Moving beyond familiar myths about moonshiners, bootleggers, and hard­-drinking writers, Southern Comforts explores how alcohol and drinking helped shape the literature and culture of the U.S. South. Edited by Conor Picken and Matthew Dischinger, this collection of seventeen thought-­provoking essays proposes that discussions about drinking in southern culture often orbit around familiar figures and mythologies that obscure what alcohol consumption has meant over time. Complexities of race, class, and gender remain hidden amid familiar images, catchy slogans, and convenient stories. As the first collection of scholarship that investigates the relationship between drinking and the South, Southern Comforts challenges popular assumptions by examining evocative topics drawn from literature, music, film, city life, and cocktail culture. Taken together, the essays collected here illustrate that exaggerated representations of drinking oversimplify the South’s relationship to alcohol, in effect absorbing it into narratives of southern exceptionalism that persist to this day. From Edgar Allan Poe to Richard Wright, Bessie Smith to Johnny Cash, Bourbon Street tourism to post-­Katrina disaster capitalism and more, Southern Comforts: Drinking and the U.S. South uncovers the reciprocal relationship between mythologies of drinking and mythologies of region.

"Gospel According To Bristol: The Life, Ministry, and Ministry of Ernest Phipps" is the first biographical and critical writing on the Kentucky Holiness preacher and Bristol Sessions recording artist. With information gathered from interviews with his surviving family members, court documents, and public records, this thesis paints the most complete picture of the life of Ernest Phipps (1900-1963) possible. Phipps is known for the company he keeps in the line-up of mountain musicians, including Jimmie Rodgers and the Carter Family, that came to Bristol, Tennessee to record for Ralph Peer in 1927, but Phipps's music is discussed here on its own merit as a forerunner of modern Southern Gospel music. This thesis also argues that a 1930 Vocalion record by the Kentucky Holiness Singers is the last record Ernest Phipps made.

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In releasing the songs "Courtesy of the Red, White and Blue (The Angry American)" and "American Soldier" in the aftermath of September 11, country artist Toby Keith enacts a tradition that has been established in the world of country music since the Civil War, that of producing wartime songs of patriotism. I conducted an organic analysis of both songs as rhetorical acts produced and consumed within a particular rhetorical context. Because country music is fundamentally a discourse that celebrates the attitudes, values and experiences of its audience, I first analyzed these two songs as instances of epideictic rhetoric. As an epideictic rhetor, Keith reinforces the traditional values of the country music audience, uniting them in celebration of the communal identity that renders them a rhetorical community. That shared identity enables Keith to advance a rhetorical vision of a post-September 11 reality, attributing meaning to the events of September 11 and the ensuing conflicts in Afghanistan and Iraq. I use pentadic analysis to illuminate the vision presented in each song, and I utilize both media coverage and the Billboard charts to determine how well this vision "chained out" amongst the country music audience. Lastly, I utilize media coverage to explore the rhetorical context in which these songs were written and consumed. / Master of Arts

This study examined promoting recorded country music from Atlanta, Georgia, and explored why Atlanta is important in this field. It was learned, through interviews, that promoters wanted radio airplay and top trade publication chart ratings. Radio station program directors decided upon playlists from reading trade publications, efforts by record promoters, listener requests and focus groups, and from reported sales. Stores used album and poster displays, charts, and played music for promotion. The business is one of personalities and experience, as much as product promoted. Large conglomerates are fast changing it.

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Este trabalho pretende realizar uma leitura da música caipira, de seus componentes e de sua principal porta-voz: a viola caipira, aqui abordada sob o ponto de vista de sua história social e musical. Nessa reflexão questionaremos alguns conceitos, já elaborados por outros autores, sobre a música caipira e sua relação com o mercado fonográfico. Para isso, nosso olhar se debruçará sobre o homem do campo do Centro-Sudeste do Brasil o caipira, a maneira como era entendido aos olhos da urbanidade e o intenso processo migratório para a grande São Paulo entre o início do século XX e os anos 1970. Ao deixarem seus locais de origem, esses migrantes entraram em um processo de perda de raízes, que chamamos desenraizamento. Por uma série de razões aqui abordadas, essas populações foram compondo as periferias das grandes cidades e sua cultura foi sendo tratada como algo menor, não canônico. Um dos aspectos da cultura dos caipiras é sua expressão musical, que teve como base poemática o romance, o contar uma história. Nessas narrativas musicais, sempre ligadas ao universo da oralidade, registraram fonograficamente a sua saga e transmitiram seus valores de vida. Pelas ondas do rádio a história dos caipiras se fez conhecida por todos fato raro num país onde é contada sempre a história dos vencedores. A radiodifusão da música caipira atuou como um fator de reenraizamento sobre os migrantes preservando seus valores e mantendo a sua história. No intuito de confirmação dessas idéias, foram realizadas entrevistas com migrantes de modo a colher suas impressões acerca da perda e aquisição de novos valores / This work intends to perform a reading of caipira music, its components and its main representative: the brazilian ten-string guitar, here approached from the standpoint of its social and musical history. In this consideration we will question some concepts, which have already been developed by other writers, on country music and its relationship to the phonographic market. For this, our eyes will be addressed to the peasant of Central-southeastern Brazil - the caipira, the way it was understood in the eyes of urbanity and the intense migratory process to Sao Paulo city and surroundings in the early twentieth century and in the 1970s. Upon leaving their places of origin, these migrants have entered a process of loss of roots, which we call uprooting. For a variety of reasons discussed here, these people were composing the suburbs of large cities and their culture was being treated as something smaller, non canonical. One aspect of peasant culture is its music expression, which had as poematic base romance, the story telling. In these musical narratives, always connected to the orality world, they recorded phonographically their saga and passed on their values of life. Through the radio waves the caipira history became known to all - a rare event in a country where only the winners history is told. The broadcasting of caipira music served as a factor re-rooting on migrants retaining their values and preserving their history. In order to confirm these ideas, we conducted interviews with migrants in order to collect their impressions about the loss and acquisition of new values

Orientador: Célia Aparecida Ferreira Tolentino / Banca: Fátima Aparecida Cabral / Banca: Eduardo Victório Morettin / Resumo: O texto que segue investiga cinco obras cinematográficas que tomaram de maneira ativa para sua composição canções de sucesso e/ou vidas de alguns cantores famosos da música sertaneja: Luar do Sertão (BR, 1970), O Menino da Porteira (BR, 1976), A Estrada da Vida (BR, 1979/80), Sonhei com Você (BR, 1987) e 2 Filhos de Francisco (BR, 2005). Tendo estas obras como núcleo de nossas análises, buscamos observar a sociedade brasileira a partir destas narrativas, captar as transformações da idéia do rural brasileiro e o lugar reservado a ele no corpo do país. Nossa escolha recaiu sobre estes filmes realizados a partir das canções sertanejas de sucesso e de seus intérpretes por acreditar que nestes o critério de aceitação por parte do público foi um elemento central para justificar a realização destas películas. Metodologicamente, observamos como a expressão da música sertaneja alterou sua forma (da vestimenta dos cantores passando pelo uso de determinados tipos de instrumental até a poética e temática das canções) e com ela uma fez uma leitura sobre o rural, induzindo à uma tradução cinematográfica compatível (forma, discurso e abordagem da temática, composição dos personagens, relação e representação de cidade e campo em cada filme) de modo a atender uma demanda do pensamento social do momento histórico de sua realização. / Abstract: The following study analyses five cinematographic works strongly influenced by successful songs and/or by the lives of famous country music singers: Luar do Sertão (BR, 1970), O Menino da Porteira (BR, 1976), A Estrada da Vida (BR, 1979/80), Sonhei com Você (BR, 1987) and 2 Filhos de Francisco (BR, 2005). The wide popular acceptance of said singers justified the films' production, from which we analysed the Brazilian society regarding the changes in the rural concept and position in the country's structure. Methodologically, we examined how the country music expression has changed (singers' apparel, use of certain kinds of instrumental, songs' poetry and thematic) and how that music portrayed the rural issue, enabling a compatible cinematographic translation (form, theme discourse and approach, characters composition, relation between the city and the countryside and their representation in each film) that met a social thinking demand of the historical time of its accomplishment. / Mestre