In the wake of their darkest day, itÕs time to say goodbye to the Lone Star state as the Bowman family searches for salvation in the shadows of Mexico.

"The Liberal Rednecks--a three-man stand-up comedy group doing scathing political satire--celebrate all that's good about the South while leading the Redneck Revolution and standing proudly blue in a sea of red. Smart, hilarious, and incisive, the Liberal Rednecks confront outdated traditions and intolerant attitudes, tackling everything people think they know about the South--the good, the bad, the glorious, and the shameful--in a laugh-out-loud funny and lively manifesto for the rise of a New South. Home to some of the best music, athletes, soldiers, whiskey, waffles, and weather the country has to offer, the South has also been bathing in backward bathroom bills and other bigoted legislation that Trae Crowder has targeted in his Liberal Redneck videos, which have gone viral with over 50 million views. Perfect for fans of Stuff White People Like and I Am America (And So Can You), The Liberal Redneck Manifesto skewers political and religious hypocrisies in witty stories and hilarious graphics--such as the Ten Commandments of the New South--and much more! While celebrating the South as one of the richest sources of American culture, this entertaining book issues a wake-up call and a reminder that the South's problems and dreams aren't that far off from the rest of America's"--

In the wake of their darkest day, it's time to say goodbye to The Lone Star State as the Bowman family searches for salvation in the shadows of Mexico. Collects REDNECK #19-24

Local food and drink writer Haley Powell thinks she's done solving murders in scenic Bar Harbor, Maine. But when a taste of the South comes to New England, Haley's following another recipe for disaster. . . As a single mom, Hayley Powell already has a full plate--she's got deadlines to make and a teenage daughter with eyes for an aspiring singer-songwriter. But when country music superstar Wade Springer rolls into town, Hayley spies an irresistible side gig: personal chef to her all-American idol. After he tries her home cooking, Wade's so impressed that he hires her on the spot--and invites her to dine with him alone. Hayley and Wade are hitting all the right notes. . .until a body turns up. Wade's tour bus was torched overnight and a roadie named Mickey Pritchett came out well-done. But the real cause of death isn't barbecue: Mickey was shot, his mouth stuffed with one of Hayley's trademark chicken legs. An ornery drunk, Mickey had already made plenty of enemies in town, but Wade's reputation is on the rocks. Hayley reckons it's up to her to settle this mess--a charbroiled mystery with all the fixin's. Includes seven delectable recipes from Hayley's kitchen! Praise for Death of a Kitchen Diva "Delicious and satisfying. Another course, please." --Carolyn Hart "Readers will be calling for a second round from author Lee Hollis." --Leslie Meier, author of Chocolate Covered Murder

In this unique book, David Fillingim explores country music as a mode of theological expression. Following the lead of James Cone's classic, "The Spirituals and the Blues, Fillingim looks to country music for themes of theological liberation by and for the redneck community. The introduction sets forth the book's methodology and relates it to recent scholarship on country music. Chapter 1 contrasts country music with Southern gospel music--the sacred music of the redneck community--as responses to the question of theodicy, which a number of thinkers recognize as the central question of marginalized groups. The next chapter "The Gospel according to Hank," outlines the career of Hank Williams and follows that trajectory through the work of other artists whose work illustrates how the tradition negotiates Hank's legacy. "The Apocalypse according to Garth" considers the seismic shifts occuring during country music's popularity boom in the 1980s. Another chapter is dedicated to the women of country music, whose honky-tonky feminism parallels and intertwines with mainstream country music, which was dominated by men for most of its history. Written to entertain as well as educate and advance, "Redneck Liberation will appeal to anyone who is interested in country music, Southern religion, American popular religiosity, or liberation theology.

In her provocative new book Rednecks, Queers, and Country Music, 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. 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 Rednecks, Queers, and Country Music, 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. 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. Lucid, important, and thought-provoking, this book is essential reading for students and scholars of American music, gender and sexuality, class, and pop culture.