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Essays on the portrayal of women in the music industry
Women in the music industry influence
Essays on the portrayal of women in the music industry
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Of all musical genres country music is perhaps the one most influenced by a male presence. Country music is often associated with the classic cowboy strumming a guitar around a campfire or riding his horse with a guitar strapped to his back. Even the politics of country music is inclined towards a male-dominated, republican, conservative, pro-war stance (Spong 184). The stereotypical women of country music “behave properly” and passively follow the same values as men do. Therefore, in 2003 when the Dixie Chicks, a three member all female country music band, became the top selling female group of all time it was quite an accomplishment. Their success began in 1997 with an image that embraced their versatility. Martie Maguire and Emily Robison, who are sisters, played fiddle and banjo and provided background vocals to lead vocalist Natalie Maines, gifted with a strong, clear voice. Maines stood out from the others with her forceful stage presence. They wore feminine, bling infused, non-countrified outfits. They were pretty to look at and kind of goofy in demeanor (129). The kind of young women fans could imagine having a lot of fun with, but also the kind that young women could identify with through their music. Songs like “Goodbye Earl” described a strong woman who has had enough of her abusive husband and ends up killing him. However, the band delivered it in a style that was far from morose. It sent a clear message of girl power for many women (129). Many accolades followed from the Academy of Country Music and the Country Music Association (CMA) which included Entertainer of the Year, Top Vocal Group, and album of the Year (Towner 293). During the first five years of their career they sold 28 million copies of the three records...
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...klisted from the world of country music for daring to make an anti-war statement and questioning the president’s decision-making. The reaction to lead singer Maines’s statement and uncovered a misogynistic mentality that had been laying somewhat dormant in the country music culture. The swift and devastating reaction to the statement revealed the ugly consequences when one does not follow the stereotypical country music brand of womanhood. Verbal slurs and death threats, CD destruction, and removal of their music from the country station airwaves. However, the Dixie Chicks did not back down. They remained true to their convictions. Their song “Not Ready to Make Nice” made a clear statement. They had no regrets. The Dixie Chicks still remain a symbol for strong women in music as well as brought the problem with the status of women in the United States to a forefront.
Alan Shapiro is a poet whom uses the sorrowful tragedies that occurred in his lifetime and turns them into beautiful poems in which he greatly expresses through his poetry. Most of his poems symbolize either a type of sorrow or tragic death, and the expressions used throughout his poetry make it noticeable that Alan Shapiro endured a life of hardship and tragedy. While Shapiro was growing up he lost his brother and his sister in which the poem “Sleet” by Alan Shapiro beautifully encompasses his feeling of grief and sorrow due to the loss of his siblings.
Times have changed, and along with the times so has country music. American country music lovers have went from Loretta Lynn and Waylon Jennings, just two of the many classic oldies, to Carrie Underwood and Luke Bryan, two very appealing country music artists. However, it is not only the tune of the music that has changed, it is the image, the appeal, and overall the type of icons the media is portraying these modern music stars as. Icons such as Lynn and Jennings had identifiable features within their music as well as their appearance that spoke sweet southern belle and rugged twang. Whereas Underwood’s and Bryan’s appeal now is much more sexualized than it was during the oldies. These changes affect the way modern day singers are marketed compared to former country music stars, instead of focusing on talent it is now looks.
A true Aussie bloke would never leave the great country of Australia. He would never trade his life as a “battler” or a “bushman” for a more glamorous life in the spotlight. An Aussie bloke would never become absorbed by fame and fortune. Would he?
Imagine waking up to beautiful freshwater streams and wildlife foraging through the mountainside. This is what citizens of Pigeon Forge, Tennessee get to wake up to ever day. Pigeon Forge is a small town near the border of South Carolina. It sits along the edge of the Cherokee National Forest and on the west side of Little Pigeon River. It is not only located in a beautiful area, but also a thriving area economically speaking. Overall, Pigeon Forge is a family friendly place where people can not only live in a beautiful city, but also exciting environment.
At the end of the day, racism and prejudice will always exist in some form for whatever reason is most convenient. Additionally, it’s not as if fans of country music are all raging bigots who dream of segregation and a return to slavery-driven southern values. After all, there are plenty of ‘southern pride’ songs that don’t feature race, nativism, and are beloved by most without an ulterior message that is appreciated by Stormfront. After all, Lynyrd Skynyrd’s Sweet Home Alabama features anti-segregation lyrics. Charlie Daniels Band wrote and performed The Devil Went Down to Georgia, lyrically referencing the south as far as Georgia by name alone. Yet both of these are hailed as quintessentially southern pride songs, meaning that southern pride isn’t the same as white pride. The reason the comparison matters, then, is because there is a significant overlap between the two. It is certainly possible to enjoy country music without wishing for a return to Aryan values, and the majority of country music doesn’t advocate it. But enough popular songs feature nativism as a theme to the point that it shouldn’t be ignored. There is a tangible connection between Southern Pride and nativism through music, and a definite connection between nativism and the White Pride movement. Music connects people and spreads ideas; culturally relevant music tends to stay around for a lifetime. Music has power, and the power of hate music is not one that should be
Tichi, Cecilia. High lonesome: the American culture of country music. University of North Carolina Press, Chapel Hill. 1994. Print.
Country music originated in the Appalachian mountains of the Southern United States and has traditional folk roots that date from the early 20th century. The commercial history of country music began in the Southern United States in the 1920’s, during a ‘period of intense modernization’ (Ellison, 1995). It wasn’t until this time that country was considered a viable music genre. It was first identified as ‘hillbilly’ music in 1925 and later became known officially as ‘country’ by its designation on the Billboard Music charts (Shmoop, 2014). Widely considered the ‘Mother Church’ of country, the Grand Ole Opry in Nashville became the home of many emerging and already established artists (Tichi, 1994:21). Coupled with the rise of radio and barn dance programs, country’s popularity increased greatly. Ellison (1995) describes country’s evolution from ‘rustic radio programs’ to a genre with an ‘extensive national network of fans unparalled in other forms of popular music’. During the 1930’s, the Great Depression assisted in the spread of country music throughout the US, with many poor unemployed Southerners migrating north, t...
Thesis Statement: Originating in the 1920s, country music developed four distinct generations and it reflected American’s lives and values.
The major ways in which these two articles, “I 'm Dying Here," in Jefferson Cowie 's Stayin ' Alive and Southern Rock Musicians ' Construction of White Trash, address the development of “Redneck” culture is through how the media and other social classes portray them and secondly how they as in poor white men in the south embrace and glorify the meaning of redneck and of their culture. These men are labeled as stupid and lazy drunks who are not educated very well, who are unemployed, violent, and racists. They get labeled hillbilly, white trash, and redneck but these men this group of people glorify themselves. Through music they embrace what they are called and even do what everyone is perpetually mocking them for being like. They use propaganda to help them glorify this culture, the use of the confederate flag is the most important and most prominent piece of propaganda used by this culture. This flag symbolizes more than a past way of life but man
The debate whether commercialism has stripped country music of its authenticity is one that requires further examination into who ultimately holds the power. The sometimes-drastic changes made in music leaves people questioning the tastes of consumers when in fact they are the bystanders of an overpowering industry. Fans are people who buy the albums, go to concerts, and request songs on the radio, not the execs that market the music, and yet their opinions/tastes aren’t taken into consideration. Fans carry a lot of clout in regards to what they define as commercialism gone wrong and acceptable country music. Despite what may seem fair, those who are financially invested in its success drive the commercialization of music.
Abstract: This essay explores the way white trash identity is performed through country music. In particular, the focus is on the way the film O Brother, Where Art Thou? (Joel Coen, 2001) uses a soundtrack of 'old-timey' country music from the 1920s and 30s to aurally assist the film's white trash aesthetic. Various cultural critics (Barbara Ching) and music historians (Richard Peterson) have already documented the way country music is white trash music. Such histories are drawn upon to demonstrate the way country music is used to authenticate white trash as rural, impoverished, simple-minded and sweet. The authenticity of white trash often depends on an authentic performance of country music; one that is dependent on staging a particularly commodifiable white trash image or ' look' . Does this mean the supposed authenticity of white trash is all performance? By locating the white trashness of country music within a broader historical and cultural context, this essay demonstrates the way O Brother, Where Art Thou? depicts white trash as an identity that is only authentic through a performance of authenticity.
Not known to many, the genre of rock music originated from gospel music sung on the slave plantations in early Mississippi. A common musical device used in rock music is known as “call and response”. This is where the singer sings the line and everyone else involved in the chorus repeats that line. This came from slaves working in the fields and singing songs to get through the day. Theses hymns are fondly referred to as “negro spirituals”. In Anne Moody’s novel, Coming of Age in Mississippi we revisit African Americans in Mississippi struggling not through slavery, but through the oppression of the Civil Rights Era. At the same plantation but in a different time, Jim crow has made life almost impossible for blacks to get by in the South. In a country were all men were created equal, laws were put in place to ensure that blacks could never achieve equality. Through Anne Moody’s work and through the work of musical artists Johnny Cash, and Nas, we will discover just how far we may or may not have come.
Country music was brought over by the first European settlers. In medieval times, storytelling was a tradition that allowed history to be recorded when few were able to read and write. When the first British settlers came to America, they brought this tradition with them, along with songs that they had learned in Europe. The people who settled the Appalachian Mountains and the West did not have an easy life and their music gave them an outlet to express their hardships.
The Rolling Stones are one of the most well known hard rock bands. They have a distinctive history that separates them from other similar rock bands. Their unique sound formed the basis of rock and roll. The band had a huge influence on British music through things such as their fashion, fusion of obscure genres, and attitude. Over the course of the last fifty years, The Rolling Stones unique history, sound, and overall look still has an influence on modern British bands.
Religion, to most people of the world, is the only saving grace in their life, because religion is the equalizer among peoples. In the eyes of God, it does not matter if his followers are black, white, destitute, affluent, Christian, or other they are just people to God; now to receive salvation or not is another matter. In Cry, the Beloved Country, Paton makes it clear that religion is hope. Religion gives the people a sense of salvation, redemption, or purpose, and salvation being the leading factor in Christianity, this is very important. Salvation is the deliverance from sin and consequence, and in the novel, salvation is everything to a people who have nothing. Religion is important to the story, because of Christian