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"Country-soul": Race and the recordi...

Hughes, Charles L.

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"Country-soul": Race and the recording industry in the U.S. South, 1960--1980.

Record Type:	Language materials, printed : Monograph/item
Title/Author:	"Country-soul": Race and the recording industry in the U.S. South, 1960--1980./
Author:	Hughes, Charles L.
Description:	361 p.
Notes:	Source: Dissertation Abstracts International, Volume: 73-11(E), Section: A.
Contained By:	Dissertation Abstracts International73-11A(E).
Subject:	History, United States. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3516856
ISBN:	9781267466082

"Country-soul": Race and the recording industry in the U.S. South, 1960--1980.
Hughes, Charles L.

"Country-soul": Race and the recording industry in the U.S. South, 1960--1980. - 361 p.

Source: Dissertation Abstracts International, Volume: 73-11(E), Section: A.

Thesis (Ph.D.)--The University of Wisconsin - Madison, 2012.

This dissertation examines the relationship between country and soul music in the recording industry in the Southern United States in the 1960s and 1970s. I trace the development of recording economies in Memphis and Nashville, Tennessee and Muscle Shoals, Alabama, the region I term the "country-soul triangle." During this period, each city became a center of the era's popular-music industry, producing a wide variety of critically and commercially successful recordings. Country and soul were the genres which with the region were most strongly identified, and these genres---though associated with very different musical, political and racial identities---were deeply connected on both musical and commercial levels throughout the country-soul triangle.

ISBN: 9781267466082Subjects--Topical Terms:

1017393
History, United States.

"Country-soul": Race and the recording industry in the U.S. South, 1960--1980.
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245 1 0 $a "Country-soul": Race and the recording industry in the U.S. South, 1960--1980.
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500 $a Source: Dissertation Abstracts International, Volume: 73-11(E), Section: A.
500 $a Adviser: William P. Jones.
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520 $a This dissertation examines the relationship between country and soul music in the recording industry in the Southern United States in the 1960s and 1970s. I trace the development of recording economies in Memphis and Nashville, Tennessee and Muscle Shoals, Alabama, the region I term the "country-soul triangle." During this period, each city became a center of the era's popular-music industry, producing a wide variety of critically and commercially successful recordings. Country and soul were the genres which with the region were most strongly identified, and these genres---though associated with very different musical, political and racial identities---were deeply connected on both musical and commercial levels throughout the country-soul triangle.
520 $a I examine these connections, focusing on the production and distribution of recordings and foregrounding the experiences of working musical laborers, including studio musicians, songwriters, producers, label executives and radio personnel. These workers were crucial actors in the rapidly-changing racial terrain of U.S. cultural politics in the era of Civil Rights, Black Power and white backlash. Southern music professionals, both Black and white, negotiated the complex dynamics of a pop-music marketplace and nation in which country and soul---written and recorded in the same places, often by the same people---became key cultural markers of a racially and regionally divided U.S. populace.
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