White Trash Alchemies of the Abject Sublime

Fox, Aaron A.

doi:10.4324/9780203309049_chapter_2

Cited by 96 publications

(6 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…Third, a preference for country music was negatively associated with AAE comprehension vocabulary, yet this predictor was not negatively correlated with a preference for hip-hop. This finding is in line with country music's connection to cultural Whiteness in the United States [30] , [31] (p. 24–30). Crucially then, this personal identity appears to be self-constructed.…”

Section: Discussionsupporting

confidence: 81%

You Know What It Is: Learning Words through Listening to Hip-Hop

Chesley

2011

PLoS ONE

View full text Add to dashboard Cite

Music listeners have difficulty correctly understanding and remembering song lyrics. However, results from the present study support the hypothesis that young adults can learn African-American English (AAE) vocabulary from listening to hip-hop music. Non-African-American participants first gave free-response definitions to AAE vocabulary items, after which they answered demographic questions as well as questions addressing their social networks, their musical preferences, and their knowledge of popular culture. Results from the survey show a positive association between the number of hip-hop artists listened to and AAE comprehension vocabulary scores. Additionally, participants were more likely to know an AAE vocabulary item if the hip-hop artists they listen to use the word in their song lyrics. Together, these results suggest that young adults can acquire vocabulary through exposure to hip-hop music, a finding relevant for research on vocabulary acquisition, the construction of adolescent and adult identities, and the adoption of lexical innovations.

show abstract

Section: Discussionsupporting

confidence: 81%

You Know What It Is: Learning Words through Listening to Hip-Hop

Chesley

2011

PLoS ONE

View full text Add to dashboard Cite

show abstract

“…They want country to truly express their own country lives—or at least to be accurate to their conceptions or experiences about country living. Aaron Fox (2013) argues that country music expresses a “white trash alchemy of the abject sublime.” Country music plays a role in how people see themselves—in their practical identities.…”

Section: Valuesmentioning

confidence: 99%

The aesthetics of country music

Dyck

2021

Philosophy Compass

View full text Add to dashboard Cite

Country music has not gotten much attention in philosophy. I introduce two philosophical issues that country music raises. First, country music is simple. Some people might think that its simplicity makes country music worse; I argue that simplicity is aesthetically valuable. The second issue is country music’s ideal of authenticity; fans and performers think that country should be real or genuine in a particular way. But country music scholars have debunked the idea that country authenticity gets at anything real; widespread ideas about country authenticity are rooted in a racist and fabricated picture of country music. In discussing these two issues, I highlight the importance of community in country music.

show abstract

“…It is also important to note that, despite its popularity, heavy metal (along with country music and hip‐hop/rap) has been one of the most consistently ‘disliked’ of all categories of popular music, often viewed as exemplary of a ‘univore’ taste group: a socially narrow, underclass population with limited social mobility (Bryson, , ). Indeed, as Fox argues, the taste polarization around genres identified as low or bad is equivalent to the category of ‘contaminated’ culture: ‘mere proximity to which entails ideological danger’ (2004: 4).…”

Section: Heavy Metal and The Cultural Signification Of Working‐class mentioning

confidence: 99%

‘A Cockroach Preserved in Amber’: The Significance of Class in Critics' Representations of Heavy Metal Music and its Fans

Brown

Griffin

2014

The Sociological Review

View full text Add to dashboard Cite

This cover sheet may not be removed from the document.Please scroll down to view the document. In this paper we engage with new cultural theories of class that have identified media representations of 'excessive' white heterosexual working class femininity as a 'constitutive limit' of incorporation into dominant (middle class) modes of neo-liberal subjectivity and Bourdieu's thesis that classification is a form of symbolic violence that constitutes both the classifier and the classified. However, what we explore are the implications of such arguments for those modes of white heterosexual working class masculinity that continue to reproduce themselves in forms of overtly-masculinist popular culture. We do so through a critical examination of the symbolic representation of the genre of heavy metal music within contemporary music journalism. Employing a version of critical discourse analysis, we offer an analysis of representative reviews, derived from a qualitative sample of the UK music magazine, New Musical Express (1999)(2000)(2001)(2002)(2003)(2004)(2005)(2006)(2007)(2008). This weekly title, historically associated with the ideals of the 'counter culture', now offers leadership of musical tastes in an increasingly segmented, niche-oriented marketplace. Deploying a refined model of the inscription process outlined by Skeggs, our analysis demonstrates how contemporary music criticism symbolically attaches negative attributes and forms of personhood to the working class male bodies identified with heavy metal culture and its audience, allowing dominant middle class modes of cultural authority to be inscribed within matters of musical taste and distinction.

show abstract

White Trash Alchemies of the Abject Sublime

Cited by 96 publications

References 0 publications

You Know What It Is: Learning Words through Listening to Hip-Hop

You Know What It Is: Learning Words through Listening to Hip-Hop

The aesthetics of country music

‘A Cockroach Preserved in Amber’: The Significance of Class in Critics' Representations of Heavy Metal Music and its Fans

Contact Info

Product

Resources

About