Redneck 19

In the wake of their darkest day, itÕs time to say goodbye to the Lone Star state as the Bowman family searches for salvation in the shadows of Mexico.

In the wake of their darkest day, it's time to say goodbye to The Lone Star State as the Bowman family searches for salvation in the shadows of Mexico. Collects REDNECK #19-24

Hayley’s serving home cooking to a country star—and solving a roadie’s murder—in this tasty mystery: “Snappy pace, fun characters, and a clever plot.” —Library Journal Local food and drink writer Hayley Powell thinks she’s done solving murders in scenic Bar Harbor, Maine. But when a taste of the South comes to New England, Haley’s following another recipe for disaster . . . As a single mom, Hayley Powell already has a full plate—she’s got deadlines to make and a teenage daughter with eyes for an aspiring singer-songwriter. But when country music superstar Wade Springer rolls into town, Hayley spies an irresistible side gig: personal chef to her all-American idol. After he tries her home cooking, Wade’s so impressed that he hires her on the spot—and invites her to dine with him alone. Hayley and Wade are hitting all the right notes . . . until a body turns up. Wade’s tour bus was torched overnight and a roadie named Mickey Pritchett came out well-done. But the real cause of death isn’t barbecue: Mickey was shot, his mouth stuffed with one of Hayley’s trademark chicken legs. An ornery drunk, Mickey had already made plenty of enemies in town, but Wade’s reputation is on the rocks. Hayley reckons it’s up to her to settle this mess—a charbroiled mystery with all the fixin’s. Includes seven delectable recipes from Hayley's kitchen! Praise for Death of a Kitchen Diva “Delicious and satisfying. Another course, please.” —Carolyn Hart “Readers will be calling for a second round from author Lee Hollis.” —Leslie Meier, author of Chocolate Covered Murder

Talking White Trash documents the complex and interwoven relationship between mediated representations and lived experiences of white working-class people—a task inspired by the author’s experiences growing up in a white working-class family and neighborhood and how she came to understand herself through watching films and television shows. The increasing presence of white working-class people in media, particularly within the genre of reality television, and their role in fueling the unprecedented rise of Donald Trump, has made this population a central subject of U.S. cultural discourse. Rather than relying solely on analyses of mediated portrayals, Dunn makes use of personal narratives, interviews, focus groups, textual analysis, and critical autoethnography to specifically analyze how popular media articulates certain ideas about white working-class people, and how those who identify as members of this population, including herself, negotiate such articulations. Dunn’s work provides alternative stories that are rarely, if ever, found in popular media—stories that feature the varied reactions and lived experiences of white working-class people; stories that talk to, talk with, and talk back to mediated representations and dominant cultural ideas; stories that illuminate the multidimensionality of a population that is often portrayed in one-dimensional ways; stories that move inside and outside the white working-class to better understand their role within, and influence upon, U.S. culture.

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.

"The Liberal Rednecks--a three-man stand-up comedy group doing scathing political satire--celebrate all that's good about the South while leading the Redneck Revolution and standing proudly blue in a sea of red. Smart, hilarious, and incisive, the Liberal Rednecks confront outdated traditions and intolerant attitudes, tackling everything people think they know about the South--the good, the bad, the glorious, and the shameful--in a laugh-out-loud funny and lively manifesto for the rise of a New South. Home to some of the best music, athletes, soldiers, whiskey, waffles, and weather the country has to offer, the South has also been bathing in backward bathroom bills and other bigoted legislation that Trae Crowder has targeted in his Liberal Redneck videos, which have gone viral with over 50 million views. Perfect for fans of Stuff White People Like and I Am America (And So Can You), The Liberal Redneck Manifesto skewers political and religious hypocrisies in witty stories and hilarious graphics--such as the Ten Commandments of the New South--and much more! While celebrating the South as one of the richest sources of American culture, this entertaining book issues a wake-up call and a reminder that the South's problems and dreams aren't that far off from the rest of America's"--

“Theodore Glimore Bilbo was, is, and evermore shall be God or Satan. He dwelled—dwells— in heaven or hell, but never in limbo.” So wrote A. Wigfall Green almost a quarter of a century ago, and so remains the popular perception of this colorful and controversial symbol of a faded era, though current opinion would tip the scales heavily in favor of the satanic and hellish. Theodore Bilbo is remembered almost exclusively as the archangel of white supremacy. His reputation as perhaps the vilest purveyor of racist rhetoric is richly deserved in light of his vehement opposition to the black civil rights movement that emerged during the last years of his career as United States senator from Mississippi. Yet, as Chester Morgan demonstrates in Redneck Liberal, the conventional image of Bilbo as merely a racist demagogue paints only half the picture. Bilbo served a full term in the Senate (1934-1940) before his political career was consumed by racism, and it is that period that is the focus of this study by Morgan. Bilbo’s first term in the Senate coincided with Franklin Roosevelt’s New Deal. Morgan provides a thorough treatment of Bilbo’s activities in Washington and his large role in Mississippi politics. In the Senate Bilbo consistently gave strong support to virtually all New Deal social and economic programs, such as relief for the unemployed, social security, public housing, and fair labor standards, while at the same time championing the cause of the nation’s small farmers in every way he could. His crude and often repulsive style may have antagonized the more sophisticated liberal academics and bureaucrats of the time, but his first-term voting record would have been the envy of any urban New Dealer. Morgan’s early chapters provide background on Bilbo’s long career prior to his election to the Senate (he served twice as governor of Mississippi, for instance) and also on the main trends in Mississippi politics from Reconstruction to the 1930s. An epilogue seeks to explain the well-known, virulently racist attitude of his final years. Throughout the book Morgan manages to capture the flamboyance of Bilbo’s personality and the vitality and intricacy of Mississippi politics. Redneck Liberal—only the second book on Bilbo ever to be published—draws heavily on Bilbo’s personal correspondence, the papers of Franklin Roosevelt, and other primary sources.

With its unparalleled coverage of English slang of all types (from 18th-century cant to contemporary gay slang), and its uncluttered editorial apparatus, Cassell's Dictionary of Slang was warmly received when its first edition appeared in 1998. 'Brilliant.' said Mark Lawson on BBC2's The Late Review; 'This is a terrific piece of work - learned, entertaining, funny, stimulating' said Jonathan Meades in The Evening Standard.But now the world's best single-volume dictionary of English slang is about to get even better. Jonathon Green has spent the last seven years on a vast project: to research in depth the English slang vocabulary and to hunt down and record written instances of the use of as many slang words as possible. This has entailed trawling through more than 4000 books - plus song lyrics, TV and movie scripts, and many newspapers and magazines - for relevant material. The research has thrown up some fascinating results