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“More Sought After than Extra Shoes and Coffee”: Western Swing and the Growth of the Los Angeles Music Industry “More Sought After than Extra Shoes and Coffee”: Western Swing and the Growth of the Los Angeles Music Industry
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“Cherokee to His Western Swing”: Race, Hipsterism, and the Okie Image “Cherokee to His Western Swing”: Race, Hipsterism, and the Okie Image
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“A Giant Step Forward”: Jazz, Modernity, and the Cultural Patois of Western Swing “A Giant Step Forward”: Jazz, Modernity, and the Cultural Patois of Western Swing
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“To Tell the World about ‘Western Swing’”: Blue-collar Women and the Making of a Fan Subculture “To Tell the World about ‘Western Swing’”: Blue-collar Women and the Making of a Fan Subculture
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Hanging Together? the Limits of Okie Modernity Hanging Together? the Limits of Okie Modernity
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3 Rhythm Kings and Riveter Queens: Race, Gender, and the Eclectic Populism of Wartime Western Swing
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Published:April 2007
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Abstract
This chapter suggests that cultural borrowings and musical syncretism proliferated during wartime as local performers perfected their own version of western swing, a jazz-influenced country performance style originating in Texas and Oklahoma. It allowed migrants to test gender boundaries; dabble in African American, Latino, and immigrant musical traditions; and figuratively reshape themselves into worldly cosmopolitans and urban sophisticates, the Okie hepcats and rhythm kings. The relatively loose organizational structures of live radio and ballroom performances gave performers room to experiment with the more liberal threads of the New Deal and even some degree of racial egalitarianism.
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