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