This article explores Jewish contributions to, and influence on, the country music and bluegrass genres, arguing that there have been four key phases of Jewish-country interaction and that in recent years country and bluegrass Jews have taken a largely religious and liturgical turn as singer-songwriters in these genres. The first sections of this article identify several important stages of interaction, beginning with a phase between the 1940s and 1960s when Jews challenged antisemitism and sought assimilation and acceptance, a period in the 1970s when iconoclasts such as Kinky Friedman and Shel Silverstein came to the fore and substantially reshaped country music, and a phase from the 1980s to early 2000s when an instrumental-focused klezmer-bluegrass fusionism was central to constructing a Jewish-country identity. A longer, final section explores the more recent, religiously-themed country and bluegrass of performers such as Mare Winningham, Nefesh Mountain, and Joe Buchanan, and argues that Jewish country and bluegrass has taken an important liturgical turn.

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