DOCSLIB.ORG

Southern Music and the Seamier Side of the Rural South Cecil Kirk Hutson Iowa State University

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Southern Music and the Seamier Side of the Rural South Cecil Kirk Hutson Iowa State University Iowa State University Capstones, Theses and Retrospective Theses and Dissertations Dissertations 1995 The ad rker side of Dixie: southern music and the seamier side of the rural South Cecil Kirk Hutson Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/rtd Part of the Folklore Commons, Music Commons, Social and Cultural Anthropology Commons, and the United States History Commons Recommended Citation Hutson, Cecil Kirk, "The ad rker side of Dixie: southern music and the seamier side of the rural South " (1995). Retrospective Theses and Dissertations. 10912. https://lib.dr.iastate.edu/rtd/10912 This Dissertation is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Retrospective Theses and Dissertations by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthiough, substandard margins, and improper alignment can adversely affect reproductioiL In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. A Bell & Howell Information Company 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 313.'761-4700 800/521-0600 The darker side of Dixie: Southern music and the seamier side of the rural South by Cecil Kirk Hutson A Dissertation Submitted to the Graduate Faculty in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Department: History Major: Agricultural History and Rural Studies Approved; Signature was redacted for privacy. Signature was redacted for privacy. Signature was redacted for privacy. For the Graduate College Iowa State University Ames, Iowa 1995 UMI Number: 9531748 UMI Microform 9531748 Copyright 1995, by DMI Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. UMI 300 North Zeeb Road Ann Arbor, MI 48103 ii TABLE OF CONTENTS Page INTRODUCTION 1 CHAPTER 1: SOUTHERN FEMICIDE 12 CHAPTER 2: DOMESTIC ABUSE 38 CHAPTER 3: VIOLENCE: SAVAGERY IN THE PRE-WORLD WAR II ERA 59 CHAPTER 4: VIOLENCE: BRUTALITY IN THE POST-WAR SOUTH 94 CHAPTER 5: GUNS 128 CHAPTER 6: FEUDING AND LYNCHING 165 CHAPTER 7: MOONSHINERS AND BOOTLEGGERS 198 CHAPTER 8: LIQUOR 221 CHAPTER 9: ILLEGAL DRUGS 24 6 CHAPTER 10: CONFEDERATE SYMBOLISM 273 CONCLUSION 305 NOTES 317 BIBLIOGRAPHY 419 MUSICOGRAPHY 482 1 INTRODUCTION This study investigates several issues in southern culture that have heretofore been largely ignored. Music has been, and still is, a major force in southern society, and for hundreds of years this mode of communi­ cation has reflected regional ideas as much as any social institution. In order for music to reflect southern culture, it must first speak the language of the region, exhibit regional cultural attributes, and accept the distinctive characteristics of the South. By so doing, music becomes culturally accepted and, therefore, it reinforces the messages, the opin­ ions, and the ideas of southern society. This study examines some of the rural cultural themes utilized in southern music. The principal cultural topics to be analyzed include racism, domestic violence, male control over women, drunkenness, brutality, murder, gun ownership, Confederate symbol­ ism, folk justice, and family honor. Since these themes are evident in folk music, early blues tunes, post-World War II country lyrics, and southern rock and roll of the late twentieth century, music illustrates the continuity of southern culture. This study will show, for example, that for generations southerners have continually called for law and order. In fact, music demonstrates that southerners often blamed the lax attitude of the courts for the high crime rates and, instead of depending on the legal system, they often took the law into their own hands. This was especially true when a family member had been the victim. In the late twentieth century, for example, when Charlie Daniels called for lynchings, and "an eye for an eye and a 2 tooth for a tooth," and when Hank Williams Or. claimed that he was going to shoot the man who killed his family, both artists sounded similar to the rural mountain balladeers of the nineteenth century. Not much had changed. In the eyes of these performers, vigilantism worked, and it should be used. Moreover, this study will explore other topics, such as illegal drug use, which have not been major themes in southern music. By doing so, it will address the question whether those southern African Americans who migrated to northern urban areas prior to the World War II deserved to be labeled cocaine fiends, or whether this was a racial stereotype created by northern whites. A The study of music and culture is a relatively new field, but there are basically three theories used to analyze this subject matter. First, there is the Marxist theory. This doctrine holds that the governing class controls the media and uses it to foster hegemonic ideas. Under this hypothesis the media controls the culture. I reject this philosophy because the music examined in this study was not written or approved by the elites of society. In fact, many of the southern folk, blues, country, and rock tunes ridiculed the so-called southern aristocracy. In the late nineteenth and early twentieth centuries one of the last things a white southern planter wanted to see wander into his sharecropping community was an African American bluesman. In the eyes of sheriffs and planters alike, these musicians not only sang about things that blacks should not hear, but the authorities also believed bluesmen set bad examples for "their nig­ gers." Instead of wandering around the countryside playing music, most whites felt African Americans should work at manual labor. They should 3 pick cotton instead of guitar strings. The second theory holds that the media only reflects culture. In many incidences this particular assumption holds true, except when its advocates claim that the media has no effect on society whatsoever. On that basis, I reject this concept, since several modern psychological studies clearly indicate that the media does effect both society and individuals. The final theory suggests that music and culture have reciprocal relationships. According to this hypothesis, musical lyrics transmit social norms, and they are a significant socializ­ ing element. Music not only reflects what is occurring in a particular society, but it also influences how people within that society think and act. Based on the evidence presented by several social scientists, feminists and learning theorists, I accept this theory, especially in the O case of domestic violence."^ Musical lyrics are of value to historians because they are cultural artifacts of a community and a culture that allow scholars to examine the issues, problems, values, and ideas of the time period in which the lyrics were written. When dealing with gender issues, for example, song lyrics are excellent historical tools because they portray gender roles that illustrate how both males and females think and act, or are expected to act, within a given culture. The study of these kinds of lyrics are also important because the words demonstrate how southern men dealt with gender issues. Since musical lyrics reflect cultural attitudes, if the culture of the rural South approved of the domination of women by men, and if southern men physically abused women, these themes will appear in the region's music.. 3 4 Besides exploring domestic violence and gender control, this study will also examine how rural southerners responded to other important issues. During the Civil War and Reconstruction eras, for example, what were the major southern symbols, and how did southern songsters deal with losing this all-important war? Music allows scholars to determine if the common people were apologetic or unrepentant. Similarly, in the late nineteenth century how did folk balladeers deal with the increased rates of racial lynchings? Who did they blame for these acts, the victims or the victimizers? How did they explain the brutal mutilations and executions of African American males? By omitting certain realities, did these musicians promote racial hate? Furthermore, in this era of high murder rates, how did southerners view their murderous world? When someone was killed, who or what did they blame? Similarly, were the people shocked, or did they simply consider brutality a regrettable but indubitable fact of southern life? Moreover, how did African American and white women deal differently with domestic violence? Is it significant that in blues songs African American women often grabbed a firearm and fought back, but in folk music Caucasian women usually begged for mercy? This work will also investigate whether music promoted the new pro- gressivism of the modern South or advanced traditional cultural themes to become, like George Wallace, a conservative backlash to change.
Load more

Recommended publications
  • Brevard Live January 2016
    Brevard Live January 2016 - 1 2 - Brevard Live January 2016 Brevard Live January 2016 - 3 4 - Brevard Live January 2016 Brevard Live January 2016 - 5 6 - Brevard Live January 2016 Contents January 2016 FEATURES DAVE MASON Columns CARROT TOP COMES HOME Meet Dave Mason for an evening of If you ever have the chance to see Car- rock music history as he retraces the ear- Charles Van Riper rot Top’s show, either on the road or in liest days of his career with Traffic and 20 Political Satire Vegas - make sure you do. It’s a laugh a later the classic recordings that launched minute riot from beginning to end, and his solo career. Calendars he never pumps the breaks once. Page 17 25 Live Entertainment, Page 11 Concerts, Festivals ATLANTA RHYTHM SECTION TRAVIS TRITT With 15 albums of outstanding song- Local Download He has received two Grammys and four writing and entertaining live perfor- 33 by Andy Harrington CMA Awards. Tritt has also charted mances, Atlanta Rhythm Section em- Local Music Scene more than 40 times on the Hot Coun- bodies all that the phrase “classic rock” try Songs charts, including five number implies - despite of being labeled as a Behind The Scene ones: “Help Me Hold On,” “Anymore,” southern rock band. MIFF Scenes by “Can I Trust You with My Heart,” “Fool- 34 Page 18 Charles & Lissa ish Pride”, and “Best of Intentions.” Page 12 JOHN MASSUNG Flori-duh! The work of John Massung takes the 36 by Charles Knight ABBA MANIA viewer, quite literally, above and beyond Billed as the world’s number one tour- the standard perception of our local par- The Dope Doctor ing ABBA tribute concert, Abba Mania adise.
    [Show full text]
  • ANNUAL REVIEW for the Year Ended 31St December 2011
    ANNUAL REVIEW for the year ended 31st December 2011 Bristol, Clifton and West of England Zoological Society Ltd Field conservation projects 2011 Contents Avon Gorge & Downs White-clawed crayfish, Native invertebrates, Livingstone’s fruit bats, Père David’s deer, Wildlife Project, Bristol south west England Bristol Union of the Comoros China 2 Chair of Trustees’ foreword 3 Director’s report 4 Highlights of the year 6 Celebrating 175 years of Bristol Zoo 9 Highlights of the year - Wow! Gorillas 10 Bristol Conservation and Science Foundation 13 Animal management 16 Integrated learning 18 Veterinary 19 Horticulture 20 The people who make the charity Broadway Infant School with Poppy 22 Our values 24 Fundraising and partnerships 26 National Wildlife Conservation Park 27 Summarised financial statements 32 Threatened and managed species 36 Staff affiliations 40 Shareholders 41 Staff publications 42 Staff list 44 Partners and community involvement 45 Trustees Clown fish Primates of the lowland Primates (Ape Action Okapi Conservation Amphibians of the Tortoises and forest, Colombia Africa), Cameroon Programme, Democratic Sahamalaza Peninsula, terrapins, Vietnam Republic of Congo Madagascar Bristol, Clifton and West of England Zoological Society Ltd Printed using vegetable-oil Registered Charity No. 1104986 based inks on recycled paper Registered in England No. 5154176 Partula snails, Lion tamarins, Dja Faunal Reserve, African penguins, Lemurs, Cover photographs by Bob French Polynesia Brazil Cameroon South Africa Madagascar Pitchford and Stephen Allinson Bristol Zoo Gardens, Clifton, Bristol BS8 3HA Info line: 0117 974 7399 Business line: 0117 974 7300 Fax: 0117 973 6814 To find out more about our conservation work 1 visit www.bcsf.org.uk Website: www.bristolzoo.org.uk Email: [email protected] Chair of Trustees’ foreword Director’s report It gives me great pleasure to introduce the 2011 Annual Review and to reflect on some of our Our 175th anniversary year has been everything we achievements during the year, which has seen so much happening.
    [Show full text]
  • Hens Lay, People Lie: a Novel and an Exegesis
    HENS LAY, PEOPLE LIE A Novel and an Exegesis Beyond Epistolarity: The Warp, the Weft and the Loom Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Glenice Joy Whitting Swinburne University of Technology Faculty of Higher Education, Lilydale 2012 Abstract This thesis is comprised of two components: 'Hens Lay, People Lie', a novel, and an exegesis, Beyond Epistolarity the Warp, the Weft and the Loom. Together they propose that 'creative epistolarity', namely imaginative writing with factual material, including personal letters, emails and journals, provides women with a safe space where knowledge can be intuited, articulated or performed. In this space, women find their own creative voice, write their stories and in turn, understand themselves. 'Hens Lay, People Lie' draws heavily on the epistolary genre but aims to move beyond that genre by using an auto/biographical and creative epistolary style better suited to reveal emotion and character. The novel illustrates that creative epistolarity intersects with feminism and postmodernism and is uniquely placed to empower women to write their stories. The exegesis discusses theories, methodologies, fictional techniques and creative decisions made during the writing of the novel. Key writerly choices are examined: the choice of an epistolary novel and the importance of creative epistolarity as a way of knowing the self as well as production of knowledge. The research process is practice-led research informed by personal correspondence and personal history in the autoethnographic mode. The exegesis presents a reflective examination of existing works in the genre of epistolary fiction and calls on the practices of exponents of the epistolary form such as Elizabeth Jolley, Nancy Turner and Lionel Shriver.
    [Show full text]
  • Calling All Music Lovers!
    Plugged In Issue Six • the official school newspaper of Speedway Senior High School • March 1,1 2011 A pro prospect in our midst? Lost Frogs: Junior hockey star just one of the guys Four Found Greatness comes in many shapes and sizes. At Speedway and other east High, it comes in the form of 5’6”, 135-pound junior, Mason coast cities than By Sandy Bauers The Philadelphia Inquirer Jobst. He is one of the top junior hockey prospects in his age in Indianapolis. (MCT) group. Jobst has talked to In August, conservationists and The 17-year old center has lived and breathed hockey recruiters at many biologists launched a five-month nearly his entire life. It all started on his third birthday, when colleges around the search to try to find 100 “lost” species young Mason received a pair of brand new ice skates. Soon country; Colorado, of amphibians. Some 126 researchers after, he was wearing them around constantly. At age four, Minnesota, Yale, combed five continents in search of Jobst enrolled in his first youth hockey league, where he Maine, and Boston frogs, salamanders and others that had played the game for the first time at Pepsi Coliseum. College. not been seen in a decade or longer Nowadays, Mason is still playing hockey at Pepsi Mason spends a and were feared extinct. Coliseum. Recently, he had the chance to play on United lot of time working The good/bad news: They found States Hockey out. He has U18, four. They also made 11 re-discoveries League’s (USHL) Indiana Jr.
    [Show full text]
  • Maine Perspective, V 6, I 7
    The University of Maine DigitalCommons@UMaine General University of Maine Publications University of Maine Publications 10-14-1994 Maine Perspective, v 6, i 7 Department of Public Affairs, University of Maine John Diamond Director, Department of Public Affairs, University of Maine Michael Mardosa Photographer, Department of Public Affairs, University of Maine Damon Kiesow Photographer, Department of Public Affairs, University of Maine Follow this and additional works at: https://digitalcommons.library.umaine.edu/univ_publications Repository Citation Department of Public Affairs, University of Maine; Diamond, John; Mardosa, Michael; and Kiesow, Damon, "Maine Perspective, v 6, i 7" (1994). General University of Maine Publications. 1310. https://digitalcommons.library.umaine.edu/univ_publications/1310 This Newsletter is brought to you for free and open access by DigitalCommons@UMaine. It has been accepted for inclusion in General University of Maine Publications by an authorized administrator of DigitalCommons@UMaine. For more information, please contact [email protected]. Scientists Closer to Understanding the Causes of Red Spruce Damage Along Fog-bound Coast Scientists at the University of Maine are now located on infertile soils tend to loose their needles uncovering what appears to be a species’ Achilles prematurely. Needles usually last for six to nine heel - a thin waxy coating on red spruce needles. years, but on these sites drop off in two or three. Actually a complex mixture of chemicals, the waxy On more fertile sites where trees otherwise coating helps regulate processes that affect tree appear to be healthy, more frequent winter growth. damage is observed. Between December and April, A commercially useful tree with its population Jagels says, the previous year’s needles may turn centered in Maine, red spruce extends south along brown and fall off.
    [Show full text]
  • Passing for Black: Coon Songs and the Performance of Race Patricia R
    Ursinus College Digital Commons @ Ursinus College English Faculty Publications English Department 6-9-2010 Passing for Black: Coon Songs and the Performance of Race Patricia R. Schroeder Ursinus College Follow this and additional works at: https://digitalcommons.ursinus.edu/english_fac Part of the African American Studies Commons, American Studies Commons, Ethnomusicology Commons, Music Performance Commons, Other Theatre and Performance Studies Commons, Performance Studies Commons, and the United States History Commons Click here to let us know how access to this document benefits oy u. Recommended Citation Schroeder, Patricia R., "Passing for Black: Coon Songs and the Performance of Race" (2010). English Faculty Publications. 4. https://digitalcommons.ursinus.edu/english_fac/4 This Article is brought to you for free and open access by the English Department at Digital Commons @ Ursinus College. It has been accepted for inclusion in English Faculty Publications by an authorized administrator of Digital Commons @ Ursinus College. For more information, please contact [email protected]. 1 Passing for Black: Coon Songs and the Performance of Race Until recently, scholars exploring blackface minstrelsy or the accompanying “coon song craze” of the 1890s have felt the need to apologize, either for the demeaning stereotypes of African Americans embedded in the art forms or for their own interest in studying the phenomena. Robert Toll, one of the first critics to examine minstrelsy seriously, was so appalled by its inherent racism that he focused his 1974 work primarily on debunking the stereotypes; Sam Dennison, another pioneer, did likewise with coon songs. Richard Martin and David Wondrich claim of minstrelsy that “the roots of every strain of American music—ragtime, jazz, the blues, country music, soul, rock and roll, even hip-hop—reach down through its reeking soil” (5).
    [Show full text]
  • Warner/Reprise Loss Leaders Booklet
    THE WARNER BROS. LOSS LEADERS SERIES (1969-1980) Depending On How You Count Them, 34 Essential Various Artist Collections From Another Time We figured it was about time to pull together all of the incredible Warner Bros. Loss Leaders releases dating back to 1969 (and even a little earlier). For those who lived through the era, Warner Bros. Records was winning the sales of an entire generation by signing and supporting some of music’s most uniquely groundbreaking recording artists… during music’s most uniquely groundbreak- ing time. With an appealingly irreverent style (“targeted youth marketing,” it would be called today), WB was making lifelong fans of the kids who entered into the label’s vast catalog of art- ists via the Loss Leaders series—advertised on inner sleeves & brochures, and offering generous selections priced at $1 per LP, $2 for doubles and $3 for their sole 3-LP release, Looney Tunes And Merrie Melodies. And that was including postage. Yes… those were the days, but back then there were very few ways, outside of cut-out bins or a five-finger discount, to score bulk music as cheaply. Warners unashamedly admitted that their inten- tions were to sell more records, by introducing listeners to music they weren’t hearing on their radios, or finding in many of their (still weakly distributed) record stores. And it seemed to work… because the series continued until 1980, and the program issued approximately 34 titles, by our questionable count (detailed in later posts). But, the oldsters among us all fondly remember the multi-paged, gatefold sleeves and inviting artwork/packaging that beckoned from the inner sleeves of our favorite albums, not to mention the assorted rarities, b-sides and oddities that dotted many of the releases.
    [Show full text]
  • Concert History of the Allen County War Memorial Coliseum
    Historical Concert List updated December 9, 2020 Sorted by Artist Sorted by Chronological Order .38 Special 3/27/1981 Casting Crowns 9/29/2020 .38 Special 10/5/1986 Mitchell Tenpenny 9/25/2020 .38 Special 5/17/1984 Jordan Davis 9/25/2020 .38 Special 5/16/1982 Chris Janson 9/25/2020 3 Doors Down 7/9/2003 Newsboys United 3/8/2020 4 Him 10/6/2000 Mandisa 3/8/2020 4 Him 10/26/1999 Adam Agee 3/8/2020 4 Him 12/6/1996 Crowder 2/20/2020 5th Dimension 3/10/1972 Hillsong Young & Free 2/20/2020 98 Degrees 4/4/2001 Andy Mineo 2/20/2020 98 Degrees 10/24/1999 Building 429 2/20/2020 A Day To Remember 11/14/2019 RED 2/20/2020 Aaron Carter 3/7/2002 Austin French 2/20/2020 Aaron Jeoffrey 8/13/1999 Newsong 2/20/2020 Aaron Tippin 5/5/1991 Riley Clemmons 2/20/2020 AC/DC 11/21/1990 Ballenger 2/20/2020 AC/DC 5/13/1988 Zauntee 2/20/2020 AC/DC 9/7/1986 KISS 2/16/2020 AC/DC 9/21/1980 David Lee Roth 2/16/2020 AC/DC 7/31/1979 Korn 2/4/2020 AC/DC 10/3/1978 Breaking Benjamin 2/4/2020 AC/DC 12/15/1977 Bones UK 2/4/2020 Adam Agee 3/8/2020 Five Finger Death Punch 12/9/2019 Addison Agen 2/8/2018 Three Days Grace 12/9/2019 Aerosmith 12/2/2002 Bad Wolves 12/9/2019 Aerosmith 11/23/1998 Fire From The Gods 12/9/2019 Aerosmith 5/17/1998 Chris Young 11/21/2019 Aerosmith 6/22/1993 Eli Young Band 11/21/2019 Aerosmith 5/29/1986 Matt Stell 11/21/2019 Aerosmith 10/3/1978 A Day To Remember 11/14/2019 Aerosmith 10/7/1977 I Prevail 11/14/2019 Aerosmith 5/25/1976 Beartooth 11/14/2019 Aerosmith 3/26/1975 Can't Swim 11/14/2019 After Seven 5/19/1991 Luke Bryan 10/23/2019 After The Fire
    [Show full text]
  • LIVE BAND KARAOKE Song List
    LIVE BAND KARAOKE Song List Sorted by Artist Artist Title Key Format 3 Doors Down Kryptonite Bmin B 4 Non Blondes What's Up A B AC/DC Back In Black E B Ace How Long Has This Been Going On Bb B Adele Rolling in the Deep Cm B Aerosmith Big Ten Inch A B Al Green Let's Stay Together F B Al Jarreau We're In This Love Together Bb B Alan Parsons Project I Wouldn't Want To Be Like You Cm B Alanis Morrisette All I Really Want Bb B Alanis Morrisette Ironic NEW B B Alanis Morrisette Thank You NEW G B Alanis Morrisette Uninvited NEW D B Alanis Morrisette You Learn NEW Ab B Alanis Morrisette You Oughta Know F# B Alannah Myles Black Velvet E B Alicia Keys Empire State Of Mind F# P Alicia Keys If I Ain't Got You G B Ambrosia Biggest Part of Me Bb B America Ventura Highway D B Amy Winehouse Valerie Eb B Amy Winehouse Will You Still Love Me Tomorrow C B Animals House of the Rising Sun Am B Anita Baker Sweet Love NEW Bb B Aretha Franklin Chain of Fools Cm B Aretha Franklin Natural Woman A B Aretha Franklin Respect C B Arianna Grande Dangerous Woman Em B Atlanta Rhythm Section So Into You Fm B Atlanta Rhythm Section Spooky Em B B.B. King The Thrill Is Gone Bm B Bad Company Can't Get Enough C B BadFinger No Matter What A B Bare Naked Ladies Jane A P Barry White Can't Get Enough of Your Love Babe F B Beach Boys Sail On Sailor G B Beach Boys Surfer Girl D B Ben Folds Brick D P Ben Folds The Luckiest D P Bill Haley and the Comets Rock Around The Clock A B Bill Withers Ain't No Sunshine Am B Bill Withers Just The Two Of Us F#m B Bill Withers Use Me Em B Billy
    [Show full text]
  • Facebook As a Reflection of Race- and Gender-Based Narratives Following the Death of George Floyd
    social sciences $€ £ ¥ Article Exceptional Injustice: Facebook as a Reflection of Race- and Gender-Based Narratives Following the Death of George Floyd Patricia J Dixon and Lauren Dundes * Department of Sociology, McDaniel College, 2 College Hill, Westminster, MD 21157, USA; [email protected] * Correspondence: [email protected] Received: 16 November 2020; Accepted: 8 December 2020; Published: 15 December 2020 Abstract: Following the death of George Floyd, Facebook posts about the Black Lives Matter movement (BLM) surged, creating the opportunity to examine reactions by race and sex. This study employed a two-part mixed methods approach beginning with an analysis of posts from a single college student’s Facebook newsfeed over a 12-week period, commencing on the date of George Floyd’s death (25 May 2020). A triangulation protocol enhanced exploratory observational–archival Facebook posts with qualitative data from 24 Black and White college students queried about their views of BLM and policing. The Facebook data revealed that White males, who were the least active in posting about BLM, were most likely to criticize BLM protests. They also believed incidents of police brutality were exceptions that tainted an otherwise commendable profession. In contrast, Black individuals commonly saw the case of George Floyd as consistent with a longstanding pattern of injustice that takes an emotional toll, and as an egregious exemplification of racism that calls for indictment of the status quo. The exploratory data in this article also illustrate how even for a cause célèbre, attention on Facebook ebbs over time. This phenomenon obscures the urgency of effecting change, especially for persons whose understanding of racism is influenced by its coverage on social media.
    [Show full text]
  • Universal Music Group's Profit Margins Grew in 2020, Despite
    BILLBOARD COUNTRY UPDATE APRIL 13, 2020 | PAGE 4 OF 19 ON THE CHARTS JIM ASKER [email protected] Bulletin SamHunt’s Southside Rules Top Country YOURAlbu DAILYms; BrettENTERTAINMENT Young ‘Catc NEWSh UPDATE’-es Fifth AirplayMARCH 3, 2021 Page 1 of 31 Leader; Travis Denning Makes History INSIDE Universal Music Group’s Sam Hunt’s second studio full-length, and first in over five years, Southside sales (up 21%) in the tracking week. On Country Airplay, it hops 18-15 (11.9 mil- (MCA Nashville/Universal Music Group Nashville), debuts at No.Profit 1 on Billboard’s lion audienceMargins impressions, up 16%).Grew Top• Country TuneCore Albums Unveils chart dated April 18. In its first week (ending April 9), it earnedRewards 46,000 Program equivalent album units, including 16,000 in album sales, ac- TRY TO ‘CATCH’ UP WITH YOUNG Brett Youngachieves his fifth consecutive cordingas Indie to Nielsen Distributors Music/MRC Data. in 2020, Despiteand total Country Airplay No.Pandemic 1 as “Catch” (Big Machine Label Group) ascends SouthsideFend Off marks Major Hunt’s second No. 1 on the 2-1, increasing 13% to 36.6 million impressions. chartLabels: and fourth Exclusive top 10. It follows freshman LP BY ED CHRISTMAN Young’s first of six chart entries, “Sleep With- Montevallo, which arrived at the summit in No - out You,” reached No. 2 in December 2016. He • David Crosby Sells vember 2014 and reigned for nineEven weeks. in Toa nearly date, year-long economic downturn, the hit 1.487 billionfollowed euros with ($1.68 the multiweek billion), orNo. a 1s20% “In Casemargin.
    [Show full text]
  • A Politics of Empathy: Johnny Cash, the Vietnam War, and the ‘Walking Contradiction’ Myth Dismantled
    Popular Music and Society ISSN: 0300-7766 (Print) 1740-1712 (Online) Journal homepage: http://www.tandfonline.com/loi/rpms20 A Politics of Empathy: Johnny Cash, the Vietnam War, and the ‘Walking Contradiction’ Myth Dismantled Michael Stewart Foley To cite this article: Michael Stewart Foley (2014) A Politics of Empathy: Johnny Cash, the Vietnam War, and the ‘Walking Contradiction’ Myth Dismantled, Popular Music and Society, 37:3, 338-359, DOI: 10.1080/03007766.2013.798928 To link to this article: http://dx.doi.org/10.1080/03007766.2013.798928 Published online: 26 Jun 2013. Submit your article to this journal Article views: 253 View related articles View Crossmark data Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=rpms20 Download by: [University of Groningen] Date: 23 March 2016, At: 04:33 Popular Music and Society, 2014 Vol. 37, No. 3, 338–359, http://dx.doi.org/10.1080/03007766.2013.798928 A Politics of Empathy: Johnny Cash, the Vietnam War, and the ‘Walking Contradiction’ Myth Dismantled Michael Stewart Foley In the years since Johnny Cash’s death in 2003, popular and scholarly writing has persisted in framing Cash’s politics as contradictory—thus seeming to support Kris Kristofferson’s line, often assumed to be about Cash: a “walking contradiction, partly truth and partly fiction.” This essay argues that, although Cash may have seemed conflicted in the late 1960s and early 1970s, his political views on Native Americans, prison reform, and the Vietnam War, especially, were remarkably consistent in that they were based not on ideological views as much as on emotion, instinct, and an ability to relate to familial suffering.
    [Show full text]