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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. -
Women's Hit Cheating Songs: Country Music and Feminist Change in American Society, 1962-2015 Madeline Rachel Morrow University of Denver
University of Denver Digital Commons @ DU Electronic Theses and Dissertations Graduate Studies 1-1-2017 Women's Hit Cheating Songs: Country Music and Feminist Change in American Society, 1962-2015 Madeline Rachel Morrow University of Denver Follow this and additional works at: https://digitalcommons.du.edu/etd Part of the Feminist, Gender, and Sexuality Studies Commons, Music Commons, and the Women's History Commons Recommended Citation Morrow, Madeline Rachel, "Women's Hit Cheating Songs: Country Music and Feminist Change in American Society, 1962-2015" (2017). Electronic Theses and Dissertations. 1258. https://digitalcommons.du.edu/etd/1258 This Thesis is brought to you for free and open access by the Graduate Studies at Digital Commons @ DU. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ DU. For more information, please contact [email protected],[email protected]. WOMEN’S HIT CHEATING SONGS: COUNTRY MUSIC AND FEMINIST CHANGE IN AMERICAN SOCIETY, 1962-2015 __________ A Thesis Presented to the Faculty of Arts and Humanities University of Denver __________ In Partial Fulfillment of the requirements for the Degree Master of Arts __________ by Madeline Rachel Morrow June 2017 Advisor: John J. Sheinbaum ©Copyright by Madeline Rachel Morrow 2017 All Rights Reserved Author: Madeline Rachel Morrow Title: WOMEN’S HIT CHEATING SONGS: COUNTRY MUSIC AND FEMINIST CHANGE IN AMERICAN SOCIETY, 1962-2015 Advisor: John J. Sheinbaum Degree Date: June 2017 ABSTRACT This thesis examines songs about cheating performed by women in country music that appeared on year-end country songs charts in Billboard magazine from 1962 through 2015. -
Title "Stand by Your Man/There Ain't No Future In
TITLE "STAND BY YOUR MAN/THERE AIN'T NO FUTURE IN THIS" THREE DECADES OF ROMANCE IN COUNTRY MUSIC by S. DIANE WILLIAMS Presented to the American Culture Faculty at the University of Michigan-Flint in partial fulfillment of the requirements for the Master of Liberal Studies in American Culture Date 98 8AUGUST 15 988AUGUST Firs t Reader Second Reader "STAND BY YOUR MAN/THERE AIN'T NO FUTURE IN THIS" THREE DECADES OF ROMANCE IN COUNTRY MUSIC S. DIANE WILLIAMS AUGUST 15, 19SB TABLE OF CONTENTS Preface Introduction - "You Never Called Me By My Name" Page 1 Chapter 1 — "Would Jesus Wear A Rolen" Page 13 Chapter 2 - "You Ain’t Woman Enough To Take My Man./ Stand By Your Man"; Lorrtta Lynn and Tammy Wynette Page 38 Chapter 3 - "Think About Love/Happy Birthday Dear Heartache"; Dolly Parton and Barbara Mandrell Page 53 Chapter 4 - "Do Me With Love/Love Will Find Its Way To You"; Janie Frickie and Reba McEntire F'aqe 70 Chapter 5 - "Hello, Dari in"; Conpempory Male Vocalists Page 90 Conclusion - "If 017 Hank Could Only See Us Now" Page 117 Appendix A - Comparison Of Billboard Chart F'osi t i ons Appendix B - Country Music Industry Awards Appendix C - Index of Songs Works Consulted PREFACE I grew up just outside of Flint, Michigan, not a place generally considered the huh of country music activity. One of the many misconception about country music is that its audience is strictly southern and rural; my northern urban working class family listened exclusively to country music. As a teenager I was was more interested in Motown than Nashville, but by the time I reached my early thirties I had became a serious country music fan. -
The Wonder Years Episode & Music Guide
The Wonder Years Episode & Music Guide “What would you do if I sang out of tune … would you stand up and walk out on me?" 6 seasons, 115 episodes and hundreds of great songs – this is “The Wonder Years”. This Episode & Music Guide offers a comprehensive overview of all the episodes and all the songs played during the show. The episode guide is based on the first complete TWY episode guide which was originally posted in the newsgroup rec.arts.tv in 1993. It was compiled by Kirk Golding with contributions by Kit Kimes. It was in turn based on the first TWY episode guide ever put together by Jerry Boyajian and posted in the newsgroup rec.arts.tv in September 1991. Both are used with permission. The music guide is the work of many people. Shane Hill and Dawayne Melancon corrected and inserted several songs. Kyle Gittins revised the list; Matt Wilson and Arno Hautala provided several corrections. It is close to complete but there are still a few blank spots. Used with permission. Main Title & Score "With a little help from my friends" -- Joe Cocker (originally by Lennon/McCartney) Original score composed by Stewart Levin (episodes 1-6), W.G. Snuffy Walden (episodes 1-46 and 63-114), Joel McNelly (episodes 20,21) and J. Peter Robinson (episodes 47-62). Season 1 (1988) 001 1.01 The Wonder Years (Pilot) (original air date: January 31, 1988) We are first introduced to Kevin. They begin Junior High, Winnie starts wearing contacts. Wayne keeps saying Winnie is Kevin's girlfriend - he goes off in the cafe and Winnie's brother, Brian, dies in Vietnam. -
Songs by Title
16,341 (11-2020) (Title-Artist) Songs by Title 16,341 (11-2020) (Title-Artist) Title Artist Title Artist (I Wanna Be) Your Adams, Bryan (Medley) Little Ole Cuddy, Shawn Underwear Wine Drinker Me & (Medley) 70's Estefan, Gloria Welcome Home & 'Moment' (Part 3) Walk Right Back (Medley) Abba 2017 De Toppers, The (Medley) Maggie May Stewart, Rod (Medley) Are You Jackson, Alan & Hot Legs & Da Ya Washed In The Blood Think I'm Sexy & I'll Fly Away (Medley) Pure Love De Toppers, The (Medley) Beatles Darin, Bobby (Medley) Queen (Part De Toppers, The (Live Remix) 2) (Medley) Bohemian Queen (Medley) Rhythm Is Estefan, Gloria & Rhapsody & Killer Gonna Get You & 1- Miami Sound Queen & The March 2-3 Machine Of The Black Queen (Medley) Rick Astley De Toppers, The (Live) (Medley) Secrets Mud (Medley) Burning Survivor That You Keep & Cat Heart & Eye Of The Crept In & Tiger Feet Tiger (Down 3 (Medley) Stand By Wynette, Tammy Semitones) Your Man & D-I-V-O- (Medley) Charley English, Michael R-C-E Pride (Medley) Stars Stars On 45 (Medley) Elton John De Toppers, The Sisters (Andrews (Medley) Full Monty (Duets) Williams, Sisters) Robbie & Tom Jones (Medley) Tainted Pussycat Dolls (Medley) Generation Dalida Love + Where Did 78 (French) Our Love Go (Medley) George De Toppers, The (Medley) Teddy Bear Richard, Cliff Michael, Wham (Live) & Too Much (Medley) Give Me Benson, George (Medley) Trini Lopez De Toppers, The The Night & Never (Live) Give Up On A Good (Medley) We Love De Toppers, The Thing The 90 S (Medley) Gold & Only Spandau Ballet (Medley) Y.M.C.A. -
“The Stories Behind the Songs”
“The Stories Behind The Songs” John Henderson The Stories Behind The Songs A compilation of “inside stories” behind classic country hits and the artists associated with them John Debbie & John By John Henderson (Arrangement by Debbie Henderson) A fascinating and entertaining look at the life and recording efforts of some of country music’s most talented singers and songwriters 1 Author’s Note My background in country music started before I even reached grade school. I was four years old when my uncle, Jack Henderson, the program director of 50,000 watt KCUL-AM in Fort Worth/Dallas, came to visit my family in 1959. He brought me around one hundred and fifty 45 RPM records from his station (duplicate copies that they no longer needed) and a small record player that played only 45s (not albums). I played those records day and night, completely wore them out. From that point, I wanted to be a disc jockey. But instead of going for the usual “comedic” approach most DJs took, I tried to be more informative by dropping in tidbits of a song’s background, something that always fascinated me. Originally with my “Classic Country Music Stories” site on Facebook (which is still going strong), and now with this book, I can tell the whole story, something that time restraints on radio wouldn’t allow. I began deejaying as a career at the age of sixteen in 1971, most notably at Nashville’s WENO-AM and WKDA- AM, Lakeland, Florida’s WPCV-FM (past winner of the “Radio Station of the Year” award from the Country Music Association), and Springfield, Missouri’s KTTS AM & FM and KWTO-AM, but with syndication and automation which overwhelmed radio some twenty-five years ago, my final DJ position ended in 1992. -
The Mothers and Daughters of Hillbilly Feminism
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. -
Towards a Historical View of Country Music Gender Roles
Georgia State University ScholarWorks @ Georgia State University Sociology Theses Department of Sociology 12-4-2006 Stand By Your Man, Redneck Woman: Towards a Historical View of Country Music Gender Roles Cenate Pruitt Follow this and additional works at: https://scholarworks.gsu.edu/sociology_theses Part of the Sociology Commons Recommended Citation Pruitt, Cenate, "Stand By Your Man, Redneck Woman: Towards a Historical View of Country Music Gender Roles." Thesis, Georgia State University, 2006. https://scholarworks.gsu.edu/sociology_theses/12 This Thesis is brought to you for free and open access by the Department of Sociology at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Sociology Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. STAND BY YOUR MAN, REDNECK WOMAN: TOWARDS A HISTORICAL VIEW OF COUNTRY MUSIC GENDER ROLES by CENATE PRUITT Under the Direction of Wendy S. Simonds ABSTRACT Country music, considered a uniquely American musical genre, has been relatively under-researched compared to rock and rap music. This thesis proposes research into the topic of country music, specifically the ways which country music songs portray gender. The thesis uses Billboard chart data to determine commercially successful songs, and performs a content analysis on the lyrics of these songs. I will select songs from a fifty year period ranging from 1955 to 2005, so as to allow for a longitudinal study of potential changes in -
The Jams' and the KLF's Invocation of Mu
CHART MYTHOS The JAMs’ and The KLF’s Invocation of Mu [Received August 18th 2016; accepted September 22nd 2016 – DOI: 10.21463/shima.10.2.07] Jon Fitzgerald <[email protected]> Southern Cross UniversitY Philip Hayward <[email protected]> Kagoshima UniversitY Research Center for the Pacific Islands and UniversitY of TechnologY SYdneY ABSTRACT: The JAMs and The KLF, two overlapping popular music ensembles led by British multi-media performers JimmY CautY and Bill Drummond, were notable for both the success theY had with a batch of singles in the late 1980s and early 1990s and the complex mythologY theY constructed and celebrated in song lYrics, music videos, press releases and short films. KeY to their mYthological project was their association with the fictional lost island-continent of Mu (with the band name JAMs being an abbreviation for ‘Justified Ancients of Mu Mu’). The latter identitY was derived from Robert Shea and Robert Anton Wilson’s Illuminatus trilogY of novels in which the aforementioned “ancients” were a secret brotherhood involved in combatting the rival Illuminati, who originated in Atlantis. As the JAMS’ and KLF’s oeuvres progressed, aspects of Mu and Atlantis were synthesised by CautY and Drummond with elements of other actual and fictional islands. The article traces the initial imagination and representation of Mu in esoteric crYpto-historical literature, its rearticulation in Shea and Wilson’s counter-cultural novels and its invocation and function in CautY and Drummond’s work with The JAMs and The KLF. KEY -
Stand by Your Man: Tammy Wynette
1 SONGS: NIVEL INTERMEDIO: STAND BY YOUR MAN: TAMMY WYNETTE ESCUELA CENTRO DE AUTOAPRENDIZAJE OFICIAL IDIOMA: INGLÉS DE PRÁCTICA: COMPRENSIÓN ORAL IDIOMAS NIVEL: NIVEL INTERMEDIO OVIEDO MATERIAL: CINTA-CD / CUESTIONARIO / SOLUCIONES TEMA: VERBOS Y ADJETIVOS COMUNES. CONDICIÓN. FUTURO (WILL) SSttaanndd bbyy yyoouurr mmaann Tammy Wynette Born Virginia Wynette Pugh on May 5, 1942, on a cotton farm in Itawamba County, Mississippi, Tammy spent her youth picking cotton, working as a beautician, a waitress, and a shoe-factory employee before her rise to stardom. By age seven, Tammy was working the cotton fields along with other relatives on the family farm. Her father's legacy -a piano, a guitar and the dream that his daughter would make music her life- became her only escape from the dull, arduous routine of farm life. As a teenage bride she found times even harder than she'd known at home. She had two children within three years and her husband, an itinerant construction worker, was unemployed more often than not. Fed up with poverty, Tammy enrolled in beauty school in nearby Tupelo, funding her schooling with money given to her by her mother. Her shaky marriage crumbled, and while getting a divorce she worked 10 hour days as a hairdresser, after getting up at 4 a.m. each day to sing on the local "Country Boy Eddie" TV show. In 1965 she began making regular trips to Nashville meeting producers and trying to attain a recording contract. In 1966, after months of rejections and on the brink of giving up, she made the decision to move to Nashville anyway. -
Emisunshine Digi
THE PERSONALS Singer • Songwriter Multi-instrumentalist • Producer Birth Name: Emilie Sunshine Hamilton Birth Date: June 8, 2004 Born in Maryville, TN Resides in Madisonville, TN STATS Over 14 Million YouTube Views 511,000+ Facebook Friends & Fans 23,200+ on Instagram "As The Waters Rise" Music Video 1 Million+ Views (Nashville Today) More than 100 songs in her catalog Plays more than 75 dates per year Performed on The Grand Ole Opry more than a dozen times Top 5 on “Ultimate Stagecoach” Playlist (2016) TITLE TRACK New album, RAGGED DREAMS, released August 25, 2017 DIGI-EPK TheEmiSunshine.com NOTEABLES PAGE 2 A CHARITABLE HEART INTRODUCTION Throughout her career, Emi has lent her It’s nearly impossible to describe The fearless performer has time and talent to participate and the exceptional talents of performed on The Today perform at various charitable events and concerts (including Make-A-Wish); she EMISUNSHINE, a 13-year-old Show, The Grand Ole Opry has also made special appearances at a East Tennessee prodigy who has and at The Ryman, making number of Children’s Hospitals across the captured the nation’s attention evident her confident musical country. as a singer, songwriter and multi- direction. Since her break-out instrumentalist. Steeped in at 9 years old, Emi has SPECIAL MUSICAL SCORES Appalachian music, Emi is a true garnered more than one-half “I Am Able” appears in “The Ables” vocal stylist. Influenced by million Facebook followers. (Amazon/Barnes & Noble Bestseller) legends who have made history While her music has been “As -
Country Music and the Women's Liberation Movement
You Ain’t Woman Enough: Country Music and the Women’s Liberation Movement by Flynn O’Connor A thesis submitted in fulfilment of the degree of Bachelor of Arts (Hons) in American Studies. Department of American Studies. Sydney, Australia October 2017 © Flynn O’Connor, 2017 All rights reserved i Abstract Country music is perceived and presented as an intrinsically conservative genre, built around the cultural paradigms that defined mid-20th Century American conservatism. Often centred around ideals of domesticity, labour and religion, the genre has found a geographic hub within America’s largely conservative Southern states. The logical assumption to follow this would be to assume that the women of country music follow a similar conservative political path. However, when compared to the Women’s Liberation Movement, a largely leftist political movement, we can see that ultimately this is not true. Though the women’s liberation movement was centred around the urban Northeast, when observing the lyrics, interviews and public perceptions of prominent women in country music we can see considerable similarities between their actions and the motivations of the movement. By observing the work of Kitty Wells, we can see an often-contradictory understanding of the role of the housewife, as she appears prominently as a pioneer within the genre and her family’s primary breadwinner. Tammy Wynette’s music, though thematically very different, features considerable similarities to the form of activism known as consciousness raising, and Loretta Lynn consistently presents lyrics and themes that subvert what is expected of her as a Southern woman. Ultimately, an observation of these women’s careers shows us two things; firstly, their success points to a Southern market in which the ideals of the women’s liberation movement are valued.