Southern Rock Musicians' Construction of White Trash on JSTOR

Southern Rock Musicians' Construction of White Trash

Jason T. Eastman and Douglas P. Schrock

Race, Gender & Class

Vol. 15, No. 1/2 (2008), pp. 205-219

https://www.jstor.org/stable/41675366

Page Count: 15

Race, Gender & Class

Description:

Race, Gender & Class publishes articles of 15-25 pages, notes of 5-10 pages, review essays on books or films, autobiographies, essays, data sets, theories, stories, field work studies, and letters to the journal promoting interdisciplinary and multicultural studies focusing on race, gender and class intersection issues

Coverage: 1995-2014 (Vol. 2, No. 2 - Vol. 21, No. 3/4)

Moving Wall: 3 years (What is the moving wall?)

The "moving wall" represents the time period between the last issue available in JSTOR and the most recently published issue of a journal. Moving walls are generally represented in years. In rare instances, a publisher has elected to have a "zero" moving wall, so their current issues are available in JSTOR shortly after publication.
Note: In calculating the moving wall, the current year is not counted.
For example, if the current year is 2008 and a journal has a 5 year moving wall, articles from the year 2002 are available.

Terms Related to the Moving Wall: Fixed walls: Journals with no new volumes being added to the archive.; Absorbed: Journals that are combined with another title.; Complete: Journals that are no longer published or that have been combined with another title.

ISSN: 10828354

Subjects: Feminist & Women's Studies, Sociology, Social Sciences

Collections: Arts & Sciences X Collection

Abstract

Based on interviews, song lyrics, websites, and observation of concerts, we examine how southern rock musicians construct themselves as poor, rural, white men. While popular culture often uses negative stereotypes to degrade poor whites, we show how southern rock musicians reclaim what they view as positive attributes of "white trash." They do this by embracing symbols of southern white trash (including the confederate flag), glorifying rural poverty, and celebrating drunken violence. We bring a focus on capitalism into our analysis by uncovering how class is central to southern rockers' racialized and gendered identity work, situating them as marginalized workers in a culture industry, and drawing out implications for class reproduction.

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Abstract