Uncast shadow of a southern myth free download

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View all trending tracks. Loading player…. Scrobble from Spotify? Connect to Spotify Dismiss. Search Search. Join others and track this song Scrobble, find and rediscover music with a Last. Sign Up to Last. Play album. Related Tags rock folk s music choice: indie Add tags View all tags. Featured On Play album. Content Nausea Parquet Courts 80, listeners. Play track. Artist images 38 more. The quartet wanders through the American and British underground, picking away their favorite parts with confidence.

The lyrics, when intelligible, are bizarre and d… read more. Parquet Courts is a band from New York City. Savage is joined by Austin Brown Guitar … read more.

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When Johnson is asked why he is alone in the middle of nowhere with nothing but a guitar, he says that he traded his soul to the Devil for virtuosic musical skills. In Depression-Era Mississippi, Tommy Johnson was in fact a real-life bluesman, and, like his filmic equivalent, he also purported to have sold his soul to the Devil——a story that would more famously be attributed to other legendary guitarist Robert Johnson and many other musicians straying from gospel traditions.

The real and imagined Tommy Johnson are two figures in a long line of Black blues artists whose skills were attributed to a demonic power, a tragically fitting mythos to a now-revered musical tradition that puritanical Southern white people found salacious at the turn of the century.

In O Brother , this myth is acknowledged but also given depth. Alongside the Soggy Bottom Boys, Johnson plays the guitar, and in one quiet scene, he plays guitar and sings at the end of a long day. Other scenes throughout the film let these myths revel in their own complexity, while also slowly bringing out the real-life conflicts that foreground them. But there are the less harmful myths, as well. The singing sirens that hypnotize our characters are straight out of the Southern roster of river monsters and critters, that have haunted sleepaway campfires and humid summer nights for decades.

Johnson is saved by our convicts, but it is revealed that the leader of the rally is none other than one of the gubernatorial candidates, who is also holding a rally for his candidacy in the nearby town that night.

They seemingly misunderstand how much Southern myth is wrapped up in questions of race, and how myth is instrumental in the maintenance of systemic racism still seen in Southern socioeconomic frameworks.

They fail to reckon with the ways that the Confederacy——whose imagery they employ carelessly——exists because of the ways racism is passed down through family stories, perpetuating the lie that the anti-Black racism and tyranny of the Antebellum South is a heritage of which to be proud.

Good music and the Good Lord cannot erase centuries of white supremacy and its most abject horrors, to even suggest so is violence. At first blush, it could be too much to ask of a film to address this context, but context, here, is everything: the South as a setting and structure is inherently political, and so are the stories of the South in whatever form they take.

Invoking the myth is invoking the past, and that is political work——or here, it is attempted political work made all the more lacking 20 years on, as Southerners continue their fight for an equitable home, actively dismantling these stories in favor of a better, kinder worldview. In their reinvention of The Odyssey , the Coens embrace the importance of folk traditions and the ways they slyly shape our societies — but they also miss the role that our folklore, art, and histories shape our future and our past in deeply violent ways.

A true understanding and reckoning of Southern myth requires a full dissection of its ugly truths, and although the road forward is long, it feels sweet to know that home is creating a new South free of these myths.

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