The author would like to thank the two anonymous reviewers for their constructive feedback.
1. Jos Palm, Oerend Hard: Het Onmogelijke Høkersleven van Ben Jolink (Amsterdam and Antwerp: Contact, 2005), 110. Jolink’s quote has been translated from Dutch; Normaal’s adapted lyrics of “Okie from Muskogee” were in English.
2. Songs in dialect remain in the original; Quotes translated from ibid., 112, 114.
3. Lynyrd Skynyrd, “I’m a Country Boy,” Nuthin’ Fancy (LP; MCA, 1975); Pieter Steinz, “Lynyrd Skynyrd,” NRC Archief, October 21, 2002, accessed April 25, 2015, http://vorige.nrc.nl/geslotendossiers/zwanenzangen/afleveringen_nieuwe_serie/article1567355.ece.
4. Edward Ayers, “When the North is the South: Life in the Netherlands,” Southern Cultures 4, no. 4 (Winter 1998): 46, 48.
5. Translated from Frank van den Engel, Normaal: Ik Kom Altied Weer Terug (DVD; RCV, 2002).
6. Neil Young, “Southern Man” (1970), After the Gold Rush (CD; Reprise/Wea, 1990); Quoted in Lee Ballinger, Lynyrd Skynyrd: An Oral History (Los Angeles: XT377 Publishing, 1999), 77.
7. Quoted in ibid., 80.
8. John Shelton Reed, One South: An Ethnic Approach to Regional Culture (Baton Rouge: Louisiana State University Press, 1982), 179.
9. Quote translated from Palm, Oerend Hard, 173.
10. Translated from Louis Peter Grijp, “Is Zingen in Dialect Normaal? Muziek, Taal en Regionale Identiteit,” Volkskundig Bulletin 2 (October 1995): 321.
11. Quote translated from Palm, Oerend Hard, 69.
12. Quote translated from ibid., 93; Lyrics translated from Normaal, “Hummelo,” D’n Achterhoek Tsjoek (LP; Wea, 1979). All following Normaal lyrics have been translated into English by the author.
13. Quote translated from Grijp, “Is Zingen in Dialect Normaal?,” 311.
14. Mark Kemp, Dixie Lullaby: A Story of Music, Race, and New Beginnings in a New South (New York: Free Press, 2004), 78; Quoted in Marley Brant, Freebirds: The Lynyrd Skynyrd Story (New York: Billboard Books, 2002), 94.
15. W. J. Cash, The Mind of the South (1st ed. 1941; New York: Vintage Books, 1991), 43; Ted Ownby, “Freedom, Manhood, and White Male Tradition in 1970s Southern Rock Music,” in Haunted Bodies: Gender and Southern Texts, eds. Anne Goodwyn Jones and Susan V. Donaldson (Charlottesville: University Press of Virginia, 1997), 371; Lynyrd Skynyrd, “Saturday Night Special,” Nuthin’ Fancy (LP; MCA, 1975). Although violent encounters characterize the first two verses of “Saturday Night Special,” the song takes an unexpected turn against guns in the last two verses, with Van Zant suggesting to “dump ’em people / To the bottom of the sea / Before some fool come around here / Wanna shoot either you or me”; Lynyrd Skynyrd, “Saturday Night Special,” Nuthin’ Fancy (LP; MCA, 1975). Gene Odom, Lynyrd Skynyrd: Remembering the Free Birds of Southern Rock (New York: Broadway Books, 2002), 125; Lynyrd Skynyrd, “Mississippi Kid,” Pronounced ‘Lĕh-‘nérd ‘Skin-‘nérd (LP; MCA, 1973).
16. David Cantwell, Merle Haggard: The Running Kind (Austin: University of Texas Press, 2013), 167.
17. Barbara Ching, Wrong’s What I Do Best: Hard Country Music and Contemporary Culture (Oxford: Oxford University Press, 2001), 6.
18. Bill C. Malone and Jocelyn R. Neal, Country Music, U.S.A. (Austin: University of Texas Press, 2010), 294; Translated from Louis Peter Grijp, “Is Zingen in Dialect Normaal?,” 321. Emphasis mine.
19. Ching, Wrong’s What I Do Best, 41–44.
20. Ibid., 33.
21. Normaal, “Wi-j Goat Noar de Kermis,” 20 Jaar Normaal Onwys Høken (CD; Mercury, 1997). “Kermis” means fair in Dutch; Normaal, “Deurdonderen,” Deurdonderen (LP; Wea, 1982).
22. Quote translated from Palm, Oerend Hard, 171. Emphasis mine; Normaal, “Ik Bun Moar een Eenvoudige Boerenlul,” 20 Jaar Normaal Onwys Høken (CD; Mercury, 1997); Palm, Oerend Hard, 169.
23. Quoted in Brant, Freebirds, 113; Quoted in Odom, Lynyrd Skynyrd, 1.
24. Martin Stokes, “Introduction: Ethnicity, Identity, and Music,” in Ethnicity, Identity, and Music: The Musical Construction of Place, ed. Martin Stokes (Oxford, UK and Providence: Berg, 1994), 20.
25. Normaal, “Doar Baal Ik Van,” Hits van Normaal (CD; Telstar, 1994).
26. Translated from Louis Peter Grijp, “Van Dialectlied tot Boerenrock: Muziek en Regionale Identiteit,” Constructie van het Eigene: Culturele Vormen van Regionale Identiteit in Nederland, eds. Carlo van der Bogt, Amanda Hermans, and Hugo Jacobs (Amsterdam: P.J. Meertens Instituut, 1996), 106.
27. Karl Hagstrom Miller, Segregating Sound: Inventing Folk and Pop Music in the Age of Jim Crow (Durham: Duke University Press, 2010), 17.