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  • Introduction. Country Music and Racial Formation / Diane Pecknold  1
    Part One. Playing in the Dark  
    1. Black Hillbillies: African American Musicians on Old-Time Records, 1924–1932 / Patrick Huber  19
    2. Making Country Modern: The Legacy of Modern Sounds in Country and Western Music / Diane Pecknold  82
    3. Contested Origins: Arnold Schultz and the Music of Western Kentucky / Erika Brady  100
    4. Fiddling with Race Relations in Rural Kentucky: The Life, Times, and Contested Identity of Fiddlin' Bill Livers / Jeffrey A. Keith  119
    Part Two. New Antiphonies  
    5. Why African Americans Put the Banjo Down / Tony Thomas  143
    6. Old-Time Country Music in North Carolina and Virginia: The 1970s and 1980s / Kip Lornell  171
    7. "The South's Gonna Do It Again": Changing Conceptions of the Use of "Country" Music in the Albums of Al Green / Michael Awkward  191
    8. Dancing the Habanera Beats (in Country Music): The Creole-Country Two-Step in St. Lucia and Its Diaspora / Jerry Wever  204
    9. Playing Chicken with the Train: Cowboy Troy's Hick-Hop and the Transracial Country West / Adam Gussow  234
    10. If Only They Could Read between the Lines: Alice Randall and the Integration of Country Music / Barbara Ching  263
    11. You're My Soul Song: How Southern Soul Changed Country Music / Charles L. Hughes  283
    12. What's Syd Got to Do with It? King Records, Henry Glover, and the Complex Achievement of Crossover / David Sanjek  306
    Bibliography  339
    Contributors  361
    Index  365
  • Diane Pecknold

    Patrick Huber

    Erika Brady

    Jeffrey A. Keith

    Tony Thomas

    Kip Lornell

    Michael Awkward

    Jerry Wever

    Adam Gussow

    Barbara Ching

    Charles L. Hughes

    David Sanjek

  • "Hidden in the Mix is a comprehensive and worthy addition to the canon of popular music history. It breaks new ground and digs deep. By looking at both historical traditions (the banjo, early blues-hillbilly music) and contemporary cultural phenomena (hick-hop and country pop), as well as African American artists past and present (Bill Livers, Ray Charles, Cowboy Troy), the book greatly expands our knowledge of this intriguing subject."—Holly George-Warren, author of Public Cowboy No. 1: The Life and Times of Gene Autry

    "Diane Pecknold's collection is profoundly important in implication and a long-awaited intervention in the country-music literature."—Aaron A. Fox, author of Real Country: Music and Language in Working-Class Culture

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  • Description

    Country music's debt to African American music has long been recognized. Black musicians have helped to shape the styles of many of the most important performers in the country canon. The partnership between Lesley Riddle and A. P. Carter produced much of the Carter Family's repertoire; the street musician Tee Tot Payne taught a young Hank Williams Sr.; the guitar playing of Arnold Schultz influenced western Kentuckians, including Bill Monroe and Ike Everly. Yet attention to how these and other African Americans enriched the music played by whites has obscured the achievements of black country-music performers and the enjoyment of black listeners.

    The contributors to Hidden in the Mix examine how country music became "white," how that fictive racialization has been maintained, and how African American artists and fans have used country music to elaborate their own identities. They investigate topics as diverse as the role of race in shaping old-time record catalogues, the transracial West of the hick-hopper Cowboy Troy, and the place of U.S. country music in postcolonial debates about race and resistance. Revealing how music mediates both the ideology and the lived experience of race, Hidden in the Mix challenges the status of country music as "the white man’s blues."

    Contributors. Michael Awkward, Erika Brady, Barbara Ching, Adam Gussow, Patrick Huber, Charles Hughes, Jeffrey A. Keith, Kip Lornell, Diane Pecknold, David Sanjek, Tony Thomas, Jerry Wever

    About The Author(s)

    Diane Pecknold is Associate Professor of Women's and Gender Studies at the University of Louisville. She is the author of The Selling Sound: The Rise of the Country Music Industry, also published by Duke University Press, and editor (with Kristine M. McCusker) of A Boy Named Sue: Gender and Country Music.

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