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This explosive new book challenges many of the long-prevailing assumptions about blacks, about Jews, about Germans, about slavery, and about education. Plainly written, powerfully reasoned, and backed with a startling array of documented facts, Black Rednecks and White Liberals takes on not only the trendy intellectuals of our times but also such historic interpreters of American life as Alexis de Tocqueville and Frederick Law Olmsted. In a series of long essays, this book presents an in-depth look at key beliefs behind many mistaken and dangerous actions, policies, and trends. It presents eye-opening insights into the historical development of the ghetto culture that is today wrongly seen as a unique black identity–a culture cheered on toward self-destruction by white liberals who consider themselves «friends» of blacks. An essay titled «The Real History of Slavery» presents a jolting re-examination of that tragic institution and the narrow and distorted way it is too often seen today. The reasons for the venomous hatred of Jews, and of other groups like them in countries around the world, are explored in an essay that asks, «Are Jews Generic?» Misconceptions of German history in general, and of the Nazi era in particular, are also re-examined. So too are the inspiring achievements and painful tragedies of black education in the United States. «Black Rednecks and White Liberals» is the capstone of decades of outstanding research and writing on racial and cultural issues by Thomas Sowell.

In her provocative new book <i>Rednecks, Queers, and Country Music</i>, Nadine Hubbs looks at how class and gender identity play out in one of America’s most culturally and politically charged forms of popular music. Skillfully weaving historical inquiry with an examination of classed cultural repertoires and close listening to country songs, Hubbs confronts the shifting and deeply entangled workings of taste, sexuality, and class politics.<br> <br> In Hubbs’s view, the popular phrase «I’ll listen to anything but country» allows middle-class Americans to declare inclusive «omnivore» musical tastes with one crucial exclusion: country, a music linked to low-status whites. Throughout <i>Rednecks, Queers, and Country Music</i>, Hubbs dissects this gesture, examining how provincial white working people have emerged since the 1970s as the face of American bigotry, particularly homophobia, with country music their audible emblem. Bringing together the redneck and the queer, Hubbs challenges the conventional wisdom and historical amnesia that frame white working folk as a perpetual bigot class.<br> <br> 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. She particularly shows how dismissive, politically loaded middle-class discourses devalue country’s manifestations of working-class culture, politics, and values, and render working-class acceptance of queerness invisible.<br> <br> Lucid, important, and thought-provoking, this book is essential reading for students and scholars of American music, gender and sexuality, class, and pop culture.