From Reading Country Music Duke UP 1998

Blue Moon of Kentucky, Rising Over the Mystery Train, David Shapiro.

"Tree Lined avenues and well kept lawns present a facade that despire the occasional buisness sign, seems altogether domestic, while behind the doors deals are hammered out, demo tapes are circulated, and an endless seires of three hour sessions continues to build up the country music repetoire. Music Row's reasemblence to a stage set should not lead one to assume that country music is made by sleight of hand, but rather that a complex and ingenious mythology underlies the industries public testimony to the simplicty, authencity and reality of the music it markets"(23)

Live on stage, Charlie Rich burnt the envolpe that told him that John Denver won the 1975 CMA artist of the year.

"It may well be that the struggle to supress country music, 'this deep sense of fear and resignation' by which it was constrained, provoked the eruption of country's deviant offspring rockabilly, and caused so many to rail against it as a threat to their liveliehoods, if not their souls. Rockabilly, in the words of Malone' gave vent to impulses that had long been impeded, if often dormant, in southern culture, a hell-for-leather headonism, a swaggering masculinity, or in the case of the women, an uncharestic aggresiveness and strangely a visceral emotinoalism among both men and women that seemed as reflective of the church as the beer joints' ibid, 30, qouting Bill Malone's Country Music USA, Austin, 1985

WJ Cash, Mind of the South
Griel Marcus, Mystery Train, 1975
Twangin'/Feedlot (Zines)

Is Country Music too big for Radio, Musician, March 1994, pg. 28
Mary Ann Done

Mary Bufwack and Robert K Qutermass, Finder her Voice: The Saga of Women in Country Music, New York, 1993

Ms, Jan 1987, 95

Curtis Wilson KEpping Faith (same book as above)

Instead of theological reflections, Moodys sermons were anecdotal, usually pathetic stories invoking premature death, longing for mother and a gentle jesus, whose message of redemption was open to all. Judgement was largely gone and mercy was everything...sentimenallity, the appeal to the heart, even in contracdiction to the dictates of the head, now has been raised to an ultimate princpal, qouting Peter W Williams, 127

& sentimentality was the province of women
ibid.

Garth Brooks projected himself as a dedicated family man who deeply identifed with white, middle class social concerns...
ibid, 141

Ravel, Cooper. No Fences, Journal of Country Music, 55-57
Sexing the Grooce, Popular Music and Gender, ed Sheila Whitely, Routledge, 1997
MAry A Bufwak, et al Finding her Voice, The Illustrated History of Women in Country Music, Henry Hold and Co, 1997

From Country Music Goes to War, edited by Charles H Waffe and JAmes E Shonsen.
U of Kentucky PRess.

Altentative to Whate: O Brother, Sept 11th and the politics of Country, Aaron Fox.

...and as ever, the working class hero who emerged from the rubble became the subject of feverish consruction and hegemonic apporption. and as ever, which was in turn a metonym for "American" identity in ways that abused and misrepresented quite complex fields of social conflict in the service of particular class ideologies and political ambitions, 173.

Pierre Bordeneu, Distinciton: A Social Crtique on the Judgement of Taste. Harvard UP.

Bill Malone. Dont Get Above Your Raising: country Music and the working Class.