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In Rednecks, Queers, and Country Music, Nadine Hubbs speaks to these issues by taking on what is perhaps one of the most unchallenged associations in the American cultural imagination: In lieu of an abstract, here is a brief excerpt of the content:

Redneck lesbian

All these assumptions rely on associations that are embedded not only in queer studies scholarship but also in broader social understandings of queer spaces and desires. Chapters 3 and 4 engage in close readings of "Redneck Woman" by Gretchen Wilson and "Fuck Aneta [sic] Bryant" by David Allan Coe, respectively, to argue for country music as a potential site for queer subversion. 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.

Redneck lesbian

Redneck lesbian

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  1. Hubbs turns this narrative on its head by conceptualizing country music as a site where the working class can reclaim the language used to diminish the genre, the same language that has been used to diminish its listeners. The book closes with an Outro that taps into scholarship highlighting the ways in which visibility and community operate differently in rural queer communities.

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