This Country Ain’t Low—The Country Music of Dolly Parton and Johnny Cash as a Form of Redistributive Politics

This article examines how the country music styles of Dolly Parton and Johnny Cash serve as a form redistributive politics in which ideological struggles are engaged ways that dissolve low/high culture distinctions instead offer mass-accessible avenue through cultural recognition is conferred to marginalized identities. ranges from class-based social critique Parton’s song “9 5” condemnations carceral state Cash’s work. Engaging an arsenal for progressivism not only underexplored topic pop studies, but it also provides fertile ground illuminating perceptions genre impacted by stereotypical images drawn “culture wars” these interrelate with implicit distinctions. For instance, what does commercial success works say about distinction? In do their songs, lyrics, aesthetics, public personae distinctive space type discourse affords oppressed communities? Through addressing questions, I seek illustrate prominent segments resistant mere reproduction hegemony. doing so, they actively disrupt widespread conceptions low reactionary.