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Dixie Lullaby

Dixie Lullaby

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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elementary school was integrated in 1968, the year Kemp reached third grade; his aunts, uncles, and grandparents held outdated racist views that were typical of the time; his parents, however, believed blacks should be extended the same treatment as whites, but also counseled their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.
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  • Free Press | 
  • 320 pages | 
  • ISBN 9781416590460 | 
  • November 2007
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Read an Excerpt

Chapter 1: DEATH OF A KING

The studio went silent.

"That assassination changed everything."

The storyteller's warm Alabama drawl softened to a whisper, even though no one was in the room with us.

"We thought it was over," he said. "We really felt like we were done."

He'd been talking about all the great soul singers he played music with in the '60s, when all of a sudden he remembered that dark day, back in April 1968, when news traveled down from nearby Memphis, Tennessee, that the Reverend Martin Luther King Jr. was gunned down outside his room at the Lorraine Motel.

"As soon as that happened, whites...
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Introduction

It was a weekend ritual. Sixteen-year-old Phil Walden and his buddies would amble over to the local YMCA in Macon, Georgia, to hang out with each other, play ball, and talk to girls. One weekend in 1956, Walden had another plan. Like always, he told his parents that he and the guys were going to the Y, but this time Walden made a beeline into the majestic, gold-domed Macon City Auditorium next door. "I had heard on the local R&B radio station that Little Richard was going to be playing," he remembered. That detour would change Phil Walden's life and chart the course for southern rock.

In 1956, Walden, who would... see more

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