The Great Land: Reflections on Alaska ed. by Robert Hedin, Gary Holthaus
1996; University of Nebraska Press; Volume: 31; Issue: 1 Linguagem: Inglês
10.1353/wal.1996.0067
ISSN1948-7142
Autores Tópico(s)Philippine History and Culture
ResumoReviews 83 wonder who she’s had/No it’s not love, but it’s not bad...”) and clever (“You can’t have your Kate and Edith too . . with a “get-it-off-your-chest”directness (‘Take thisjob and shove it!”). Since World War II and the rise of honky-tonk styles, this verse-set-to-music has become even more explicit—adultery, drunkenness, and desperation. Its most popu lar subject remains love, usually domesdc and not infrequently failed (or failing). Another example of Tichi’s less-than-intimate feel for this musical world may be found in her assertion that these songs are “deceptively simple.”That is true only in the sense that everysymbol, musical or otherwise, is deceptively simple, evoking what listeners bring (and allowing professors to explain them). Tichi backs her assertion with a quote from Emmylou Harris—“What not to play in country music is as important as what to play. It’s all understatement and how to work within that framework.” Unfortunately, that comment doesn’t stand up as a generalization when the songs that have appeared on Billboardrs country charts are examined: they have been straight forward and accessible; understatement has hardly been their major characteristic. Historian James N. Gregory accurately calls this “easily the most didactic form of twentieth
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