Queer Country

A Variety Best Music Book of 2022 A No Depression Most Memorable Music Book of 2022 A Library Journal Best Arts and Humanities Book of 2022 A Pitchfork Best Music Book of 2022 A Boot Best Music Book of 2022 A Ticketmaster Best Music Book of 2022 A Happy Magazine Best Music Book of 2022 Though frequently ignored by the music mainstream, queer and transgender country and Americana artists have made essential contributions as musicians, performers, songwriters, and producers. Queer Country blends ethnographic research with analysis and history to provide the first in-depth study of these artists and their work. Shana Goldin-Perschbacher delves into the careers of well-known lesbian artists like k.d. lang and Amy Ray and examines the unlikely success of singer-songwriter Patrick Haggerty, who found fame forty years after releasing the first out gay country album. She also focuses on later figures like nonbinary transgender musician Rae Spoon and renowned drag queen country artist Trixie Mattel; and on recent breakthrough artists like Orville Peck, Amythyst Kiah, and chart-topping Grammy-winning phenomenon Lil Nas X. Many of these musicians place gender and sexuality front and center even as it complicates their careers. But their ongoing efforts have widened the circle of country/Americana by cultivating new audiences eager to connect with the artists’ expansive music and personal identities. Detailed and one-of-a-kind, Queer Country reinterprets country and Americana music through the lives and work of artists forced to the margins of the genre's history.

'Another Country' expands the possibilities of queer studies beyond the city limits, investigating the lives of rural queers across the United States, from faeries in the Midwest to lesbian separatist communes on the coast of Northern California.

A groundbreaking collection of fourteen essays on the struggles, pleasures, and contradictions of queer culture and public life in Canada. Versed in queer social history as well as leading-edge gay and lesbian studies, queer theory, and post-colonial studies, In a Queer Country confronts queer culture from various perspectives relevant to international audiences. Topics range from the politics of the family and spousal rights to queer black identity, from pride parade fashions to lesbian park rangers.

Winner of the 2009 Ruth Benedict Prize for Outstanding Monograph from the Society of Lesbian and Gay Anthropologists Winner of the 2010 Distinguished Book Award from the American Sociological Association, Sociology of Sexualities Section Winner of the 2010 Congress Inaugural Qualitative Inquiry Book Award Honorable Mention An unprecedented contemporary account of the online and offline lives of rural LGBT youth From Wal-Mart drag parties to renegade Homemaker’s Clubs, Out in the Country offers an unprecedented contemporary account of the lives of today’s rural queer youth. Mary L. Gray maps out the experiences of young people living in small towns across rural Kentucky and along its desolate Appalachian borders, providing a fascinating and often surprising look at the contours of gay life beyond the big city. Gray illustrates that, against a backdrop of an increasingly impoverished and privatized rural America, LGBT youth and their allies visibly—and often vibrantly—work the boundaries of the public spaces available to them, whether in their high schools, public libraries, town hall meetings, churches, or through websites. This important book shows that, in addition to the spaces of Main Street, rural LGBT youth explore and carve out online spaces to fashion their emerging queer identities. Their triumphs and travails defy clear distinctions often drawn between online and offline experiences of identity, fundamentally redefining our understanding of the term ‘queer visibility’ and its political stakes. Gray combines ethnographic insight with incisive cultural critique, engaging with some of the biggest issues facing both queer studies and media scholarship. Out in the Country is a timely and groundbreaking study of sexuality and gender, new media, youth culture, and the meaning of identity and social movements in a digital age.

Once upon a time there lived on a plantation, in the very middle of Middle Georgia, a little girl and a little boy and their negro nurse. The little girl’s name was Sweetest Susan. That was the name her mother gave her when she was a baby, and she was so good-tempered that everybody continued to call her Sweetest Susan when she grew older. She was seven years old. The little boy’s name was Buster John. That was the name his father had given him. Buster John was eight. The nurse’s name was Drusilla, and she was twelve. Drusilla was called a nurse, but that was just a habit people had. She was more of a child than either Sweetest Susan or Buster John, but she was very much larger. She was their playmate—their companion, and a capital one she made. Sweetest Susan had black hair and dark eyes like her father, while Buster John had golden hair and brown eyes like his mother. As for Drusilla, she was as black as the old black cat, and always in a good humor, except when she pretended to be angry. Sweetest Susan had wonderful dark eyes that made her face very serious except when she laughed, but she was as full of fun as Buster John, who was always in some sort of mischief that did nobody any harm. These children were not afraid of anything. They scorned to run from horses, or cows, or dogs. They were born on the big plantation, and they spent the greater part of the day out of doors, save when the weather was very cold or very wet. They had no desire to stay in the house, except when they were compelled to go to bed, and a great many times they fretted a little because they thought bedtime came too soon. Sweetest Susan had a great many dolls, and she was very fond of them. She had a China Doll, a Jip-jap Doll, a Rag Doll, a Rubber Doll, a White Doll, a Brown Doll, and a Black Doll. Sometimes she and Drusilla would play with the Dolls out in the yard, and sometimes Buster John would join them when he had nothing better to do. But every evening Sweetest Susan and Drusilla would carry the Dolls into the bedroom and place them side by side against the wall. Sweetest Susan wanted them placed there, she said, so she could see her children the last thing at night and the first thing in the morning. But one night Sweetest Susan went to bed crying, and this was so unusual that Drusilla forgot to put the Dolls in their places. Sweetest Susan’s feelings were hurt. She had not been very good, and her mother had called her Naughty Susan instead of Sweetest Susan. Buster John, in the next room, wanted to know what the matter was, but Sweetest Susan wouldn’t tell him, and neither would she tell Drusilla. After a while Sweetest Susan’s mother came in and kissed her. That helped her some, but she lay awake ever so long sobbing a little and thinking how she must do so as not to be called Naughty Susan.

In her provocative new book Rednecks, Queers, and Country Music, Nadine Hubbs looks at how class and gender identity play out in one of America’s most culturally and politically charged forms of popular music. Skillfully weaving historical inquiry with an examination of classed cultural repertoires and close listening to country songs, Hubbs confronts the shifting and deeply entangled workings of taste, sexuality, and class politics. In Hubbs’s view, the popular phrase "I’ll listen to anything but country" allows middle-class Americans to declare inclusive "omnivore" musical tastes with one crucial exclusion: country, a music linked to low-status whites. Throughout Rednecks, Queers, and Country Music, Hubbs dissects this gesture, examining how provincial white working people have emerged since the 1970s as the face of American bigotry, particularly homophobia, with country music their audible emblem. Bringing together the redneck and the queer, Hubbs challenges the conventional wisdom and historical amnesia that frame white working folk as a perpetual bigot class. With a powerful combination of music criticism, cultural critique, and sociological analysis of contemporary class formation, Nadine Hubbs zeroes in on flawed assumptions about how country music models and mirrors white working-class identities. She particularly shows how dismissive, politically loaded middle-class discourses devalue country’s manifestations of working-class culture, politics, and values, and render working-class acceptance of queerness invisible. Lucid, important, and thought-provoking, this book is essential reading for students and scholars of American music, gender and sexuality, class, and pop culture.

Queer. Muslim. Arab American. A proudly Fat femme. Randa Jarrar is all of these things. In this "exuberant, defiant and introspective" memoir of a cross-country road trip, she explores how to claim joy in an unraveling and hostile America (The New York Times Book Review). Randa Jarrar is a fearless voice of dissent who has been called "politically incorrect" (Michelle Goldberg, The New York Times). As an American raised for a time in Egypt, and finding herself captivated by the story of a celebrated Egyptian belly dancer's journey across the United States in the 1940s, she sets off from her home in California to her parents' in Connecticut. Coloring this road trip are journeys abroad and recollections of a life lived with daring. Reclaiming her autonomy after a life of survival--domestic assault as a child, and later, as a wife; threats and doxxing after her viral tweet about Barbara Bush--Jarrar offers a bold look at domestic violence, single motherhood, and sexuality through the lens of the punished-yet-triumphant body. On the way, she schools a rest-stop racist, destroys Confederate flags in the desert, and visits the Chicago neighborhood where her immigrant parents first lived. Hailed as "one of the finest writers of her generation" (Laila Lalami), Jarrar delivers a euphoric and critical, funny and profound memoir that will speak to anyone who has felt erased, asserting: I am here. I am joyful.

Zilphia Horton was a pioneer of cultural organizing, an activist and musician who taught people how to use the arts as a tool for social change, and a catalyst for anthems of empowerment such as “We Shall Overcome” and “We Shall Not Be Moved.” Her contributions to the Highlander Folk School, a pivotal center of the labor and civil rights movements in the mid-twentieth century, and her work creating the songbook of the labor movement influenced countless figures, from Woody Guthrie to Eleanor Roosevelt to Rosa Parks. Despite her outsized impact, Horton’s story is little known. A Singing Army introduces this overlooked figure to the world. Drawing on extensive archival and oral history research, as well as numerous interviews with Horton's family and friends, Kim Ruehl chronicles her life from her childhood in Arkansas coal country, through her formative travels and friendship with radical Presbyterian minister Claude C. Williams, and into her instrumental work in desegregation and fostering the music of the civil rights era. Revealing these experiences—as well as her unconventional marriage and controversial death by poisoning—A Singing Army tells the story of an all-but-forgotten woman who inspired thousands of working-class people to stand up and sing for freedom and equality.