Country music's debt to African American music has long been
recognized. Black musicians have helped to shape the styles of many
of the most important performers in the country canon. The
partnership between Lesley Riddle and A. P. Carter produced much of
the Carter Family's repertoire; the street musician Tee Tot Payne
taught a young Hank Williams Sr.; the guitar playing of Arnold
Schultz influenced western Kentuckians, including Bill Monroe and
Ike Everly. Yet attention to how these and other African Americans
enriched the music played by whites has obscured the achievements
of black country-music performers and the enjoyment of black
listeners.
The contributors to "Hidden in the Mix" examine how country
music became "white," how that fictive racialization has been
maintained, and how African American artists and fans have used
country music to elaborate their own identities. They investigate
topics as diverse as the role of race in shaping old-time record
catalogues, the transracial West of the hick-hopper Cowboy Troy,
and the place of U.S. country music in postcolonial debates about
race and resistance. Revealing how music mediates both the ideology
and the lived experience of race, "Hidden in the Mix "challenges
the status of country music as "the white man's blues."
"Contributors." Michael Awkward, Erika Brady, Barbara Ching,
Adam Gussow, Patrick Huber, Charles Hughes, Jeffrey A. Keith, Kip
Lornell, Diane Pecknold, David Sanjek, Tony Thomas, Jerry Wever
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