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Published online by Cambridge University Press: 08 September 2021
1 Chris Willman, “Ken Burns on ‘Country Music’ and Why Merle, Hank, Dwight, Loretta and Lil Nas X Matter,” Variety, September 15, 2019, https://variety.com/2019/music/news/ken-burns-interview-country-music-1203336019/.
2 The most recent re-print is Malone, Bill C. and Laird, Tracey E. W., Country Music USA, 50th Anniversary Edition (Austin: University of Texas Press, 2018)CrossRefGoogle Scholar.
3 See, for example, Huber, Patrick, “The ‘Southernness’ of Country Music,” in The Oxford Handbook of Country Music, ed. Stimeling, Travis D. (New York: Oxford University Press, 2017), 31–53Google Scholar.
4 This work includes, Hughes, Charles L., Country Soul: Making Music and Making Race in the American South (Chapel Hill: University of North Carolina Press, 2015)CrossRefGoogle Scholar; McCusker, Kris and Pecknold, Diane, eds., Country Boys and Redneck Women: New Essays in Gender and Country Music (Jackson: University Press of Mississippi, 2016)Google Scholar; Pecknold, Diane, ed., Hidden in the Mix: The African American Presence in Country Music (Durham, NC: Duke University Press, 2013)Google Scholar.
5 Ewing, Tom, ed., The Bill Monroe Reader (Urbana: University of Illinois Press, 2000)Google Scholar.
6 For more detailed discussion of Starday releases, see Gibson, Nate, The Starday Story: The House That Country Music Built (Jackson: University Press of Mississippi, 2011)CrossRefGoogle Scholar.
7 Smith, Richard D., Can't You Hear Me Calling: The Life of Bill Monroe, Father of Bluegrass (Boston: Little, Brown and Company, 2000)Google Scholar.
8 Bill Monroe with Lester Flatt and Earl Scruggs: “The Original Bluegrass Band,” Rounder Special Series—06, 1978, LP.