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Country Boys and Redneck Women

New Essays in Gender and Country Music

Diane Pecknold (Hrsg.), Kristine M. McCusker (Hrsg.)

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University Press of Mississippi img Link Publisher

Geisteswissenschaften, Kunst, Musik / Musik

Beschreibung

Country music boasts a long tradition of rich, contradictory gender dynamics, creating a world where Kitty Wells could play the demure housewife and the honky-tonk angel simultaneously, Dolly Parton could move from traditionalist "girl singer" to outspoken trans rights advocate, and current radio playlists can alternate between the reckless masculinity of bro-country and the adolescent girlishness of Taylor Swift.

In this follow-up volume to A Boy Named Sue, some of the leading authors in the field of country music studies reexamine the place of gender in country music, considering the ways country artists and listeners have negotiated gender and sexuality through their music and how gender has shaped the way that music is made and heard. In addition to shedding new light on such legends as Wells, Parton, Loretta Lynn, and Charley Pride, it traces more recent shifts in gender politics through the performances of such contemporary luminaries as Swift, Gretchen Wilson, and Blake Shelton. The book also explores the intersections of gender, race, class, and nationality in a host of less expected contexts, including the prisons of WWII-era Texas, where the members of the Goree All-Girl String Band became the unlikeliest of radio stars; the studios and offices of Plantation Records, where Jeannie C. Riley and Linda Martell challenged the social hierarchies of a changing South in the 1960s; and the burgeoning cities of present-day Brazil, where "college country" has become one way of negotiating masculinity in an age of economic and social instability.

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Schlagwörter

A Mansion on the Hill, Grand Ole Opry, Dolly Parton, Love Story, Mississippi Cotton Picking Delta Town, Johnnie Wright, Nashville, femininity, Kitty Wells, Jeannie C. Riley, Johnny Cash, I knew You Were Trouble, the South, Country From the Heart, Hank Williams, Hillbilly, Some Men Don’t Cheat, Shelby Singleton, Backwoods Barbie, Gretchen Wilson, Duplas, Virile Female, Blake Shelton, Zezé di Camargo & Luciano, Loretta Lynn, The Girl Most Likely, Stereotypes, Australia, Feminism, Merle Haggard, Remember That, We Are Never Getting Back Together, Women's Studies, Radio, class, Mama Tried, Redneck Woman, Amazing Love, Música sertaneja, Plantation Records, masculinity, Gender Studies, Tammy Wynette, Come On Over, Raymond E. Hall, Herbie Laughton, WWII, Brazil, Jimmy Rodgers, Redneck blue-blood narrative, college country, Appalachia, As Long as I Live, Toby Keith, nationality, Get Drunk and Be Somebody, Goree All-Girl String Band, My Tennessee Mountain Home, Aaron Fox, Aborigines, Gambling Polka Dot Blues, Linda Martell, George Jones, Good ol’ boy character, Man in Black, Victoria Banks, Charley Pride, The Jukebox of History, Music, Taylor Swift, authenticity, Don’t Come Home A’Drinkin’, Sherry Ortner, Whiteness, Texas, Honky-tonks