Backwoods Girl

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Backwoods Girl 36 Count, 4 Wall, Improver Web site: www.linedancermagazine.com Choreographer: Chris Hodgson (UK) June 2008 Choreographed to: Backwoods Barbie by E-mail: [email protected] Dolly Parton, CD: Backwoods Barbie Start on Vocals 1-8 TOUCH HEEL-TOE / GRAPEVINE RIGHT-TOUCH / TOUCH HEEL-TOE 1-2 Touch Right Heel Forward, Touch Right Toe Next To Left Foot 3-4 Step Right To Right Side, Cross Left Behind Right 5-6 Step Right To Right Side, Touch Left Foot Next To Right 7-8 Touch Left Heel Forward, Touch Left Toe Next To Right Foot (12 o’clock) 9-16 GRAPEVINE LEFT With 1/2 TURN RIGHT-BRUSH / STEP FWD-TAP / STEP BACK-TAP 1-2 Step Left To Left Side, Cross Right Behind Left 3-4 Step Left 1/4 Turn Left, Turn 1/4 Left On Left Foot Brushing Right Foot Forward 5-6 Step Forward On Right, Tap Left Next To Right 7-8 Step Back On Left, Tap Right Next To Left (6 o’clock) 17-24 WALK FWD x 3-KICK / WALK BACK x 3-TOUCH 1-2 Step Forward On Right, Step Forward On Left 3-4 Step Forward On Right, Kick Left Foot Forward (optional clap) 5-6 Step Back On Left, Step Back On Right 7-8 Step Back On Left, Touch Right Foot Next To Left (6 o’clock) 25-32 SIDE-TOG-SIDE-TOUCH / GRAPEVINE LEFT With 1/4 TURN LEFT-BRUSH 1-2 Step Right To Right Side, Step Left Next To Right 3-4 Step Right To Right Side, Touch Left Foot Next To Right 5-6 Step Left To Left Side, Cross Right Behind Left 7-8 Step Left 1/4 Turn Left, Brush Right Foot Forward (3 o’clock) 33-36 STEP PIVOT 1/4 LEFT x 2 1-2 Step Forward On Right, Pivot 1/4 Turn Left (weight now on Left) 3-4 Step Forward On Right, Pivot 1/4 Turn Left (weight now on Left) (9 o’clock) Linedancer Magazine, 166 Lord Street, Southport, United Kingdom, PR9 0QA Tel: +44 (0)1704 392300 Fax: +44 (0)1704 501678 .

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Pat Paxton in PHOENIX Airplay Leaders the Interview Page 3 Page 17 Page 33
POWER Entercom’s IS FORTY 31 PAT PAXTON IN PHOENIX Airplay Leaders The Interview PAGE 3 PAGE 17 PAGE 33 SEPTEMBER 2008 Guitar Heroes: Tim Hattrick (l) and Willy D. Loon (r) don the KNIX logo suits and bookend PD Alan Sledge. KNIX IS 4 In Phoenix hen Buck Owens bought KNIX-FM in Phoenix for $75,000, few could have imagined the extent to which his station’s commitment to country and to its listeners would succeed. At its peak, the station Wwas beyond dominant and, more important, perhaps the most influential and trendsetting Country station ever on the FM dial. As KNIX celebrates its 40th anniversary, Country Aircheck contacted several current and former executives for their favorite recollections of the station Buck built. and 30 Dolly Parton look-alike contestants paraded onstage Michael Owens, KNIX GM 1978-1999: before more than 1,000 listeners who had jammed into the Sometime in early 1979 – about a year after I became General club. Unfortunately, another 500 couldn’t get in because the Manager of KNIX-AM/FM – we were struggling with ratings place was filled! We had a couple people from RCA/Nashville and revenue. We were 10th or 12th at the time, trying hard to (Dolly’s label at the time) as judges, along with local newspaper break through to become a player in this big Phoenix market. We and TV celebrities. Local TV stations covered it live and the came up with an idea for a promotion and teamed with a local Phoenix Gazette newspaper ran a front-page photo plus a two- independent gasoline company to sell gas at 10 cents per gallon.
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THE STAGING of the FEMALE BODY in University of Stavanger COUNTRY MUSIC [email protected]
MÜZİKTE TEMSİL & MÜZİKSEL TEMSİL II ‘STAND BY YOUR MAN’ Lise K. Özgen THE STAGING OF THE FEMALE BODY IN University of Stavanger COUNTRY MUSIC [email protected] I am going to look at performativity and expressions of femininity in popular music; more specifically in country music. An interesting example can be the Canadian singer d.lang, where the transition between women/man dynamic to a more ambiguous gender construction is fundamental in how lang represents herself through her songs. Performativity The connection between gender and performance has been discussed in many cultural theoretical settings, using the term ‘masquerade’. The term has become an important and nuanced theoretical aspect of femininity and its representation. Joan Riviere’s ‘Womanliness as a Masquerade’ from 1929 holds a key place in discussion of female sexuality in psychoanalysis. Riviere argued that femininity was a performance where there was no genuine femininity separate from the masquerade; there is no distinction between authentic womanliness and its masquerade. “Womanliness ... could be assumed and worn as a mask, both to hide the possession of masculinity and to avert the reprisals expected if she was found to possess it…” (Riviere 1929:213). According to this, gendered identities are produced and performed in everything one does, and there is no gendered identity separate from performance. Performance demands the idea of an act, where the performer constructs a fabricated or invented identity. In this context we can also include Judith Butler’s ideas about performativity. We as individuals create ourselves through activities. Performance is not something passive which carries in it an inherent meaning; instead we are created by active actions that confirm meaning.
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Society for American Music Thirty-Seventh Annual Conference International Association for the Study of Popular Music, U.S. Branch Time Keeps On Slipping: Popular Music Histories Hosted by the College-Conservatory of Music University of Cincinnati Hilton Cincinnati Netherland Plaza 9–13 March 2011 Cincinnati, Ohio Mission of the Society for American Music he mission of the Society for American Music Tis to stimulate the appreciation, performance, creation, and study of American musics of all eras and in all their diversity, including the full range of activities and institutions associated with these musics throughout the world. ounded and first named in honor of Oscar Sonneck (1873–1928), early Chief of the Library of Congress Music Division and the F pioneer scholar of American music, the Society for American Music is a constituent member of the American Council of Learned Societies. It is designated as a tax-exempt organization, 501(c)(3), by the Internal Revenue Service. Conferences held each year in the early spring give members the opportunity to share information and ideas, to hear performances, and to enjoy the company of others with similar interests. The Society publishes three periodicals. The Journal of the Society for American Music, a quarterly journal, is published for the Society by Cambridge University Press. Contents are chosen through review by a distinguished editorial advisory board representing the many subjects and professions within the field of American music.The Society for American Music Bulletin is published three times yearly and provides a timely and informal means by which members communicate with each other. The annual Directory provides a list of members, their postal and email addresses, and telephone and fax numbers.
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This copy is for your personal, non-commercial use only. To order presentation-ready copies for distribution to your colleagues, clients or customers visit https://www.djreprints.com. https://www.wsj.com/articles/here-she-comes-again-reading-dolly-parton-11609433264 BOOKSHELF Here She Comes Again: Reading Dolly Parton A radiant entertainer finally gets her due as a composer and lyricist—and champion of resilience amid troubles. Dolly Parton in 1978. PHOTO: RICHARD E. AARONREDFERNS By Eddie Dean Dec. 31, 2020 1147 am ET Listen to this article 12 minutes In the late 1960s, Dolly Parton got her big break as the “girl singer” on “The Porter Wagoner Show,” a syndicated television program that brought hard-core honky-tonk and down-home humor into the living rooms of America. It may be hard to believe now, but back then Ms. Parton was only the second most flamboyant performer onstage. One of country music’s most magnetic stars, Wagoner had a peroxide pompadour and eye- popping, rhinestone-studded Nudie suits that defined Nashville glitz. Meanwhile, “Miss Dolly,” as he called her, was kept buttoned up in demure outfits despite her natural radiance and zest. Underpaid and underappreciated, Ms. Parton would later compare her seven-year stint with Wagoner to the time that indentured servants were required to work in order to earn their freedom. It was indeed a raw deal, but it was worth it. It gave her national exposure and performing experience with a peerless entertainer twice her age. It also allowed her to hone her songwriting talent, which had brought her to Nashville in 1964 as an 18-year- old from the Smoky Mountains.
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Ke značné popularitě Dolly Parton: Dolly pomohla i její nepřehlédnutelná Bárbína ze Smoky Mountains vizáž, a to zejména bujné poprsí a velká Padesát let na scéně, desítky hitů, pozornost D nd ixie-la blond paruka. Bě- bulvárních médií, ale hlavně spoustu výborné hem 70. let se stala muziky má za sebou Dolly Parton. Čím nás překvapí příště? ikonou, kterou znal prakticky celý svět i mimo oblast coun- songy, avšak nahrá- try. Dolly, která byla vací společnost trvala vždy trochu od rány, na tom, že se její hlas je na svůj vzhled ná- hodí spíš na pop. Její ležitě hrdá a mno- rané popové nahráv- hokrát prohlásila, ky však vůbec nebyly že „vypadat takhle úspěšné. Teprve když levně stojí spoustu se jedna z jejích skla- peněz“. Dolly také deb stala countryovým kdysi prozradila, že hitem v podání Billa se jednou inkognito Phillipse, v Monument přihlásila na soutěž Records dovolili Dolly dvojnic Dolly Parton a nepodařilo se jí zvítězit. Všechny nabídky ne- nahrávat country ma- chat se fotografovat nahá vždy odmítla, ačkoliv v roce 1978 nafotila teriál a ta se v roce sérii vyzývavých snímků pro Playboy. (Před mnoha lety Dolly údajně 1966 poprvé zviditel- v nadsázce prohlásila, že nahá se nechá fotografovat, až jí bude sto nila svým prvním hi- let – už tedy zbývá jen 28!) tem Dumb Blonde. Dolly Parton od samého počátku kariéry projevovala talent, o kterém V roce 1967 se Dolly si ostatní zpěvačky mohou nechat jen zdát. Psala si sama naprostou Parton ujal Porter Wa- většinu svých textů, a kromě toho mistrně ovládala celou řadu ná- goner a pozval ji jak strojů.
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