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When Latino migration to the U.S. South became increasingly visible in the 1990s, observers and advocates grasped for ways to analyze "new" racial dramas in the absence of historical reference points. However, as this book is the first to comprehensively document, Mexicans and Mexican Americans have a long history of migration to the U.S. South. Corazon de Dixie recounts the untold histories of Mexicanos' migrations to New Orleans, Mississippi, Arkansas, Georgia, and North Carolina as far back as 1910. It follows Mexicanos into the heart of Dixie, where they navigated the Jim Crow system, cultivated community in the cotton fields, purposefully appealed for help to the Mexican government, shaped the southern conservative imagination in the wake of the civil rights movement, and embraced their own version of suburban living at the turn of the twenty-first century. Rooted in U.S. and Mexican archival research, oral history interviews, and family photographs, Corazon de Dixie unearths not just the facts of Mexicanos' long-standing presence in the U.S. South but also their own expectations, strategies, and dreams.
Rock & roll has transformed American culture more profoundly than any other art form. During the 1960s, it defined a generation of young people as political and social idealists, helped end the Vietnam War, and ushered in the sexual revolution. In Dixie Lullaby, veteran music journalist Mark Kemp shows that rock also renewed the identity of a generation of white southerners who came of age in the decade after segregation -- the heyday of disco, Jimmy Carter, and Saturday Night Live. Growing up in North Carolina in the 1970s, Kemp experienced pain, confusion, and shame as a result of the South's residual civil rights battles. His elementary school was integrated in 1968, the year Kemp reached third grade; his aunts, uncles, and grandparents held outdated racist views that were typical of the time; his parents, however, believed blacks should be extended the same treatment as whites, but also counseled their children to respect their elder relatives. "I loved the land that surrounded me but hated the history that haunted that land," Kemp writes. When rock music, specifically southern rock, entered his life, he began to see a new way to identify himself, beyond the legacy of racism and stereotypes of southern small-mindedness that had marked his early childhood. Well into adulthood Kemp struggled with the self-loathing familiar to many white southerners. But the seeds of forgiveness were planted in adolescence when he first heard Duane Allman and Ronnie Van Zant pour their feelings into their songs. In the tradition of music historians such as Nick Tosches and Peter Guralnick, Kemp masterfully blends into his narrative the stories of southern rock bands --from heavy hitters such as the Allman Brothers Band, Lynyrd Skynyrd, and R.E.M. to influential but less-known groups such as Drive-By Truckers -- as well as the personal experiences of their fans. In dozens of interviews, he charts the course of southern rock & roll. Before civil rights, the popular music of the South was a small, often racially integrated world, but after Martin Luther King Jr.'s assassination, black musicians struck out on their own. Their white counterparts were left to their own devices, and thus southern rock was born: a mix of popular southern styles that arose when predominantly white rockers combined rural folk, country, and rockabilly with the blues and jazz of African-American culture. This down-home, flannel-wearing, ass-kicking brand of rock took the nation by storm in the 1970s. The music gave southern kids who emulated these musicians a newfound voice. Kemp and his peers now had something they could be proud of: southern rock united them and gave them a new identity that went beyond outside perceptions of the South as one big racist backwater. Kemp offers a lyrical, thought-provoking, searingly intimate, and utterly original journey through the South of the 1960s, '70s, '80s, and '90s, viewed through the prism of rock & roll. With brilliant insight, he reveals the curative and unifying impact of rock on southerners who came of age under its influence in the chaotic years following desegregation. Dixie Lullaby fairly resonates with redemption.
This look at the Dixie Chicks, who have almost single-handedly reinvented a classic country sound, covers their career and evolution of the group, including their professional struggles to get Nashville to take them seriously, and their personal struggles. Color and bandw photos.
Whistlin' Dixie in a Nor'Easter is the story of a sweet Southern belle who leaves her beloved Memphis, Tennessee to follow her husband's dream of becoming the proprietor of a quaint Vermont inn. Leelee Satterfield seemed to have it all: a gorgeous husband, two adorable daughters, and roots in the sunny city of Memphis, Tennessee. So when her husband gets the idea to uproot the family to run a quaint Vermont inn, Leelee is devastated...and her three best friends are outraged. But she's loved Baker Satterfield since the tenth grade, how can she not indulge his dream? Plus, the glossy photos of bright autumn trees and smiling children in ski suits push her over the edge...after all, how much trouble can it really be? But Leelee discovers pretty fast that there's a truckload of things nobody tells you about Vermont until you live there: such as mud season, vampire flies, and the danger of ice sheets careening off roofs. Not to mention when her beloved Yorkie decides to pick New Year's Eve to go to doggie heaven-she encounters one more New England oddity: frozen ground means you can't bury your dead in the winter. And that Yankee idiosyncrasy just won't do. The inn they've bought also has its host of problems: an odor that no amount of potpourri can erase, tacky décor, and a staff of peculiar Vermonters whose personalities are as unique as the hippopotamus collection gracing the fireplace mantle. The whole operation is managed by Helga, a stern German woman who takes special delight in bullying Leelee for her southern gentility. Needless to say, it doesn't take long for Leelee to start wondering when to drag out the moving boxes again. But when an unexpected hardship takes Leelee by surprise, she finds herself left alone with an inn to run, a mortgage to pay, and two daughters to raise. But this Southern belle won't be run out of town so easily. Drawing on the Southern grit and inner strength she didn't know she had, Leelee decides to turn around the Inn, her attitude and her life. In doing so, she makes friends with her neighbors, finds a little romance, and realizes there's a lot more in common with Vermont than she first thought. In this moving and comedic debut, Lisa Patton paints a hilarious portrait of life in Vermont as seen through the eyes of a southern belle readers won't soon forget. A charming fish-out-of-water tale of one woman who learns to stand up for herself-in sandals and snow boots-against the odds.
A revisionist history of the radical transformation of the American South during the Civil War examines the economic, social and political deconstruction and rebuilding of Southern institutions as experienced by everyday people. By the award-winning author of Confederate Emancipation.
A remarkable debut from the author of The Saints of Swallow Hill, composed in a voice as sure and resonant as that of The Secret Life of Bees. This story about mothers and daughters, the guilt and pain that pass between generations, and the truths that are impossible to hide, especially from ourselves, will take readers on a heartfelt and heartbreaking journey. "Young Dixie Dupree is an indomitable spirit in this coming-of-age novel that is a heartbreaking and honest witness to the resilience of human nature and the fighting spirit and courage residing in all of us." —The Huffington Post, Kim Michele Richardson, author of The Book Woman of Troublesome Creek "An important novel, beautifully written, this is a story to cherish." —Susan Wiggs, # 1 New York Times bestselling author IndieNext Pick In 1969, Dixie Dupree is eleven years old and already an expert liar. Sometimes the lies are for her mama, Evie’s sake—to explain away a bruise brought on by her quick-as-lightning temper. And sometimes the lies are to spite Evie, who longs to leave her unhappy marriage in Perry County, Alabama, and return to her beloved New Hampshire. But for Dixie and her brother, Alabama is home, a place of pine-scented breezes and hot, languid afternoons. Though Dixie is learning that the family she once believed was happy has deep fractures, even her vivid imagination couldn’t concoct the events about to unfold. Dixie records everything in her diary—her parents’ fights, her father’s drinking and his unexplained departure, and the arrival of Uncle Ray. Only when Dixie desperately needs help and is met with disbelief does she realize how much damage her past lies have done. But she has courage and a spirit that may yet prevail, forcing secrets into the open and allowing her to forgive and become whole again.
The Ku Klux Klan has received much attention for its violent activities, but comparatively little research has been done on its musical legacy. The printed music that still exists is spread throughout the nation in both public and private collections. This work presents, chronologically, the music associated with the Klan from 1867 to 2002, thus enabling readers to sense the arguments and attitudes of the Klan as they developed and changed over time. Because of the relative scarcity of Klan-related music, non-Klan music that mentions the word "Klan" is included. These obscure references help place the Klan in a larger social perspective and are very important in documenting anti-Klan musical reaction. In instances where a song merely mentions the Klan, usually in only one verse or in the chorus, then only that verse containing the Klan reference, plus appropriate context, is included. The catalogue also includes Klan-related music that does not have lyrics, such as marches, waltzes, two-steps, and several Klan-related pieces that were published in Europe. Sheet music was virtually nonexistent after the 1930s, so in order to capture a feeling of Klan-related music today, a limited discography of Klan-related recordings from 1920 to 2002 is also included.
Long before the United States had presidents from the world of movies and reality TV, we had scores of politicians with connections to country music. In I’d Fight the World, Peter La Chapelle traces the deep bonds between country music and politics, from the nineteenth-century rise of fiddler-politicians to more recent figures like Pappy O’Daniel, Roy Acuff, and Rob Quist. These performers and politicians both rode and resisted cultural waves: some advocated for the poor and dispossessed, and others voiced religious and racial anger, but they all walked the line between exploiting their celebrity and righteously taking on the world. La Chapelle vividly shows how country music campaigners have profoundly influenced the American political landscape.
In Look Away, Dixieland Vermont-native James Twitchell sets out from his home in Florida on the inauguration day of America's first black president to find the "real" South and to try to figure out the truth about his illustrious ancestor, Marshall Harvey Twitchell -- a carpetbagger and a victim of the Coushatta Massacre (having both his arms shot off), which made the front page of the New York Times in 1873. Twitchell travels from Georgia's Okefenokee Swamp across Alabama and Mississippi to Coushatta, Louisiana in a RV. As he drives through the heart of Dixie, Twitchell sorts through the prejudices he learned from his northern rearing. Ultimately, he uncovers facts about his great-grandfather and his family's past while revealing some of the differences and similarities between the North and South that ultimately define us as nation.
Two generations after he challenged Republicans to envision a Southern-based national majority, Phillips issues a bold challenge to Democrats to transform American politics by building a winning coalition outside the South.