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Leslie Schwalm discusses her book, “Medicine, Science, and Making Race in Civil War America.” Drawing on archives of the U.S. Sanitary Commission, recollections of Civil War doctors and medical, and testimonies from Black Americans, Professor Schwalm exposes the racist ideas the lent authority and prestige to Northern doctor’s and other elites. Leslie Schwalm is a […]
Blacksound: Making Race and Popular Music in the United States (U California Press, 2024) explores the sonic history of blackface minstrelsy and the racial foundations of American musical culture from the early 1800s through the turn of the twentieth century. With this namesake book, Matthew D. Morrison develops the concept of "Blacksound" to uncover how the popular music industry and popular entertainment in general in the United States arose out of slavery and blackface. Blacksound as an idea is not the music or sounds produced by Black Americans but instead the material and fleeting remnants of their sounds and performances that have been co-opted and amalgamated into popular music. Morrison unpacks the relationship between performance, racial identity, and intellectual property to reveal how blackface minstrelsy scripts became absorbed into commercial entertainment through an unequal system of intellectual property and copyright laws. By introducing this foundational new concept in musicology, Blacksound highlights what is politically at stake--for creators and audiences alike--in revisiting the long history of American popular music. Nathan Smith is a PhD candidate in Music Theory at Yale University (nathan.smith@yale.edu). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies
Blacksound: Making Race and Popular Music in the United States (U California Press, 2024) explores the sonic history of blackface minstrelsy and the racial foundations of American musical culture from the early 1800s through the turn of the twentieth century. With this namesake book, Matthew D. Morrison develops the concept of "Blacksound" to uncover how the popular music industry and popular entertainment in general in the United States arose out of slavery and blackface. Blacksound as an idea is not the music or sounds produced by Black Americans but instead the material and fleeting remnants of their sounds and performances that have been co-opted and amalgamated into popular music. Morrison unpacks the relationship between performance, racial identity, and intellectual property to reveal how blackface minstrelsy scripts became absorbed into commercial entertainment through an unequal system of intellectual property and copyright laws. By introducing this foundational new concept in musicology, Blacksound highlights what is politically at stake--for creators and audiences alike--in revisiting the long history of American popular music. Nathan Smith is a PhD candidate in Music Theory at Yale University (nathan.smith@yale.edu). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network
Blacksound: Making Race and Popular Music in the United States (U California Press, 2024) explores the sonic history of blackface minstrelsy and the racial foundations of American musical culture from the early 1800s through the turn of the twentieth century. With this namesake book, Matthew D. Morrison develops the concept of "Blacksound" to uncover how the popular music industry and popular entertainment in general in the United States arose out of slavery and blackface. Blacksound as an idea is not the music or sounds produced by Black Americans but instead the material and fleeting remnants of their sounds and performances that have been co-opted and amalgamated into popular music. Morrison unpacks the relationship between performance, racial identity, and intellectual property to reveal how blackface minstrelsy scripts became absorbed into commercial entertainment through an unequal system of intellectual property and copyright laws. By introducing this foundational new concept in musicology, Blacksound highlights what is politically at stake--for creators and audiences alike--in revisiting the long history of American popular music. Nathan Smith is a PhD candidate in Music Theory at Yale University (nathan.smith@yale.edu). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history
Blacksound: Making Race and Popular Music in the United States (U California Press, 2024) explores the sonic history of blackface minstrelsy and the racial foundations of American musical culture from the early 1800s through the turn of the twentieth century. With this namesake book, Matthew D. Morrison develops the concept of "Blacksound" to uncover how the popular music industry and popular entertainment in general in the United States arose out of slavery and blackface. Blacksound as an idea is not the music or sounds produced by Black Americans but instead the material and fleeting remnants of their sounds and performances that have been co-opted and amalgamated into popular music. Morrison unpacks the relationship between performance, racial identity, and intellectual property to reveal how blackface minstrelsy scripts became absorbed into commercial entertainment through an unequal system of intellectual property and copyright laws. By introducing this foundational new concept in musicology, Blacksound highlights what is politically at stake--for creators and audiences alike--in revisiting the long history of American popular music. Nathan Smith is a PhD candidate in Music Theory at Yale University (nathan.smith@yale.edu). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts
Blacksound: Making Race and Popular Music in the United States (U California Press, 2024) explores the sonic history of blackface minstrelsy and the racial foundations of American musical culture from the early 1800s through the turn of the twentieth century. With this namesake book, Matthew D. Morrison develops the concept of "Blacksound" to uncover how the popular music industry and popular entertainment in general in the United States arose out of slavery and blackface. Blacksound as an idea is not the music or sounds produced by Black Americans but instead the material and fleeting remnants of their sounds and performances that have been co-opted and amalgamated into popular music. Morrison unpacks the relationship between performance, racial identity, and intellectual property to reveal how blackface minstrelsy scripts became absorbed into commercial entertainment through an unequal system of intellectual property and copyright laws. By introducing this foundational new concept in musicology, Blacksound highlights what is politically at stake--for creators and audiences alike--in revisiting the long history of American popular music. Nathan Smith is a PhD candidate in Music Theory at Yale University (nathan.smith@yale.edu). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies
Blacksound: Making Race and Popular Music in the United States (U California Press, 2024) explores the sonic history of blackface minstrelsy and the racial foundations of American musical culture from the early 1800s through the turn of the twentieth century. With this namesake book, Matthew D. Morrison develops the concept of "Blacksound" to uncover how the popular music industry and popular entertainment in general in the United States arose out of slavery and blackface. Blacksound as an idea is not the music or sounds produced by Black Americans but instead the material and fleeting remnants of their sounds and performances that have been co-opted and amalgamated into popular music. Morrison unpacks the relationship between performance, racial identity, and intellectual property to reveal how blackface minstrelsy scripts became absorbed into commercial entertainment through an unequal system of intellectual property and copyright laws. By introducing this foundational new concept in musicology, Blacksound highlights what is politically at stake--for creators and audiences alike--in revisiting the long history of American popular music. Nathan Smith is a PhD candidate in Music Theory at Yale University (nathan.smith@yale.edu). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music
Blacksound: Making Race and Popular Music in the United States (U California Press, 2024) explores the sonic history of blackface minstrelsy and the racial foundations of American musical culture from the early 1800s through the turn of the twentieth century. With this namesake book, Matthew D. Morrison develops the concept of "Blacksound" to uncover how the popular music industry and popular entertainment in general in the United States arose out of slavery and blackface. Blacksound as an idea is not the music or sounds produced by Black Americans but instead the material and fleeting remnants of their sounds and performances that have been co-opted and amalgamated into popular music. Morrison unpacks the relationship between performance, racial identity, and intellectual property to reveal how blackface minstrelsy scripts became absorbed into commercial entertainment through an unequal system of intellectual property and copyright laws. By introducing this foundational new concept in musicology, Blacksound highlights what is politically at stake--for creators and audiences alike--in revisiting the long history of American popular music. Nathan Smith is a PhD candidate in Music Theory at Yale University (nathan.smith@yale.edu). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sound-studies
Blacksound: Making Race and Popular Music in the United States (U California Press, 2024) explores the sonic history of blackface minstrelsy and the racial foundations of American musical culture from the early 1800s through the turn of the twentieth century. With this namesake book, Matthew D. Morrison develops the concept of "Blacksound" to uncover how the popular music industry and popular entertainment in general in the United States arose out of slavery and blackface. Blacksound as an idea is not the music or sounds produced by Black Americans but instead the material and fleeting remnants of their sounds and performances that have been co-opted and amalgamated into popular music. Morrison unpacks the relationship between performance, racial identity, and intellectual property to reveal how blackface minstrelsy scripts became absorbed into commercial entertainment through an unequal system of intellectual property and copyright laws. By introducing this foundational new concept in musicology, Blacksound highlights what is politically at stake--for creators and audiences alike--in revisiting the long history of American popular music. Nathan Smith is a PhD candidate in Music Theory at Yale University (nathan.smith@yale.edu). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-south
Blacksound: Making Race and Popular Music in the United States (U California Press, 2024) explores the sonic history of blackface minstrelsy and the racial foundations of American musical culture from the early 1800s through the turn of the twentieth century. With this namesake book, Matthew D. Morrison develops the concept of "Blacksound" to uncover how the popular music industry and popular entertainment in general in the United States arose out of slavery and blackface. Blacksound as an idea is not the music or sounds produced by Black Americans but instead the material and fleeting remnants of their sounds and performances that have been co-opted and amalgamated into popular music. Morrison unpacks the relationship between performance, racial identity, and intellectual property to reveal how blackface minstrelsy scripts became absorbed into commercial entertainment through an unequal system of intellectual property and copyright laws. By introducing this foundational new concept in musicology, Blacksound highlights what is politically at stake--for creators and audiences alike--in revisiting the long history of American popular music. Nathan Smith is a PhD candidate in Music Theory at Yale University (nathan.smith@yale.edu). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/book-of-the-day
You might know Bushwick Bill as a member of the iconic Houston rap group The Geto Boys, but his contributions to rap music, his role in the debates over free speech in the 1990s, and his overall influence are far more substantial than you probably realize. In this episode, we welcome Charles Hughes back to the show to discuss his new book Why Bushwick Bill Matters (Univ. of Texas Press) and to get a better understanding of the challenges and triumphs that shaped one of rap history's most influential artists. Dr. Charles Hughes is the Director of the Lynne and Henry Turley Memphis Center at Rhodes College. His previous books include Country Soul: Making Music and Making Race in the American South which Rolling Stone named one of the Best Music Books of 2015. You can hear our previous conversation with Charles in episode #25 The History of Country and Soul Music in the American South w/ Charles Hughes. You can follow Charles on twitter at @CharlesLHughes2. This episode is a rebroadcast of RTN #242, which originally aired on July 25, 2022. This episode was edited by Gary Fletcher.
A little about Country, a little about Soul, and more about how they are really just the same thing. And why it's not at all surprising that a big Pop-Soul star like Beyoncé is releasing a Country album. For this RNRA Short, we tapped the expertise of Professor Charles Hughes of Rhodes College in Memphis, author of “Country Soul: Making Music and Making Race in the American South.” We'll look at the origins of the Alt Country Revolt, and name-check some great artists working very loudly and deliberately outside the Nashville Pop Country machine. Y'all keep up the rockin' now, hear? Producer and Host: Christian Swain Head Writer: Richard Evans Sound Designer: Jerry Danielsen Learn more about your ad choices. Visit megaphone.fm/adchoices
**NOTE: This was recorded last Winter, during the old days when we recorded out of a shed with a failing solar power system. This interview went about ten minutes longer but a chunk of it had to be cut due to digital distortion that actually had nothing to do with the electrical issues. God bless Erik Dorr for saving us from that shed!*** This social and cultural history of Civil War medicine and science sheds important light on the question of why and how anti-Black racism survived the destruction of slavery. During the war, white Northerners promoted ideas about Black inferiority under the guise of medical and scientific authority. In particular, the Sanitary Commission and Army medical personnel conducted wartime research aimed at proving Black medical and biological inferiority. They not only subjected Black soldiers and refugees from slavery to substandard health care but also scrutinized them as objects of study. This mistreatment of Black soldiers and civilians extended after life to include dissection, dismemberment, and disposal of the Black war dead in unmarked or mass graves and medical waste pits. Simultaneously, white medical and scientific investigators enhanced their professional standing by establishing their authority on the science of racial difference and hierarchy. Drawing on archives of the U.S. Sanitary Commission, recollections of Civil War soldiers and medical workers, and testimonies from Black Americans, Leslie A. Schwalm exposes the racist ideas and practices that shaped wartime medicine and science. Painstakingly researched and accessibly written, this book helps readers understand the persistence of anti-Black racism and health disparities during and after the war. https://uncpress.org/book/9781469672694/medicine-science-and-making-race-in-civil-war-america/ Become a patron so that we never have to work out of a shed again! Go to www.patreon.com/addressinggettysburg and listen to this episode during a free 7-day trial!
In this episode running coach Elizabeth Scott shares her expertise surrounding making training decisisons as a coach and as an athlete. Learn more from Elizabeth on Instagram: https://www.instagram.com/runningexplained/ https://www.runningexplained.co/ Check out The Running Explained X Movment System Podcast Episode on Plyometrics: https://open.spotify.com/episode/4LJcK90D1J2x8Pqd4NUdZN?si=f7177bd437d74757 This episode is sponsored by Legion Athletics. Get 20% OFF your first order with code: MOVEMENT https://legionathletics.rfrl.co/9j4dv
A cloud of smoke arises from the GT Radial Champiro SX2 RS tires as Formula Drift Driver Odi Bakchis brakes to a halt. The tires are hot and worn after a few laps drifting, but they've kept Odi on the track for the full afternoon. So, what does in to the technological marvel that is race tires?To answer this, David Poling, Giti Tire USA's director of tire development and product marketing, sits down with us on this episode of What's Treading with Tire Review, presented by AAPEX. Dave not only explains the technology that goes into race tires, but also how GT Radial's tires for Formula Drift are built for the conditions and how this racing circuit serves as a proving ground for the company's technology at a dealer's counter. How motorsports is the ultimate proving ground for tire technology (1:02)The history behind GT Radial's Formula Drift partnership (2:15)What GT Radial need to consider in making a tire for Formula Drift (5:55)How GT Radial's Formula Drift partnership influences its brand awareness and can be a selling point for dealers at the counter (9:00)Ways race tire technology can influence the compounding and construction of other performance tires (12:22)Major advances in race tire technology in the market today (17:22) Subscribe to the audio podcast on Apple Podcasts, Spotify and Google Podcasts and find the video version on YouTube.
Have you heard of the Toronto Stork Derby or Toronto "Baby Making Race" that happened from 1926 - 1936. Would you join a baby making race? I'm not sure if I would do it. However, this entire race happened because of a renowned Toronto Lawyer named Charles Millar, left a huge sum of money in his will for the Toronto mother (or mothers) who gave birth to the most amount of children within 10 years of his death (1926 - 1936) Trust me, you're going to want to hear this? Reference: https://torontoist.com/2016/10/historicist-the-stork-derby/ --- Send in a voice message: https://podcasters.spotify.com/pod/show/elle-mclaren/message
The HBS hosts ask Dr. Charles Hughes for water, and he gives them gasoline. According to co-host Charles Peterson, the blues is "as American as apple pie and as Black as the Funky Chicken." The blues is a genre of music, to be sure, but it's also an emotion, perhaps even an existential bearing. What makes blues music distinctive? What does it mean to have "the blues"? Can everyone have or play the blues? Should everyone?In this episode, the HBS co-hosts discuss these questions (and more!) with Dr. Charles L. Hughes, Director of the The Lynne and Henry Turley Memphis Center | Rhodes College, where he designs courses, programs, and partnerships. His acclaimed first book, Country Soul: Making Music and Making Race in the American South was named one of the Best Music Books of 2015 by Rolling Stone and No Depression, one of Paste Magazine's Best Nonfiction Books of the Year, and one of Slate's “Overlooked Books” of 2015. He has published essays and given numerous talks in front of a range of audiences, including featured engagements at the Center for Southern Culture at the University of Mississippi, the Center for the Study of the American South at the University of North Carolina, and the Rock & Roll Hall of Fame Library & Archives. He is currently working on a book about the history of African-Americans and professional wrestling in the United States, as well as several articles. He is a voter for the Rock & Roll Hall of Fame and a participant in the Nashville Scene's Year-End Country Music Poll. His most recent book is Why Bushwick Bill Matters.BONUS: this episode comes with its own Spotify playlist!Full episode notes available at this link:http://hotelbarpodcast.com/podcast/episode-65-the-blues/------------------If you enjoy Hotel Bar Sessions podcast, please be sure to subscribe, submit a rating/review, and follow us on Twitter @hotelbarpodcast. You can also help keep this podcast ad-free by supporting us financially at patreon.com/hotelbarsessions.
You might know Bushwick Bill as a member of the iconic Houston rap group The Geto Boys, but his contributions to rap music, his role in the debates over free speech in the 1990s, and his overall influence are far more substantial than you probably realize. In this episode, we welcome Charles Hughes back to the show to discuss his new book Why Bushwick Bill Matters (Univ. of Texas Press) and to get a better understanding of the challenges and triumphs that shaped one of rap history's most influential artists. Dr. Charles Hughes is the Director of the Lynne and Henry Turley Memphis Center at Rhodes College. His previous books include Country Soul: Making Music and Making Race in the American South which Rolling Stone named one of the Best Music Books of 2015. You can hear our previous conversation with Charles in episode #25 The History of Country and Soul Music in the American South w/ Charles Hughes. You can follow Charles on twitter at @CharlesLHughes2. This episode was edited by Gary Fletcher.
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Cape Breton's Information Morning from CBC Radio Nova Scotia (Highlights)
Voters in Sydney-Victoria have a unique ballot this time around. That's because, it's believed to be the first time that 2 Mi'kmaw candidates have been vying for your vote in a federal election in the same riding. We hear from both the candidates who are facing off against Eddie Orrell of the Conservatives and Ronald Barron of the PPC.
Lezli finishes up her two-part conversation with Dr. Charles L. Hughes, author of Country Soul: Making Music and Making Race in the American South, which was named by Rolling Stone, as one of the Best Music Books of 2015. Charles is the DIrector of the Lynne & Henry Turley Memphis Center at Rhodes College, where he is also an Assistant Professor of Urban Studies, History and Africana Studies. The two explore prominent Black R&B and Soul artists such as Ray Charles that also made Country albums, how Charley Pride navigated the homogeneity of the Country Music genre, the dynamic that created the Lil Nas X controversy, and what his hopes are for the future of Country Music. Relevant and Recommended Reads: Charley Pride Country Music Hall of Fame Ray Charles' “Modern Sounds in Country” Cultural Impact Country Music is Also Mexican Music
Lezli continues her exploration of American music with a two-part conversation with Dr. Charles L. Hughes, author of Country Soul: Making Music and Making Race in the American South, which was named by Rolling Stone, as one of the Best Music Books of 2015. Charles is the DIrector of the Lynne & Henry Turley Memphis Center at Rhodes College, where he is also an Assistant Professor of Urban Studies, History and Africana Studies. The two explore American folk traditions associated with Country Music, how people of color get written out of America's folksy roots, the impetus for the creation of the “Hillbilly Music” genre; Country Music's predecessor, why this music became central to American white identity and the fundamental differences between Country Music and Blues. Relevant and Recommended Reads: Square Dance Calling: The African-American Connection Ralph Peer- Country Music Hall of Fame Remembering Musician Lesley Riddle: Blue Ridge Heritage
Charles Hughes joins us to talk about Memphis music history, his forthcoming book on race and professional wrestling, and his home town’s obsession with getting a Red Lobster.Charles Hughes- Book: Country Soul: Making Music and Making Race in the American South (University of North Carolina Press, 2015).- Twitter: @CharlesLHughes2- Instagram: @CharlesHughes2Media recs:- Music: John Prine, Bill Withers, Aretha Franklin, Elvis Presley- TV/Movies: GLOW, Hot Rod, Popstar: Never Stop Never Stopping, This Is Spinal Tap, Walk Hard: The Dewey Cox Story, MacGruber, Atlanta’s Missing and Murdered: The Lost Children, Fear of a Black Hat
In the 1960s and 1970s, nothing symbolized the rift between black and white America better than the seemingly divided genres of country and soul music. In the legendary studios of the "country triangle" — Memphis, Nashville, and Muscle Shoals, Alabama — integrated groups of musicians like Booker T & the MGs and the Muscle Shoals Rhythm Section produced music that both challenged and reconfirmed racial divisions in the United States.Author Charles L. Hughes tells us how this country-soul triangle gave birth to new ways of thinking about music, race, labor, and the South in this pivotal period. Artists from Aretha Franklin to Willie Nelson to the Allman Brothers became crucial contributors to the era's popular music and American racial politics during the turbulent years of civil rights protests, Black Power and white backlash.
Illicit Vaping Products Are Making People Sick – Here's Where They Come From (0:32)Guest: David Downs, California Bureau Chief, LeaflyThe Trump Administration this week formalized a ban on the sale of sweet and fruit-flavored e-cigarette pods that are especially popular with teenagers. A rapid rise in youth vaping is behind the decision. But it's also fueled by the nationwide outbreak of vaping-related lung injuries that killed 55 people and sent more than 2,500 people to the hospital in 2019. CDC officials now say those injuries are related to vape products that contain THC – the psychoactive component of marijuana. A team of investigative journalists at the cannabis publication Leafly was among the first to identify THC vape cartridges contaminated with Vitamin E oil as the cause of the illness. (Originally aired: 10/2/19) Pacific Northwest Just One of a Dozen “Hotspots” Where Measles Outbreak Likely (22:12)Guest: Peter Hotez, MD, PhD, Dean of the National School of Tropical Medicine at Baylor College of Medicine in Houston, Co-director of the Texas Children's Hospital Center for Vaccine Development, Author of “Vaccines Did Not Cause Rachel's Autism”2019 started with measles outbreaks in the Pacific Northwest and ended with hundreds of cases in New York. Last year was the worst for measles in America in 20 years. Thousands of students in Seattle, Washington are right now under a deadline to get vaccinated or be prohibited from attending school in the new year. Why are some communities more susceptible than others? (Originally aired 1/29/19) Why are we so Afraid of Donating Blood? (36:32)Guest: Christopher France, PhD, Professor of Psychology, Ohio UniversityIt's fear that keeps many of us from donating blood. It turns out that feeling faint is the most common negative side effect of donating blood. But it's also very very rare. People hardly ever experience any negative side-effects from donating blood, yet the fear keeps lots of people from even trying. (Originally aired 1/22/19) What Makes a Song “Country” – or Not? (50:37)Guest: Charles Hughes, Director of the Lynne and Henry Turley Memphis Center at Rhodes College, Author of “Country Soul: Making Music and Making Race in the American South”“Old Town Road” by Lil Nas X was THE song of 2019 – it spent a record-breaking 19 weeks at Number 1 on Billboard's Hot 100 singles. It's one of the top 10 Hot Singles of the entire decade. But not one of the top Country songs of the year or decade, because Billboard decided Old Town Road wasn't country music, even though the song's most popular remix features Billy Ray Cyrus. Did the decision have anything to do with the fact that Lil Nas X is African American? (Originally aired: 8/22/19) Composing Music for Video Games (1:06:28)Guest: Winifred Phillips, Video Game Music Composer, Author of “A Composer's Guide to Game Music”Composers of movie scores win Oscars for their brilliance. But if you want to know the truth, it's a lot harder to compose the score to a video game, because it's like a choose-your-own-soundtrack that responds to what the player does, while still setting the mood and sounding great.Winifred Phillips is one of the best composers in the business. In addition to Assassin's Creed, she's composed for Little Big Planet, The Sims, Speed Race, God of War and lots more. (Originally aired: 7/2/19) How Air Guitar Became a Worldwide Phenomenon (1:22:17)Guest: Byrd McDaniel, Professor of Ethnomusicology, Northeastern UniversityThere is a whole group of people out there proud to be seen strumming an imaginary guitar on stage. They compete all around the world and meet up in Finland every year for the Air Guitar World Championships. (Originally aired: 7/29/19)
Love it, hate it, or refuse to listen to anything released after 1980—however you feel about country music, you can’t drive across the United States without hearing it. Even people who don’t appreciate the genre have been thinking about it lately, as the controversy over Lil Nas X’s exclusion from the Billboard country music charts has inspired discussion of country music, racism, and who gets to use trap beats on their tracks. It looked to a lot of people as if a genre that had traditionally celebrated outlaws and outsiders were locking its gates against a new kind of outsider. But as this week’s guest, the historian Peter La Chapelle, points out, none of this is new. Country music has been deployed to political ends since its birth in Appalachia. Nowhere is this more striking than on the campaign trail, where scores of politicians have used country music to appeal to voters. On the show, La Chapelle explains how fiddler-politicians and politician-fans have used this oddly flexible genre to advocate for the poor and dispossessed, fight for racial justice, fight against racial justice, lobby for gun rights, and articulate a whole range of sometimes contradictory positions.Go beyond the episode:Peter La Chapelle’s I’d Fight the World: A Political History of Old-Time, Hillbilly, and Country MusicFor an exhaustive introduction to the stars of old school country—from Ernest Tubb to Loretta Lynn—check out our host’s favorite music show, the Cocaine & Rhinestones podcast, or follow the crowds to Ken Burns’s Country MusicRead “Canon Fodder,” Shuja Haider’s impassioned critique of country music’s constant exclusion from “Best Of” album lists—and “The Invention of Twang,” his take on Lil Nas X (you can read Billboard’s defense of their decision to exclude Lil Nas X from the country charts here)For more on country music’s relationship with race (and racism), check out Charles L. Hughes’s book Country Soul: Making Music and Making Race in the American SouthAnd read “The Roots of Country Music,” Dahleen Glanton’s essay on the country music establishment’s attempts in the 1990s to honor black country musiciansListen to the Carolina Chocolate Drops, an old-time string band highlighting black country songs fronted by Rhiannon Giddens; Dom Flemons used to be a memberTune in every week to catch interviews with the liveliest voices from literature, the arts, sciences, history, and public affairs; reports on cutting-edge works in progress; long-form narratives; and compelling excerpts from new books. Hosted by Stephanie Bastek. Follow us on Twitter @TheAmScho or on Facebook.Subscribe: iTunes •
Love it, hate it, or refuse to listen to anything released after 1980—however you feel about country music, you can’t drive across the United States without hearing it. Even people who don’t appreciate the genre have been thinking about it lately, as the controversy over Lil Nas X’s exclusion from the Billboard country music charts has inspired discussion of country music, racism, and who gets to use trap beats on their tracks. It looked to a lot of people as if a genre that had traditionally celebrated outlaws and outsiders were locking its gates against a new kind of outsider. But as this week’s guest, the historian Peter La Chapelle, points out, none of this is new. Country music has been deployed to political ends since its birth in Appalachia. Nowhere is this more striking than on the campaign trail, where scores of politicians have used country music to appeal to voters. On the show, La Chapelle explains how fiddler-politicians and politician-fans have used this oddly flexible genre to advocate for the poor and dispossessed, fight for racial justice, fight against racial justice, lobby for gun rights, and articulate a whole range of sometimes contradictory positions.Go beyond the episode:Peter La Chapelle’s I’d Fight the World: A Political History of Old-Time, Hillbilly, and Country MusicFor an exhaustive introduction to the stars of old school country—from Ernest Tubb to Loretta Lynn—check out our host’s favorite music show, the Cocaine & Rhinestones podcast, or follow the crowds to Ken Burns’s Country MusicRead “Canon Fodder,” Shuja Haider’s impassioned critique of country music’s constant exclusion from “Best Of” album lists—and “The Invention of Twang,” his take on Lil Nas X (you can read Billboard’s defense of their decision to exclude Lil Nas X from the country charts here)For more on country music’s relationship with race (and racism), check out Charles L. Hughes’s book Country Soul: Making Music and Making Race in the American SouthAnd read “The Roots of Country Music,” Dahleen Glanton’s essay on the country music establishment’s attempts in the 1990s to honor black country musiciansListen to the Carolina Chocolate Drops, an old-time string band highlighting black country songs fronted by Rhiannon Giddens; Dom Flemons used to be a memberTune in every week to catch interviews with the liveliest voices from literature, the arts, sciences, history, and public affairs; reports on cutting-edge works in progress; long-form narratives; and compelling excerpts from new books. Hosted by Stephanie Bastek. Follow us on Twitter @TheAmScho or on Facebook.Subscribe: iTunes •
As America changed in the Civil Rights and Black Power eras, the Southern music industry was changing as well. The music studios of Nashville, Memphis, and Muscle Shoals–known as the “country-soul triangle”–began producing some of the most important music of the 1960s and 1970s. In Country Soul: Making Music and Making Race in the American South (University of North Carolina Press, 2015), Charles Hughes chronicles the ways in which inter-racialism, cultural appropriation, racism, and racial politics affected the musical studios and the country and soul industry. How could two separate musical sounds, one white and country, and the other Black and soul, be considered completely separate when many of the musicians and producers worked in the same buildings? Charles Hughes explains all! Adam McNeil is PhD student in History at the University of Delaware where he is an African American Public Humanities Initiative and Colored Conventions Project Scholar. He received his M.A. in History at Simmons College in 2018 and his B.S. in History at Florida Agricultural and Mechanical University in 2015. Follow him @CulturedModesty on Twitter to learn more about upcoming interviews.
As America changed in the Civil Rights and Black Power eras, the Southern music industry was changing as well. The music studios of Nashville, Memphis, and Muscle Shoals–known as the “country-soul triangle”–began producing some of the most important music of the 1960s and 1970s. In Country Soul: Making Music and Making Race in the American South (University of North Carolina Press, 2015), Charles Hughes chronicles the ways in which inter-racialism, cultural appropriation, racism, and racial politics affected the musical studios and the country and soul industry. How could two separate musical sounds, one white and country, and the other Black and soul, be considered completely separate when many of the musicians and producers worked in the same buildings? Charles Hughes explains all! Adam McNeil is PhD student in History at the University of Delaware where he is an African American Public Humanities Initiative and Colored Conventions Project Scholar. He received his M.A. in History at Simmons College in 2018 and his B.S. in History at Florida Agricultural and Mechanical University in 2015. Follow him @CulturedModesty on Twitter to learn more about upcoming interviews. Learn more about your ad choices. Visit megaphone.fm/adchoices
As America changed in the Civil Rights and Black Power eras, the Southern music industry was changing as well. The music studios of Nashville, Memphis, and Muscle Shoals–known as the “country-soul triangle”–began producing some of the most important music of the 1960s and 1970s. In Country Soul: Making Music and Making Race in the American South (University of North Carolina Press, 2015), Charles Hughes chronicles the ways in which inter-racialism, cultural appropriation, racism, and racial politics affected the musical studios and the country and soul industry. How could two separate musical sounds, one white and country, and the other Black and soul, be considered completely separate when many of the musicians and producers worked in the same buildings? Charles Hughes explains all! Adam McNeil is PhD student in History at the University of Delaware where he is an African American Public Humanities Initiative and Colored Conventions Project Scholar. He received his M.A. in History at Simmons College in 2018 and his B.S. in History at Florida Agricultural and Mechanical University in 2015. Follow him @CulturedModesty on Twitter to learn more about upcoming interviews. Learn more about your ad choices. Visit megaphone.fm/adchoices
As America changed in the Civil Rights and Black Power eras, the Southern music industry was changing as well. The music studios of Nashville, Memphis, and Muscle Shoals–known as the “country-soul triangle”–began producing some of the most important music of the 1960s and 1970s. In Country Soul: Making Music and Making Race in the American South (University of North Carolina Press, 2015), Charles Hughes chronicles the ways in which inter-racialism, cultural appropriation, racism, and racial politics affected the musical studios and the country and soul industry. How could two separate musical sounds, one white and country, and the other Black and soul, be considered completely separate when many of the musicians and producers worked in the same buildings? Charles Hughes explains all! Adam McNeil is PhD student in History at the University of Delaware where he is an African American Public Humanities Initiative and Colored Conventions Project Scholar. He received his M.A. in History at Simmons College in 2018 and his B.S. in History at Florida Agricultural and Mechanical University in 2015. Follow him @CulturedModesty on Twitter to learn more about upcoming interviews. Learn more about your ad choices. Visit megaphone.fm/adchoices
As America changed in the Civil Rights and Black Power eras, the Southern music industry was changing as well. The music studios of Nashville, Memphis, and Muscle Shoals–known as the “country-soul triangle”–began producing some of the most important music of the 1960s and 1970s. In Country Soul: Making Music and Making Race in the American South (University of North Carolina Press, 2015), Charles Hughes chronicles the ways in which inter-racialism, cultural appropriation, racism, and racial politics affected the musical studios and the country and soul industry. How could two separate musical sounds, one white and country, and the other Black and soul, be considered completely separate when many of the musicians and producers worked in the same buildings? Charles Hughes explains all! Adam McNeil is PhD student in History at the University of Delaware where he is an African American Public Humanities Initiative and Colored Conventions Project Scholar. He received his M.A. in History at Simmons College in 2018 and his B.S. in History at Florida Agricultural and Mechanical University in 2015. Follow him @CulturedModesty on Twitter to learn more about upcoming interviews. Learn more about your ad choices. Visit megaphone.fm/adchoices
As America changed in the Civil Rights and Black Power eras, the Southern music industry was changing as well. The music studios of Nashville, Memphis, and Muscle Shoals–known as the “country-soul triangle”–began producing some of the most important music of the 1960s and 1970s. In Country Soul: Making Music and Making Race in the American South (University of North Carolina Press, 2015), Charles Hughes chronicles the ways in which inter-racialism, cultural appropriation, racism, and racial politics affected the musical studios and the country and soul industry. How could two separate musical sounds, one white and country, and the other Black and soul, be considered completely separate when many of the musicians and producers worked in the same buildings? Charles Hughes explains all! Adam McNeil is PhD student in History at the University of Delaware where he is an African American Public Humanities Initiative and Colored Conventions Project Scholar. He received his M.A. in History at Simmons College in 2018 and his B.S. in History at Florida Agricultural and Mechanical University in 2015. Follow him @CulturedModesty on Twitter to learn more about upcoming interviews. Learn more about your ad choices. Visit megaphone.fm/adchoices
As America changed in the Civil Rights and Black Power eras, the Southern music industry was changing as well. The music studios of Nashville, Memphis, and Muscle Shoals–known as the “country-soul triangle”–began producing some of the most important music of the 1960s and 1970s. In Country Soul: Making Music and Making Race in the American South (University of North Carolina Press, 2015), Charles Hughes chronicles the ways in which inter-racialism, cultural appropriation, racism, and racial politics affected the musical studios and the country and soul industry. How could two separate musical sounds, one white and country, and the other Black and soul, be considered completely separate when many of the musicians and producers worked in the same buildings? Charles Hughes explains all! Adam McNeil is PhD student in History at the University of Delaware where he is an African American Public Humanities Initiative and Colored Conventions Project Scholar. He received his M.A. in History at Simmons College in 2018 and his B.S. in History at Florida Agricultural and Mechanical University in 2015. Follow him @CulturedModesty on Twitter to learn more about upcoming interviews. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies
As America changed in the Civil Rights and Black Power eras, the Southern music industry was changing as well. The music studios of Nashville, Memphis, and Muscle Shoals–known as the “country-soul triangle”–began producing some of the most important music of the 1960s and 1970s. In Country Soul: Making Music and Making Race in the American South (University of North Carolina Press, 2015), Charles Hughes chronicles the ways in which inter-racialism, cultural appropriation, racism, and racial politics affected the musical studios and the country and soul industry. How could two separate musical sounds, one white and country, and the other Black and soul, be considered completely separate when many of the musicians and producers worked in the same buildings? Charles Hughes explains all! Adam McNeil is PhD student in History at the University of Delaware where he is an African American Public Humanities Initiative and Colored Conventions Project Scholar. He received his M.A. in History at Simmons College in 2018 and his B.S. in History at Florida Agricultural and Mechanical University in 2015. Follow him @CulturedModesty on Twitter to learn more about upcoming interviews.
Pantheon is proud to present a mini-series of shows 'Deadicated' to discussing Amazon Studios 'Long Strange Trip: The Untold Story of the Grateful Dead' documentary. Over six weeks we will be recapping each Act with guest host Tim Lynch of KPFA's 'Dead to the World' radio program. Tim will be joined by Christian & Peter as well as very special guests that are part of the film, Dead scholars, academics or had another important role in the 50+ year story. The other weekly guest on roundtable will be...'The UnDeaducated'. This guest will know little to nothing of the band and be exposed to them mostly the first time through this film. Our special Deadicated guest this week is none other than Grateful Dead publicist and historian Dennis McNally. Dennis began officially as the Grateful Dead's publicist in 1984, and has since worked with many different musicians and bands, record companies, and promoters, including Zakir Hussain, Steve Kimock, Little Feat, Bill Payne (solo career), Boris Garcia, Bob Weir & RatDog to name a few. He published his third book, "On Highway 61," October of 2014 and we invite everyone to visit his website, www.dennismcnally.com to see a sample and get further information. His latest book is, "Jerry on Jerry," published in November, 2015. It is an edited transcript of interviews done with Jerry Garcia in the 1970s and 1980s. He is also curator for the California Historical Society's Summer of Love 50th Anniversary photo show. This week's UnDeaducated is Dr. Charles L. Hughes - the Director of the Memphis Center at Rhodes College, where he designs courses & programs. His recent course offerings include The History of Memphis; Beale Street: The Past, Present and Future; Elvis Presley and America; and The Music of the American South. His acclaimed first bookCountry Soul: Making Music and Making Race in the American South, was named one of the Best Music Books of 2015 by Rolling Stone. He is a voter for the Rock & Roll Hall of Fame and a participant in the Nashville Scene's Year-End Country Music Poll. Prof. Hughes was featured in an episode of Deeper Digs in Rock. Learn more about your ad choices. Visit megaphone.fm/adchoices
Christian gets a chance to pick the big brain of Professor Charles L. Hughes, author of ‘Country Soul: Making Music and Making Race in the American South’. They discuss the social-cultural dynamics of making music in Memphis, Nashville and Muscle Shoal in the 1960’s-1980’s, as well as the difference between the romantic myths and academic study.
Dr. Charles Hughes of Rhodes College joins Ben and Bob to talk about his recent book Country Soul, which examines the history of music in the “Country Soul Triangle” studio towns of Memphis, Nashville, and Muscle Shoals. Charles explains how the working relationships between these three towns, and the musicians who performed in the studios, created the sound of Country Music and Soul Music in the second half of the 20th Century. The conversation also covers a variety of other topics, including the Civil Rights Movement, the history of professional wrestling, Elvis Presley, and the trends that led us from the “outlaw country” of the 1970s to the country music of today. We're also happy to announce that our friend Ian Skotte has joined The Road to Now team as our producer. Ian joins us at the beginning to introduce himself to our listeners and talk about a few things we have in the works for the podcast in the upcoming months. Dr. Charles Hughes is a historian and director of the Memphis Center at Rhodes College in Memphis, TN. His most recent book, Country Soul: Making Music and Making Race in the American South was named one of Rolling Stones' “10 Best Music Books of 2015.” His current project looks at the history of Professional Wrestling and race in the United States. Recorded October 6th, 2016 on the campus of Rhodes College in Memphis, TN. More on The Road to Now and links to info on our guests can be found at our website: www.theroadtonow.com.
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