Journal of Feminist Scholarship Volume 18 Issue 18 Spring 2021 Article 3 Spring 2021 “Ain’t My Mama’s Broken Heart”: The Mothers and Daughters of Hillbilly Feminism Alyssa Dewees University of Florida,
[email protected] Follow this and additional works at: https://digitalcommons.uri.edu/jfs Part of the American Popular Culture Commons, Other Feminist, Gender, and Sexuality Studies Commons, Other Film and Media Studies Commons, and the Women's Studies Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Dewees, Alyssa. "“Ain’t My Mama’s Broken Heart”: The Mothers and Daughters of Hillbilly Feminism." Journal of Feminist Scholarship 18 (Spring): 43-60. 10.23860/jfs.2021.18.03. This Article is brought to you for free and open access by DigitalCommons@URI. It has been accepted for inclusion in Journal of Feminist Scholarship by an authorized editor of DigitalCommons@URI. For more information, please contact
[email protected]. Dewees: “Ain’t My Mama’s Broken Heart”: The Mothers and Daughters of Hill “Ain’t My Mama’s Broken Heart”: The Mothers and Daughters of Hillbilly Feminism Alyssa Dewees, University of Florida Abstract: The women of country music have long defied the genre's patriarchal associations and used their music as a platform for subversive social messages about gender inequality, and in the past several decades, the country music establishment has grown more willing to alter its image and accommodate these feminist themes. Because country music is marketed and understood by many of its fans as a representation of a lifestyle, this shift in expectations for women’s social roles and possibilities in the genre has an impact on the women who identify themselves with the particular rural, down-home image country music aims to define.