Whose Country Music?: Genre, Identity, and Belonging in Twenty-First-Century Country Music Culture

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Paula J. Bishop Jada E. Watson (University of Ottawa)

Whose Country Music?

Genre, Identity, and Belonging in Twenty-First-Century Country Music Culture

Paula J. Bishop, Jada E. Watson (University of Ottawa)

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English

Cambridge University Press
01 December 2022

Music; Music: styles & genres; Country & Western music; Cultural studies

In a period in which racism and gender inequity are at the fore of public, political, and scholarly discourse, this collection challenges systems of gatekeeping that have dictated who gets to participate in twenty-first century country music culture. Building on established scholarship, this book examines contemporary issues in country music through feminist, intersectional, and post-colonialist theories, as well as other intertextual and cultural lenses. The authors pose questions about diversity, representation, and identity as they relate to larger concepts of artist and fan communities, stylistic considerations of the genre, and modes of production from a twenty-first century perspective. Addressing and challenging the received narrative about country music culture, this collection delves into the gaps that are inherent in existing approaches that privileged biography and historiography and expands new areas of inquiry relating to contemporary country music identity and culture.

Edited by: Paula J. Bishop, Jada E. Watson (University of Ottawa)
Imprint: Cambridge University Press
Country of Publication: United Kingdom
Dimensions: Height: 250mm, Width: 175mm, Spine: 21mm
Weight: 730g
ISBN: 9781108837125
ISBN 10: 1108837123
Pages: 280
Publication Date: 01 December 2022
Audience: General/trade , ELT Advanced
Format: Hardback
Publisher's Status: Active

Industry: 1. Mailbox Money: Novel Liberation Strategies of a Black Female Country Songwriter Alice Randall; 2. Dixie Chicked: Sony vs. The Chicks and the Regendering of Country Music in the Early Twentieth-Century Kristine M. McCusker; 3. How 360° Deals Homogenized Country Music Rachel Skaggs; 4. A Double-Edged Sword: Industry Data and the Construction of Country Music Narratives Jada Watson; Codes of Conduct: 5. Why Country Music Needs Latina Feminism Sophia Enriquez; 6. Pistol Annies: Country Rebels with Humor Stephanie Vander Wel; 7. From Bros to Gentlemen: The Problem of Consent in Contemporary Country Music Phoebe E. Hughes; 8. Cowboys on a Beach: Summer Country and the Loss of Working-Class Identity Jocelyn R. Neal. Authenticity: 9. Dolly Parton's Netflix Reimagining: How Her Twenty-First Century 'Jolene' Revises Country Music's Authenticity Narrative Leigh H. Edwards; 10. 'When Britney [Spears] Ruled the World': Expanding the Stylistic Boundaries of Nostalgia in Country Music Paula J. Bishop; 11. Rhinestone Revivals: Repurposing the Nudie Suit for the Twenty-first Century Janet Aspley; 12. Country Music Doesn't Have to Suck: Intertextuality, Community, and Bloodshot Records Nancy P. Riley. Boundary Work: 13. Playing at the Border: Navajo Country Western Music and Border Town Racism Kristina Jacobsen; 14. Country-Loving Mexican Americans: Dual Patriotism and Inevitable Fandom among Mexican American Country Music Lovers Nadine Hubbs; 15. Practices of Genre Surveillance in Country Music: Hearing Racial Politics in Beyoncé's and The Chicks' 'Daddy Lessons' Rebekah Hutten; 16. 'We Have a Lot of Work to Do': Rhiannon Giddens and Country Music's Mixed Roots Tracey E. Laird. Epilogue: Country Music Needs a Revolution Rissi Palmer.

Paula Bishop teaches in the Music Department at Bridgewater State University. She earned her PhD from Boston University with a dissertation on the Everly Brothers and has presented and published on the Everly Brothers, the Nashville songwriters Felice and Boudleaux Bryant, and feminism and country music. Jada Watson is an assistant professor in the School of Information Studies at the University of Ottawa. Principal Investigator of SongData, her research uses market data to address representation in country music. This work was cited in a brief submitted to the US Federal Communications Commission opposing radio deregulation, and the Recording Academy's Report on Inclusion and Diversity.