Country Music in O Brother, Where Art Thou? Essay

Black and white teenagers listen alike to rock music on the radio and attended clubs to hear it, together. Rock ‘n’ Roll’s roots helped accustom white teens to black music through the lenses of white, male vocalists—a normalcy to ground these drastic changes in race relations. The stars, like Elvis Presley—know for his sexual and riveting performances—began to blur the line between different forms of music and more importantly, black and white music.3 Rock ‘n’ Roll music was a blend of these two different cultures, demonstrating the enormous consumer power of this emerging youth culture and giving it the power to unite an entire

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“Uncle Tom’s Cabin has a chapter dedicated to white trash, I did not buy the book yet, which addressed the differences between the north and south, how the slaves, free black people, and whites viewed them, and how many looked down on black people because they wanted someone lower than them (Stowe, 1854).” “T. Wise asked what stereotype is working against me as a white person (Mann, 2013).”

The readings White Privilege: Unpacking the Invisible Knapsack, by Peggy McIntosh, White Women, Race Matters by Ruth Frankenberg and Representing Whiteness in the Black Imagination, by bell hooks, all cover the issue of whiteness from different perspectives. There are many aspects of whiteness; in this essay, I will argue that the two most important features are the absence of knowledge of the issue on the part of white people and stereotype consequences. A key point in racism is whiteness, and without understanding what whiteness means there can be no ending it. Once whites understand the problem of whiteness, they must accept the responsibility of creating it, and therefore finding a solution. Stereotypes are a second way to reinforce racism, with acknowledging the different stereotypes comes the power to dismantle them. Spatialization is a consequence of stereotyping, and therefore another issue of racism, which whites must accept. They have been unfairly privileged by and work to create equality.

Country music is everywhere in the United States. It is America and people either love it or hate it. There is usually no middle ground. It accounts for sixteen percent of the nation’s radio stations and is the most common genre played on the radio. There are many different types of country music around today, including Americana, bluegrass, honky tonk, and contemporary country. Music of all genres has an evolution through the years. Country music hasn't

The film O brother, where art thou? is set in the Great Depression of the 1930’s and emphasizes the struggle between the upper and lower classes by using a variety of cinematic devices. Through the use of these cinematic devices and comedic relief the realities of the Depression are viewed without creating a stark, melancholy, documentary-styled film. Examples in this film of these cinematic devices used to show these realities include:

Country music has proven as a powerful medium to express the views of the contemporary culture. As a result, the lyrical value of such songs provides listeners an insight to the changing climate of social and political ideologies. During the 1960’s defined gender roles dictated social lifestyles and were mimicked in music. In recent years, a resurgence of idealistic, stereotypical gender-specific roles have cropped up in country songs, creating a subgenre labelled “bro-country.” Jody Rosen of the New York Times first coined the term “bro-country” in order to describe songs that use lyrical tools glorifying prevailing, hegemonic gender roles present in culture. Songs such as Tim McGraw’s “How I’ll Always Be,” Luke Bryan’s “Huntin’, Fishin’, Lovin’, Every Day,” Sam Hunt’s “Make you Miss Me,” and Dierks Bently’s “Different for Girls” use the lyrical discourse, under the lens of “bro-country”, to highlight dominant, male gender-specific roles, while simultaneously reinforcing prominent, often negative, views of women.

Since its inception, country music has proven to be? as a powerful outlet to express the view of the contemporary culture. As a result, the lyrical value of such songs provides listeners an insight to the changing climate of social and political ideologies. During the 60’s defined gender roles dominated social lifestyle and was were? mimicked in music. In recent years, a resurgence of idealistic, stereotypical gender-specific roles have cropped up in country songs, creating a subgenre labelled “bro-country.” Jody Rosen of the New York Times first coined the term “bro-country” in order to describe songs that use lyrical tools idealizing dominant, hegemonic gender roles present in culture. Songs such as Tim McGraw’s “How I’ll Always Be,” Luke Bryan’s “Huntin’, Fishin’, Lovin’, Every Day,” Sam Hunt’s “Make you Miss Me,” and Dierks Bently’s “Different for Girls” use the lyrical discourse, under the lens of “bro-country”, to highlight dominant, male gender-specific roles, while simultaneously reinforcing prominent, often negative, views of women.

Charlie Pride did it in 1971. Darius Rucker did it in 2009. That’s it. Two black men, spanning thirty-eight years, are the only black artists to win a Country Music Association Award. With country music rooted in bluegrass and rhythm and blues, why aren’t there more black country music stars? When considering the roots of country music, and how closely related country is to blues, bluegrass and honky tonk music, an examination of what happened to all the black musicians seems warranted, no? This paper examines the dearth of black artists in country music and the careers of one of the few black artists who has had commercial success in this genre of music.

There is a big difference in older country music and today’s country music. Older country music tells stories, and today’s just talks about women and getting drunk. If these people did as much drinking as they say they do then we wouldn’t have any new country singers. The newer stuff sounds a lot like hip hop or rap. What does everyone think of when they hear the words country music; that’s what I thought a cowboy. How does everyone picture a cowboy? Is he in skinny jeans and a flat bill hat? No, everyone pictures that fairy tale story about a cowboy and a cowgirl falling for one another. The reason that 90’s country music is better is because, it does not sound like hip hop, it actually tells stories, and it does not just talk about drinking.

This paper addresses the identity that is constructed of African-Americans through Rock’s language use of racial speech and taboo language. It also attempts to portray Rock’s function of the skit and the controversial attitudes that arose, including my own.

Robert Altman’s movie Nashville is based on the political, social, and personal problems that our country has to deal with. These problems are rooted in the battle between the need to create some false image of success and the need for truth which is the struggle that exists in every character of this film (except Jeff Goldbloom). To show this Robert Altman takes us through Nashville’s Country Music using political commentary, music and realistically portrayed dialogue to tell the story.

“The rise of rock ‘n’ roll and the reception of it, in fact, can tell us a lot about the culture and values of the United States in the 1950s. According to historians James Gilbert, there was a struggle throughout the decade ‘over the uses of popular culture to determine who would speak to what audience, and for what purpose”. At the center of that struggle, rock ‘n’ roll unsettled a nation had been “living in an ‘age of anxiety’” since 1945” (p.15). Altschuler talks about how music and race interlock with one another. Rock had become a “highly visible and contested arena for struggles over racial identity and cultural and economic empowerment in the United States” (p.35). Other chapters within the book state the battles involving sexuality, generational conflicts, as well as other social issues. The author states ideas that are somewhat problematic. For example, he states that there is a myth that rock ‘n’ roll went into a “lull” following the payola hearings (the practice of record promoters paying DJs or radio programmers to play their labels ' songs) of 1959 and did not come about again until the arrival of the Beatles in 1964.

Whitewashing can be referred to as the misrepresentation of minorities in film, specifically referring to placing racially diverse rolls into stereotypical parts. The misrepresentation of racial diversity is a recurring theme in today’s Hollywood movies. It is more likely for someone to land a job in Hollywood if they are a white

The emergence of Rock and Roll was one of the most pivotal moments of our nation’s history. The impact that this genre of music made is still evident in our culture. However, before this genre was able to gain momentum, it faced many cultural conflicts. The book, All Shook Up: How Rock ‘N’ Roll Changed America by Glenn C. Altschuler analyzes the impact that rock and roll music has made on American culture. It explores how the Rock and Roll culture was able to roughly integrate and later conflict with preceding cultural values. This is especially apparent in chapters regarding race and sexuality. Overall, Rock and Roll was extremely controversial amongst parents and educators. This new music genre was condemned by the previous generation as