ISBN:
0253003172
,
9780253003171
Sprache:
Englisch
Seiten:
1 Online-Ressource (xi, 241 pages)
Serie:
Profiles in popular music
Paralleltitel:
Erscheint auch als
Paralleltitel:
Erscheint auch als
Paralleltitel:
Erscheint auch als
Paralleltitel:
Erscheint auch als
DDC:
781.642092
Schlagwort(e):
Cash, Johnny / Criticism and interpretation
;
Cash, Johnny
;
Cash, Johnny
;
Cash, Johnny Criticism and interpretation
;
Cash, Johnny
;
MUSIC / Genres & Styles / Country & Bluegrass
;
Country music
;
Country musicians
;
Nationalbewusstsein
;
Countrymusic
;
Country music History and criticism
;
Country musicians
;
Nationalbewusstsein
;
Countrymusic
;
USA
;
USA
;
USA
;
Countrymusic
;
Nationalbewusstsein
;
Cash, Johnny 1932-2003
Anmerkung:
Master and use copy. Digital master created according to Benchmark for Faithful Digital Reproductions of Monographs and Serials, Version 1. Digital Library Federation, December 2002
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Includes bibliographical references and index
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Introduction : Cash as contradiction -- "What is truth?" : authenticity and persona -- "A boy named Sue" : American manhood -- Gender and "the beast in me" : ramblers and rockabillies authenticity and persona -- Race and identity politics -- Man in black : class and national mythologies -- The gospel road : Cash as saint and sinner -- Conclusion : "God's gonna cut you down" : cultural legacies
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From the Publisher: Throughout his career, Johnny Cash has been depicted-and has depicted himself-as a walking contradiction: social protester and establishment patriot, drugged wildman and devout Christian crusader, rebel outlaw hillbilly thug and elder statesman. Leigh H. Edwards explores the allure of this paradoxical image and its cultural significance. She argues that Cash embodies irresolvable contradictions of American identity that reflect foundational issues in the American experience, such as the tensions between freedom and patriotism, individual rights and nationalism, the sacred and the profane. She illustrates how this model of ambivalence is a vital paradigm for American popular music, and for American identity in general. Making use of sources such as Cash's autobiographies, lyrics, music, liner notes, and interviews, Edwards pays equal attention to depictions of Cash by others, such as Vivian Cash's publication of his letters to her, documentaries and music journalism about him, Walk the Line, and fan club materials found in the archives at the Country Music Foundation in Nashville, to create a complete, albeit fragmented, portrait of Cash and his significance as a cultural icon
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