tape Saved My Life.” The Guardian, September 25. www.theguardian.com/music/2003/sep/26/2.Google Scholar
Paulson, David. 2018. “Story Behind the Song: ‘Body Like a Back Road’.” The Tennessean March 23. www.tennessean.com/story/entertainment/music/story-behind-the-song/2018/03/23/story-behind-song-body-like-back-road/447282002/.Google Scholar
Pecknold, Diane, and McCusker, Kristine M., eds. 2016. Country Boys and Redneck Women: New Essays in Gender and Country Music. Jackson: University Press of Mississippi.Google Scholar
Pecknold, Diane. 2004. “‘I Wanna Play House’: Configurations of Masculinity in the Nashville Sound Era.” In A Boy Named Sue: Gender and Country Music, edited by McCusker, Kristine M and Pecknold, Diane, 86106. Jackson: University Press of Mississippi.Google Scholar
Pecknold, Diane. 2007. The Selling Sound: The Rise of the Country Music Industry. Durham: Duke University Press.Google Scholar
Pecknold, Diane. 2008. “Selling Out or Buying In? Alt.Country’s Cultural Politics of Commercialism.” In Old Roots, New Routes: The Cultural Politics of Alt.Country Music, edited by Fox, Pamela and Ching, Barbara, 2850. Ann Arbor: University of Michigan Press.Google Scholar
Pecknold, Diane, ed. 2013a. Hidden in the Mix: The African American Presence in Country Music. Durham: Duke University Press.Google Scholar
Pecknold, Diane. 2013b. “Introduction: Country Music and Racial Formation.” In Hidden in the Mix: The African American Presence in Country Music, edited by Pecknold, Diane, 116. Durham: Duke University Press.Google Scholar
Pecknold, Diane. 2013c. “Making Country Modern: The Legacy of Modern Sounds in Country and Western Music.” In Hidden in the Mix: The African American Presence in Country Music, edited by Pecknold, Diane, 8299. Durham: Duke University Press.Google Scholar
Pecknold, Diane. 2018. “Negotiating Gender, Race, and Class in Post-Civil Rights Country Music: How Linda Martell and Jeannie C. Riley Stormed the Plantation.” In Country Boys and Redneck Women: New Essays in Gender and Country Music, edited by Pecknold, Diane and McCusker, Kristine M., 146–88. Jackson: University of Mississippi Press.Google Scholar
Peel, Adrian. 2014. Tequila, Señioritas, and Teardrops. Jefferson, NC: McFarland & Company.Google Scholar
Petermon, Jade DaVon. 2014. Hyper(in)Visibility: Reading Race and Representation in the Neoliberal Era. PhD dissertation, University of California, Santa Barbara.Google Scholar
Peterson, Richard A. 1978. “The Production of Cultural Change: The Case of Contemporary Country Music.” Social Research 45 (2): 292314.Google Scholar
Peterson, Richard A. 1997. Creating Country Music: Fabricating Authenticity. Chicago: University of Chicago Press.Google Scholar
Peterson, Richard A. 2004. “The Dialectic of Hard-Core and Soft-Shell Country Music.” In Popular Music: Critical Concepts in Media and Cultural Studies, edited by Frith, Simon, 8799. New York: Routledge.Google Scholar
Peterson, Richard A., and Berger, David G.. 1996. “Measuring Industry Concentration, Diversity, and Innovation in Popular Music.” American Sociological Review 61 (1): 175–78.Google Scholar
Peterson, Richard A., and Anand, N.. 2004. “The Production of Culture Perspective.” Annual Review of Sociology 30: 311–34.Google Scholar
Petrusich, Amanda. 2017. “Darius Rucker and the Perplexing Whiteness of Country Music.” The New Yorker. October 25. www.newyorker.com/culture/cultural-comment/darius-rucker-and-the-perplexing-whiteness-of-country-music.Google Scholar
Pew Global Attitudes Project. 2009. “Troubled by Crime, the Economy, Drugs and Corruption, Most Mexicans See Better Life in U.S. – One-in-Three Would Migrate.” Pew Research Center, September 23. https://assets.pewresearch.org/wp-content/uploads/sites/2/pdf/266.pdf.Google Scholar
Philips, Chuck. 2001. “Stars Preparing to Rock the Boat.” Los Angeles Times, March 29. www.newspapers.com/image/188243671.Google Scholar
Philips, Chuck. 2002. “Dixie Chicks, Sony End Feud with a New Deal.” Los Angeles Times, June 17. www.latimes.com/archives/la-xpm-2002-jun-17-fi-dixie17-story.html.Google Scholar
Philips, John Edward. 1990. “The African Heritage in White America.” In Africanisms in American Culture, edited by Joseph, E. Holloway, 225–39. Bloomington: Indiana University Press.Google Scholar
Phillips, Stacy. 2018. “The Fiddling of Bob Wills.” Fiddler Magazine, Spring, 4–11.Google Scholar
Pickering, Hugh, and Rice, Tom. 2017. “Noise as ‘Sound out of Place’: Investigating the Links between Mary Douglas’ Work on Dirt and Sound Studies Research.” Journal of Sonic Studies 14: 114.Google Scholar
Pittelman, Karen. 2018. “Another Country: On the Relationship between Country Music and White Supremacy and What We Can Do About It.” Medium, December 17. https://medium.com/@Pittelman/another-country-80a05dd7fc15.Google Scholar
Pittman, Anne M., Waller, Marlys S., and Dark, Cathy L.. 2005. Dance a While: Handbook for Folk, Square, Contra, and Social Dance, 9th ed. San Francisco: Benjamin Cummings for Pearson Education.Google Scholar
Purdie-Vaughns, Valerie, and Eibach, Richard P.. 2008. “Intersectional Invisibility: The Distinctive Advantages and Disadvantages of Multiple Subordinate-Group Identities.” Sex Roles 59: 377–91.Google Scholar
Quintero, Donavan. 2020. “Flagstaff Police Investigating Alleged Beating of Homeless Diné.” Navajo Times, June 7. https://navajotimes.com/reznews/flagstaff-police-investigating-alleged-beating-of-homeless-dine/.Google Scholar
Ramos-Kittrell, Jesús A., ed. 2020. Decentering the Nation: Music, Mexicanidad, and Globalization. Lanham, MD: Lexington Books.Google Scholar
Rasmussen, Eric E., and Densley, Rebecca L.. 2017. “Girl in a Country Song: Gender Roles and Objectification of Women in Popular Country Music Across 1990 to 2014.” Sex Roles 76 (3–4): 188201.Google Scholar
Ratliff, Ben. 2016. Every Song Ever: Twenty Ways to Listen in an Age of Musical Plenty. New York: Picador.Google Scholar
Razack, Sherene, ed. 2002. Race, Space, and the Law: Unmapping a White Settler Society. Toronto: Between the Lines.Google Scholar
Reddin, Paul. 1999. Wild West Shows. Urbana: University of Illinois Press.Google Scholar
Reece, Erik. 2017. “Louisville Lip.” Oxford American, November 21. www.oxfordamerican.org/item/1351-louisville-lip.Google Scholar
Renshaw, Simon. 2003. “Media Ownership (Radio Consolidation).” July 8. www.commerce.senate.gov/2003/7/media-ownership-(radio-consolidation.Google Scholar
Reuter, Annie. 2018. “Listen to Chace Rice’s Stripped Down ‘Eyes On You’ and Chill.” Taste of Country, August 5. https://tasteofcountry.com/chase-rice-eyes-on-you/.Google Scholar
RIAA. 2020. “U.S. Recorded Music Revenues by Format.” From the U.S. Sales Database. www.riaa.com/u-s-sales-database/.Google Scholar
Ricci, Adam. 2017. “The Pump-Up in Pop Music of the 1970s and 80s.” Music Analysis 36 (1): 94115.Google Scholar
Rodríguez, Richard T. 2017. “X Marks the Spot.” Cultural Dynamics 29 (3): 202213.Google Scholar
Rogers, Jimmie N. 1989. The Country Music Message: Revisited. Fayetteville: University of Arkansas Press.Google Scholar
Roland, Tom 2019. “‘Boyfriend Country’ Brings Sensitivity to the Genre – And to the CMA Ballot.” Billboard.com, November 13. www.billboard.com/articles/columns/country/8543442/boyfriend-country-sensitive-songs-trend-cma.Google Scholar
Roland, Tom. 2020. “Makin’ Tracks: Morgan Evans’ ‘Diamonds’ Mines Four Short Chords for a Long-Term Goal.” Billboard.com, January 7. www.billboard.com/articles/columns/country/8547471/morgan-evans-diamonds-makin-tracks.Google Scholar
Rose-Redwood, Reuben S. 2006. “Governmentality, Geography, and the Geo-Coded World.” Progress in Human Geography 30 (4): 469–86.Google Scholar
Rosen, Jody. 2013. “Jody Rosen on the Rise of Bro-Country.” Vulture, August 11. www.vulture.com/2013/08/rise-of-bro-country-florida-georgia-line.html.Google Scholar
Ross, Andrew. 1989. No Respect: Intellectuals and Popular Culture. New York: Routledge.Google Scholar
Rossman, Gabriel. 2012. Climbing the Charts: What Radio Airplay Tells Us about the Diffusion of Innovation. Princeton: Princeton University Press.Google Scholar
Rourke, Constance. 2004. American Humor: A Study of the National Character. New York: New York Review Books. First published 1955.Google Scholar
Rowe, Kathleen. 1995. The Unruly Woman: Gender and the Genres of Laughter. Austin: University of Texas Press.Google Scholar
Roy, William G. 2004. “‘Race Records’ and ‘Hillbilly Music’: Institutional Origins of Racial Categories in the American Commercial Recording Industry.” Poetics 32: 265279.Google Scholar
Royster, Francesca. 2019. “Who’s Your Daddy? Beyoncé, the Dixie Chicks, and the Art of Outlaw Protest.” In Popular Music and the Politics of Hope: Queer and Feminist Interventions, edited by Fast, Susan and Jennex, Craig, 6375. New York: Routledge.Google Scholar
Royster, Francesca. 2022. Black Country Music: Listening for Revolutions. Austin: University of Texas Press.Google Scholar
Ryynänen, Toni, and Heinonen, Visa. 2018. “From Nostalgia for the Recent Past and Beyond: The Temporal Frames of Recalled Consumption Experiences.” International Journal of Consumer Studies 42 (1): 186–94.Google Scholar
Salinas, Brenda. 2016. “In Mariachi Music, a Distinctive Yell Speaks to the Soul.” Code Switch (NPR), August 23. www.npr.org/sections/codeswitch/2016/08/23/488502412/in-mariachi-music-a-distinctive-yell-speaks-to-the-soul.Google Scholar
Samuels, David W. 2004. Putting a Song on Top of It: Expression and Identity on the San Carlos Apache Reservation. Tucson: University of Arizona Press.Google Scholar
Sanden, Paul. 2013. Liveness in Modern Music: Musicians, Technology, and the Perception of Performance. New York: Routledge.Google Scholar
Sanneh, Kelefa. 2015. “Bro-Country Grows Up.” The New Yorker, June 22. www.newyorker.com/magazine/2015/06/29/mr-popular.Google Scholar
Savoy, Tammi. n.d. “Tammi Savoy and The Chris Casello Combo.” Miss Tammi Savoy. https://misstammisavoy.squarespace.com/livemusic#/tammi-savoy-and-the-chris-casello-combo.Google Scholar
Scanlan, Sean. 2004. “Introduction: Nostalgia.” Iowa Journal of Cultural Studies 5 (1): 39.Google Scholar
Scarry, Elaine. 1987. The Body in Pain: The Making and Unmaking of the World. New York: Oxford University Press.Google Scholar
Sedikides, Consantine, Wildschut, Tim, and Baden, Denise. 2004. “Nostalgia: Conceptual Issues and Existential Functions.” In Handbook of Experimental Existential Psychology, edited by Greenberg, Jeff, Koole, Sander L., and Pyszezynski, Tom, 200–14. New York: Guilford Press.Google Scholar
Sexton, Tom. 2021. “Goodbye, Dolly: Mythmaking in Dolly Parton’s America.” The Baffler, February 8. https://thebaffler.com/latest/goodbye-dolly-sexton.Google Scholar
Shabazz, Sa’iyda. 2017. “20 Reasons Why the ’90s Were the Best Decade to Grow Up In.” Scary Mommy (blog), December 10. www.scarymommy.com/90s-were-best-decade-grow-up/.Google Scholar
Shaffer, Claire. 2019. “The Dixie Chicks’ ‘Fly’ at 20: How the Country Group was Always Revolutionary.” Rolling Stone, August 30. www.rollingstone.com/music/music-features/the-dixie-chicks-fly-at-20-how-the-country-group-was-always-revolutionary-878421/.Google Scholar
Sheehan, Rebecca. 2021. “‘She Made Me Understand: How Lemonade Raised the Intersectional Consciousness of Beyoncé’s International Fans.” In Beyoncé in the World: Making Meaning with Queen Bey in Troubled Times, edited by Baade, Christina and McGee, Kristin, 165190. Middletown: Wesleyan University Press.Google Scholar
Sheffield, Rob. 2018. “1990s Nostalgia: Why 2018 was the Year of the Nineties.” Rolling Stone, December 14. www.rollingstone.com/culture/culture-features/90s-obsessions-nostalgia-charli-xcx-768664/.Google Scholar
Shelburne, Craig. 2005. “The Bellamy Brothers Are Still Country … In Many Nations.” CMT.com, May 23. www.cmt.com/news/1502788/bellamy-brothers-are-still-country-in-many-nations/.Google Scholar
Shelburne, Craig. 2020. “Blending Her Latin and Rodeo Roots: Leah Turner Shares a Family Love Story.” CMT.com, July 15. www.cmt.com/news/1823018/leah-turner-once-upon-a-time-in-mexico-video/.Google Scholar
Shiva, Negar, and Kharazmi, Zohreh Nosrat. 2019. “The Fourth Wave of Feminism and the Lack of Social Realism in Cyberspace.” Journal of Cyberspace Studies 3 (2): 129–46.Google Scholar
Shoemaker, Pamela J., and Vos, Tim P.. 2009. Gatekeeping Theory. New York: Routledge.Google Scholar
Siapera, Eugenia. 2012. Understanding New Media. London: Sage.Google Scholar
Silversmith, Shondiin. 2015. “Border Town Violence: Who is to Blame?” The Navajo Times, February 5, https://navajotimes.com/ae/community/border-town-violence-blame/.Google Scholar
Simonett, Helena. 2001. Banda: Mexican Musical Life across Borders. Middletown: Wesleyan University Press.Google Scholar
Sisario, Ben. 2020. “The Dixie Chicks Change Their Name, Dropping the ‘Dixie.’” New York Times, June 25. www.nytimes.com/2020/06/25/arts/music/dixie-chicks-change-name.html.Google Scholar
Skaggs, Rachel. 2019. “Harmonizing Small Group Cohesion and Status in Creative Collaborations: How Songwriters Facilitate and Manipulate the Cowriting Process.” Social Psychology Quarterly 82 (4): 367–85.Google Scholar
Skeggs, Beverley. 2001. “The Toilet Paper: Femininity, Class, and Mis-Recognition.” Women’s Studies International Forum 24 (3): 295307.Google Scholar
Smarsh, Sarah. 2020. She Come By It Natural: Dolly Parton and the Women Who Lived Her Songs. New York: Scribner.Google Scholar
Smith, Michael D., and Telang, Rahul. 2016. Streaming, Sharing, Stealing: Big Data and the Future of Entertainment. Cambridge: MIT Press.Google Scholar
Smith, Stacy L., Choueiti, Marc, and Pieper, Katherine. 2015. Inequality in 700 Popular Films: Examining Characters’ Gender, Race, and LGBT Status from 2007 to 2014. Los Angeles: University of Southern California Media, Diversity, & Social Change Initiative.Google Scholar
Smulyan, Susan. 2004. Selling Radio: The Commercialization of American Broadcasting, 1920–1934. Washington: Smithsonian Institution Press.Google Scholar
Solis, Gabriel. 2010. “I Did It My Way: Rock and the Logic of Covers.” Popular Music and Society 33 (3): 297318.Google Scholar
Southern, Eileen. 1971. The Music of Black Americans: A History. New York: Norton.Google Scholar
Spilker, Hendrik Storstein. 2017. Digital Music Distribution: The Sociology of Online Music Streams. New York: Routledge.Google Scholar
Staff of the Organized Crime and Gang Section. 2016. Criminal RICO: 18:USC, 1961–1968, 6th ed. Washington D.C.: United States Department of Justice. www.justice.gov/archives/usam/file/870856/download.Google Scholar
Stahl, Matt, and Meier, Leslie. 2012. “The Firm Foundation of Organizational Flexibility: The 360 Deal Contract in the Digitizing Music Industry.” Canadian Journal of Communication 37 (3): 441–58.Google Scholar
Stanzler, Wendey, dir. 2019. Dolly Parton’s Heartstrings. Season 1, episode 2, “Two Doors Down.” Aired November 22, 2019, on Netflix.Google Scholar
Stark, Phyllis. 2003. “Country Women Lose Hit Magic: Boom Turns to Drought for Even Top Acts.” Billboard, July 5, 2003. 1, 73.Google Scholar
Stecker, Liv. 2018. “Walker Hayes’ ’90’s Country’: All 22 Song References, Explained.” The Boot, August 30. http://theboot.com/walker-hayes-90s-country-song-references/.Google Scholar
Stephens-Davidowitz, Seth. 2018. “The Songs That Bind.” New York Times, June 8. www.nytimes.com/2018/02/10/opinion/sunday/favorite-songs.html.Google Scholar
Stimeling, Travis D. 2014. Introduction to Bruce Feiler’s “Dreaming Out Loud: Garth Brooks, Wynonna Judd, Wade Hayes, and the Changing Face of Nashville (1998).” In The Country Music Reader, edited by Stimeling, Travis, 280–89. New York: Oxford University Press.Google Scholar
Stimeling, Travis D. 2017. The Oxford Handbook of Country Music. New York: Oxford University Press.Google Scholar
Stimeling, Travis D. 2020. Nashville Cats: Record Production in Music City. New York: Oxford University Press.Google Scholar
Stoever, Jennifer. 2016. The Sonic Color Line: Race and the Cultural Politics of Listening. New York: New York University Press.Google Scholar
Stoiko, Rachel, and Strough, JoNell. 2017. “‘Choosing’ the Patriarchal Norm: Emerging Adults’ Marital Last Name Change, Attitudes, Plans, and Rationales.” Gender Issue 34 (4): 295315.Google Scholar
Straw, Will. 2015. “Mediality and the Music Chart.” SubStance 44 (3): 128–38.Google Scholar
Sullivan, John Jeremiah. 2019. “Rhiannon Giddens and What Folk Music Means.” The New Yorker, May 20. www.newyorker.com/magazine/2019/05/20/rhiannon-giddens-and-what-folk-music-means.Google Scholar
Texas Commission on the Arts. n.d. “Little Joe Hernandez: Texas State Artist.” www.arts.texas.gov/little-joe-hernandez.Google Scholar
Thomas, Tony. 2013. “Why African Americans Put the Banjo Down.” In Hidden in the Mix: The African American Presence in Country Music, edited by Pecknold, Diane, 143–70. Durham: Duke University Press.Google Scholar
Thomson, Jeffrey. 2019. “From Art School Dropout to Lil Nas X and Post Malone’s Cowboy Atelier, Meet Union Western.” The Love Magazine, December 5. www.thelovemagazine.co.uk/article/from-art-school-dropout-to-lil-nas-x-and-post-malones-cowboy-atelier-meet-union-western.Google Scholar
Tommy, Leisl, dir. 2019. Dolly Parton’s Heartstrings. Season 1, episode 4, “Cracker Jack.” November 22, 2019, on Netflix.Google Scholar
Tonks, Andrea. 2019. “Lily Allen Leaves Little to the Imagination in Eye-Popping Lace Top at Festival.” Express, June 4. www.express.co.uk/celebrity-news/1135624/Lily-Allen-nipples-breasts-pictures-Governors-Ball-Music-Festival-2019-news.Google Scholar
Tosches, Nick. 1996. Country: The Twisted Roots of Rock ‘N’ Roll. New York: Da Capo. First published 1977.Google Scholar
Trading Economics. n.d. “Mexico Tourist Arrivals.” https://tradingeconomics.com/mexico/tourist-arrivals.Google Scholar
Tran, Khanh T.L. 2020. “Grammys: Lil Nas X Turns Heads in a Hot-Pink Versace Outfit on The Red Carpet.” Los Angeles Times, January 26. www.latimes.com/lifestyle/story/2020-01-26/la-ig-grammys-lil-nas-x-versace-red-carpet.Google Scholar
Trigger. 2015. “George Jones Explains What’s Wrong with Country Radio.” Saving Country Music, May 4. www.savingcountrymusic.com/george-jones-explains-whats-wrong-with-country-radio/.Google Scholar
Tuck, Eve, and Wayne Yang, K.. 2016. “What Justice Wants.” Critical Ethnic Studies 2 (2): 115.Google Scholar
Tyler, Paul L. 2014. “Hillbilly Music Re-Imagined: Folk and Country Music in the Midwest.” Journal of American Folklore 127 (504): 159190.Google Scholar
Tyrangiel, Josh. 2002. “The Dixie Chicks Get Serious.” Time, August 19. http://content.time.com/time/magazine/article/0,9171,338615,00.html.Google Scholar
United States Census Bureau. 2019. “QuickFacts: Colorado.” Suitland: United States Census Bureau. April 27. www.census.gov/quickfacts/CO.Google Scholar
Unknown. “Hispanic Millennials Now Driving Country Music Growth.” 2016. Insider Radio, October 7. www.insideradio.com/free/hispanic-millennials-now-driving-country-music-growth/article_5f1cd6ac-8c5a-11e6-bc1e-ebf398a0a4a4.html.Google Scholar
US Copyright Office. 2018. “Mechanical License Royalty Rates.” Copyright.gov. https://copyright.gov/licensing/m200a.pdf.Google Scholar
Vander Wel, Stephanie. 2019. “The Lavender Cowboy and ‘The She Buckaroo’: Gene Autry, Patsy Montana, and Depression Era Gender Roles.” The Musical Quarterly 95 (2–3): 207–51.Google Scholar
Vander Wel, Stephanie. 2020. Hillbilly Maidens, Okies, and Cowgirls: Women’s Country Music, 1930–1960. Urbana: University of Illinois Press.Google Scholar
Vargas, Deborah R. 2019. “On the Border with Maybelle Carter and Lydia Mendoza.” NPR Music, August 15. www.npr.org/2019/08/15/748415123/on-the-border-with-maybelle-carter-and-lydia-mendoza.Google Scholar
Vernallis, Carol. 2004. Experiencing Music Video: Aesthetics and Cultural Context. New York: Columbia University Press.Google Scholar
Wald, Elijah. 2001. Narcocorrido: A Journey into the Music of Drugs, Guns, and Guerrillas. New York: Rayo.Google Scholar
Waldfogel, Joel. 2017. “How Digitization Has Created a Golden Age of Music, Movies, Books, and Television.” Journal of Economic Perspectives 31 (3): 195214.Google Scholar
Warshaw, Nan. 2009. “Label Spotlight: Bloodshot Records.” Interview by Corinne of pluginmusic.com. https://web.archive.org/web/20171021220828/www.pluginmusic.com/features/label.php?page=bloodshot.Google Scholar
Warwick, Jacqueline. 2007. Girl Groups, Girl Culture: Popular Music and Identity in the 1960s. New York: Routledge.Google Scholar
Watson, Jada, and Burns, Lori. 2010. “Resisting Exile and Asserting Musical Voice: The Chicks Are ‘Not Ready to Make Nice’.” Popular Music 29 (3): 325–50.Google Scholar
Watson, Jada. 2019a. “Gender Representation on Country Format Radio: A Study of Published Reports from 2000–2018.” SongData.com, April 26. Published in consultation with Woman of Music Action Network. https://songdata.ca/wp-content/uploads/2019/04/SongData-Watson-Country-Airplay-Study-FullReport-April2019.pdfGoogle Scholar
Watson, Jada. 2019b. “Gender on the Billboard Hot Country Songs Chart, 1996–2016.” Popular Music and Society 42(5): 538–60.Google Scholar
Watson, Jada. 2019c. “Rural-Urban Imagery in Country Music Videos: Identity, Place, and Space.” In The Bloomsbury Handbook of Popular Music Video Analysis, edited by Burns, Lori and Hawkins, Stan, 277–96. New York: Bloomsbury Academic.Google Scholar
Watson, Jada. 2020a. “Billboard’s Hot Country Songs Chart and the Curation of Country Music Culture.” Popular Music History, Special Issue on Popular Music Curation 13 (1–2): 168–90.Google Scholar
Watson, Jada. 2020b. “Inequality on Country Radio: 2019 in Review.” SongData.com, February 17. https://songdata.ca/wp-content/uploads/2020/02/SongData-Watson-Inequality-Country-Airplay-2019-in-Review.pdf.Google Scholar
Watson, Jada. 2021. “Redlining in Country Music: Representation in the Country Music Industry 2000–2020.” SongData.com, March 12. https://songdata.ca/wp-content/uploads/2021/03/SongData-Watson-Redlining-Country-Music-032021.pdf.Google Scholar
Watson, Jada. 2022. “Mobilizing the Demo Recording: Mickey Guyton’s Advocacy and Protest for Equality in Country Music.” In Analyzing Recorded Music: Collected Perspectives, edited by Alleyne, Mike, Burns, Lori, and Moylan, William. New York: Routledge.Google Scholar
Webber, Bruce. 2014. “Donald S. Engel, Persistent Contract Lawyer to the Stars, Dies at 84.” New York Times, January 31. www.nytimes.com/2014/02/01/business/donald-s-engel-persistent-contract-lawyer-to-the-stars-dies-at-84.html.Google Scholar
Weiner, Natalie. 2019. “Country Music Is a Man’s World. The Highwomen Want to Change That.” New York Times, September 3. www.nytimes.com/2019/09/03/arts/music/highwomen-country-supergroup.html.Google Scholar
Weinstein, Norman. 2003. “Secret Jazz: The Swinging Side of Western Swing.” All About Jazz, October 14. www.allaboutjazz.com/secret-jazz-the-swinging-side-of-western-swing-by-norman-weinstein.php.Google Scholar
Weisbard, Eric. 2014. Top 40 Democracy: The Rival Mainstreams of American Music. Chicago: University of Chicago Press.Google Scholar
Weisbard, Eric. 2017. “Country Radio: The Dialectic of Format and Genre.” In The Oxford Handbook of Country Music, edited by Stimeling, Travis D., 229–47. New York: Oxford University Press.Google Scholar
Wells, Alan. 2001. “Nationality, Race and Gender on the American Pop Charts: What Happened in the90s?Popular Music and Society 25 (1–2): 221–31.Google Scholar
Whitaker, Sterling. 2019. “Kane Brown’s ‘Homesick’ Finds Him Road Weary and Longing.” Taste of Country, June 28. https://tasteofcountry.com/kane-brown-homesick/.Google Scholar
Whitburn, Joel. 2018. Top Country Singles 1944–2017. Menomee Falls: Record Research, Inc.Google Scholar
White, David Manning. 1950. “The ‘Gate Keeper’: A Case Study in the Selection of News.” Journalism Quarterly 27: 383–90.Google Scholar
Wilkerson, Jessica. 2018. “Living with Dolly Parton.” Longreads, October 16. https://longreads.com/2018/10/16/living-with-dolly-parton/#more-114881.Google Scholar
Williams, Andrea. 2020. “Why Haven’t We Had a Black Woman Country Star?” Nashville Scene, August 6. www.nashvillescene.com/music/features/article/21142291/why-havent-we-had-a-black-woman-country-star.Google Scholar
Willman, Chris. 2005. Rednecks & Bluenecks: The Politics of Country Music. New York: New Press.Google Scholar
Willman, Chris. 2016. “CMA Awards as Grammy Auditions: How Country’s Big Night Changed the Odds for Beyonce, Maren Morris & Maybe Even Dolly.” Billboard.com, November 6. www.billboard.com/articles/news/grammys/7565707/cma-awards-grammys-beyonce-maren-morris.Google Scholar
Willman, Chris. 2020. “A Country Music Conference Dares Wonder: Could 2020 Be ‘the Year of the Woman’?” Variety, February 24. https://variety.com/2020/music/news/female-artists-country-radio-seminar-1203514246/.Google Scholar
Witt, Stephen. 2015. How Music Got Free: A Story of Obsession and Invention. New York: Penguin Books.Google Scholar
Wittgenstein, Ludwig. 1968. Philosophical Investigations. New York: Macmillan.Google Scholar
Wood, Mikael. 2018. “Miranda Lambert’s Pistol Annies Have Never Been More Important Than They are Right Now.” Los Angeles Times. November 14. www.latimes.com/entertainment/music/la-et-ms-pistol-annies-interstate-gospel-interview-20181114-story.html.Google Scholar
Yahr, Emily. 2017. “Radio tour is not for the weak’: Inside the First Step to Country Music Stardom.” Washington Post, June 15. www.washingtonpost.com/lifestyle/style/radio-tour-is-not-for-the-weak-inside-the-first-step-to-country-music-stardom/2017/06/14/41feba42-4c60-11e7-9669-250d0b15f83b_story.html.Google Scholar
Yahr, Emily. 2018. “Miranda Lambert is a Superstar. But Can She Get a No. 1 on Country Radio Only If She Sings with a Man?” Washington Post, November 12. www.washingtonpost.com/lifestyle/style/miranda-lambert-is-a-superstar-but-can-she-only-get-a-no-1-on-country-radio-if-she-sings-with-a-man/2018/11/12/6253c9d4-e63f-11e8-bbdb-72fdbf9d4fed_story.html.Google Scholar
Yahr, Emily. 2020. “‘There’s a Problem with Sexism in Country Music’: Why Samantha Bee’s Late-Night Show Went to ‘Investigate’ Nashville.” Washington Post, January 16. www.washingtonpost.com/arts-entertainment/2020/01/16/theres-problem-with-sexism-country-music-why-samantha-bees-late-night-show-went-investigate-nashville/.Google Scholar
Yahr, Emily. 2021. “How the Wives of Country Music Stars Created their Own Powerful – and Sometimes Controversial – Instagram Empires. Washington Post, February 1. www.washingtonpost.com/arts-entertainment/2021/02/01/wives-country-star-instagram-social-media/.Google Scholar
Yazzie, Melanie. 2014. “Brutal Violence in Border Towns Linked to Colonization.” IndianZ.com, August 22. https://indiancountrytoday.com/archive/brutal-violence-in-border-towns-linked-to-colonization.Google Scholar
Yoakam, Dwight. 1985. Interview by Paul Kingsbury, October 18, 1985. Country Music Foundation Oral History Project, OHC336. Frist Library and Archive, Country Music Hall of Fame and Museum.Google Scholar
Yotka, Steff. 2021. “The Local News: Indianapolis, Indiana Union Western Clothing.” Vogue USA. February 2021.Google Scholar
Young, Cate. 2014. “This is What I Mean When I Say ‘White Feminism’.” Cate-Young.com, January10. www.cate-young.com/battymamzelle/2014/01/This-Is-What-I-Mean-When-I-Say-White-Feminism.html.Google Scholar
Yucatán Magazine. 2019. “How Mexico Built Cancun from Scratch.” https://yucatanmagazine.com/how-mexico-built-cancun-from-scratch/.Google Scholar
Zentner, Marcel, Grandjean, Didier, and Scherer, Klaus R.. 2008. “Emotions Evoked by the Sound of Music: Characterization, Classification, and Measurement.” Emotion 8 (4): 494521.Google Scholar
Zhu, Kevin, and MacQuarrie, Bryan. 2003. “The Economics of Digital Bundling.” Communications of the ACM 46 (9): 264270.Google Scholar
Zoladz, Lindsay. 2019. “Is There Anything We Can All Agree On? Yes: Dolly Parton.” New York Times, November 21. www.nytimes.com/2019/11/21/arts/music/dolly-parton.html.Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure coreplatform@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×