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Rednecks and Bluenecks: The Politics of Country Music
 
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Rednecks and Bluenecks: The Politics of Country Music [Hardcover]

Chris Willman (Author)
3.9 out of 5 stars  See all reviews (15 customer reviews)

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Book Description

November 17, 2005
An up-close-and-personal take on country music's vast political discord.

"Just so you know, we're ashamed the president of the United States is from Texas."—Natalie Maines of the Dixie Chicks, March 2003

"You'll be sorry that you messed with the U.S. of A.
'Cuz we'll put a boot in your ass
It's the American way."
—from "Courtesy of the Red, White, & Blue (The Angry American)" by Toby Keith

On the eve of America's invasion of Iraq, the Dixie Chicks went from being the leading lights of country music to heartland pariahs, thanks to one Bush-bashing aside on a London stage. A year later, the list of entertainers stumping for Dubya consisted almost exclusively of country stars such as Brooks & Dunn, Lee Ann Womack, and Travis Tritt. How did the erstwhile music of the rural working class come to be the music of choice of the GOP?

In Rednecks and Bluenecks, Entertainment Weekly senior writer Chris Willman looks at the way country's increasing popularity and conservative drift parallel the transformation of the Democratic South into the heart of the Republican mainstream. Meanwhile, for all those Steve Earle souls trapped in Toby Keith counties, alt-country has emerged as a refuge for the loyal opposition. Written with intelligence and wit, Rednecks and Bluenecks makes clear that country and its offshoots represent a strain of American culture where a passionate political debate is taking place.

Original interviews with artists including: The Dixie Chicks, Toby Keith, Steve Earle, Brooks & Dunn, Willie Nelson, Roseanne Cash, Travis Tritt, Rodney Crowell, Kris Kristofferson, Gretchen Wilson, Lee Ann Womack, Ricky Skaggs, Linda Ronstadt, Nanci Griffith, Alan Jackson, Sara Evans, Tim McGraw, Buddy Miller, Drive By Truckers.

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Editorial Reviews

From Publishers Weekly

As a snapshot of the range of political opinions held by country music artists "during the critical three and a half years between 9/11 and Bush's reinauguration, with only minimal editorial interruption," this entertaining if overlong collection of profiles is clear and effective. Entertainment Weekly writer Willman applies his magazine's breezy, irreverent style to explore the left- or right-wing leanings of his subjects, from heavyweights like the Dixie Chicks, Toby Keith, Steve Earle, Brooks & Dunn, Clint Black and Merle Haggard to newer, minor artists like the Drive-By Truckers. In spite of Willman's success in presenting these artists in depth, the results aren't too surprising: while there certainly is "a good chunk of Democrats" in the industry, "the stereotype that country music has become the house genre of the GOP isn't easily or persuasively disproven." Most fascinating are the moments when Willman gets the artists to let down their guard, such as when Toby Keith talks about his Democratic tendencies, Ricky Skaggs shows his genuine affection for his more leftist friends such as Rodney Crowell, and Travis Tritt discusses his duet with the left-wing rocker John Mellencamp and unintentionally shows that success still trumps politics in Nashville.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From Booklist

In the wake of the brouhaha over the Dixie Chicks and their views on sharing Texas origins with the president, Willman discovered clashing politics among country musicians and fans. Overall, he muses, the country-music political landscape has experienced the rest of the nation's conservative drift as ever more politicos try to access voters by identifying with pop musicians. If rock is the Left's music, then mainstream country is becoming the Right's, Willman seems to say. But just as there is the occasional right-wing rocker (e.g., Johnny Ramone, Ted Nugent), Willman notes that the scruffy alt-country contingent, personified here by hardcore individualist Steve Earle, is decidedly left of center, or at least quirky, and sets up the potential for political counterpoint on country playlists and county-fair concert lineups. In a bang-up final chapter, Willman takes the example of Merle Haggard opening for Bob Dylan on tour to look at how music makes strange political bedfellows and how artists' perceived politics change over time. An enjoyable, informative survey. Mike Tribby
Copyright © American Library Association. All rights reserved

Product Details

  • Hardcover: 302 pages
  • Publisher: New Press, The (November 17, 2005)
  • Language: English
  • ISBN-10: 1595580174
  • ISBN-13: 978-1595580177
  • Product Dimensions: 9.4 x 6.5 x 1.2 inches
  • Shipping Weight: 1.4 pounds (View shipping rates and policies)
  • Average Customer Review: 3.9 out of 5 stars  See all reviews (15 customer reviews)
  • Amazon Best Sellers Rank: #1,994,755 in Books (See Top 100 in Books)

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Customer Reviews

15 Reviews
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Average Customer Review
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10 of 10 people found the following review helpful:
5.0 out of 5 stars An entertaining look at the the roots of the blue/red divide, November 23, 2005
By 
This review is from: Rednecks and Bluenecks: The Politics of Country Music (Hardcover)
You don't have to know much about country music to enjoy this book, with its on-the-scene reporting and plenty of opinion-making by country stars like Toby Keith, Alan Jackson, Steve Earle, the Dixie Chicks, and Merle Haggard, in their own words. Working at Entertainment Weekly must be what gives the author his snark, but it works here as he gives a refreshingly non-partisan review of our divided country and the divide in country music.
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7 of 7 people found the following review helpful:
5.0 out of 5 stars We'll Put a Boot ... err ... never mind ..., March 11, 2006
By 
Andrew West Griffin "Andrew Griffin" (Oklahoma City, OK United States) - See all my reviews
(REAL NAME)   
This review is from: Rednecks and Bluenecks: The Politics of Country Music (Hardcover)
I have been highly interested in the "politics of country music" ever since 9/11. When the patriotic songs started coming out (Aaron Tippin, Alan Jackson), it was pretty apolitical and pro-America. Then, the following year we had Toby Keith's "Courtesy of the Red, White and Blue (The Angry American)" and then when the Dixie Chicks' Natalie Maines said it was "ignorant," all bets were off. Things really picked up in spring '03 with the Dixie Chicks controversy went global following Maines' anti-Bush comments. At the same time you had Darryl Worley asking "Have You Forgotten?" and Clint Black's clunker "Iraq and Roll." For a while, there, it was quite a big deal and all eyes were on country music - a good thing, in my estimation.

Author Chris Willman captures this time exceedingly well in this excellent new book. He gets the conservatives and the liberals and everyone in between. You really get some great insight into Toby Keith. The reader realizes he's not some jingoistic warhawk. He's a patriotic Democrat, something the talk show types conveniently forget. We get the lowdown on the Dixie Chicks episode, something I was particularly interested in, being a big fan of the group and Natalie Maines in particular.
I can't say enough good things about Willman's book. Run out and get it.
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7 of 7 people found the following review helpful:
4.0 out of 5 stars Enjoyable book, regardless of your political views, March 3, 2006
This review is from: Rednecks and Bluenecks: The Politics of Country Music (Hardcover)
I read this book mainly because I like country music, and because I was interested in knowing a little bit about some of the artists' views beyond what we hear in a 4-minute song.

I know that some reviewers have complained about what they perceive as Willman's left-leaning stance, and I'd have to agree with them that he's not completely objective. A little too much time is spent on the plight of the Dixie Chicks, for whom I feel bad, but whose story probably could have been shortened in an attempt to include more viewpoints. At the same time, though, Willman does not criticize one side while leaving the other alone.

Several artists speak freely and articulately, from both sides of the spectrum - Steve Earle, Toby Keith, and Ronnie Dunn might not be having dinner together anytime soon, but it was fascinating to hear each of their perspectives. And for anyone who believes country musicians to be less than intelligent as a whole, this book will likely open some eyes. The level of political awareness among many of the artists, particularly Keith and Dunn, will surprise many.

One item that I really enjoyed was the discussion of the fued between Toby Keith and the Dixie Chicks. It was interesting to read Keith's comments about the Chicks' insults, and I got the feeling that he was insulted more about their criticism of his musical talent than any political views he might have. He's obviously a proud artist, and it seems like he was genuinely taken somewhat aback.

This is a great book, one that held me so much that I wished Willman had included another 50 pages. For any fan of country music, or just those interested in the politics of that music.
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