In the book the Segregating sound by Karl Miller focuses on a series of distinct genres linked to particular racial and ethnic identities. African Americans were more blues while white southerners were country music. The links to music among race and region were new in the 1920s. Both black and white artists had played both blues, ragtime, ballads, minstrel and etc. Miller describes how folklore studies and the music industry helps create a “musical color line,” which is a cultural relation to physical color like the Jim Crow South. This emerged through interactions of the northern and southern musicians. This allowed companies to create new markets through the south, the globe and even folklorists who wanted to have southern music about the history of human society. This made peoples musical worlds defined less as who they were but by the music they heard. This challenges all assumptions about the relation of music, race and the market.