Essays that overthrow stereotypes and demonstrate the genre's power
and mystique. Contributions by Georgia Christgau, Alexander S.
Dent, Leigh H. Edwards, Caroline Gnagy, Kate Heidemann, Nadine
Hubbs, Jocelyn Neal, Ase Ottosson, Travis Stimeling, Matthew D.
Sutton, and Chris Wilson 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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