“Between Jennings and Jones”: Jamey Johnson, Hard-Core Country Music, and Outlaw as Authenticating Strategy

King, Stephen

doi:10.1080/03007766.2012.730681

Cited by 2 publications

(1 citation statement)

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“…Elvis and his contemporaries were creating a rockabilly identity in postwar America, a white rural ideal in resistance to the "man in the grey flannel suit." The "outlaw" movement of the 70s doubled down on this perspective, standing defiant against both mainstream rock music and the Nashville establishment (King 2014;Waldron 2017). Today's country performers similarly attempt to defy expectations, embracing a traditional-yet-stylized country identity in opposition to the urbane "metrosexual" (Campbell et al 2006;Rasmussen and Densley 2017).…”

Section: Country (Music) Masculinity As a Contested Identitymentioning

confidence: 99%

“Boys ‘Round Here”: Masculine Life-Course Narratives in Contemporary Country Music

Pruitt

2019

Social Sciences

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Country music remains one of the most popular genres in U.S. American society but is historically under-researched compared to rock, rap and other styles. This article extends the social science literature on the genre by examining themes of masculine identity in popular country hits of the current century. A content analysis of 35 top country hits from the last 15 years of the Billboard charts reveals three key masculine archetypes: the lover, the family man and particularly the country boy, which is the dominant masculine image within the last few years of the genre. Together, the three create a life-course narrative where the rambunctious country boy will eventually settle into monogamous heterosexual romance, with marriage and fatherhood presented as the ultimate achievement of successful manhood. A fourth, lesser, archetype, the roughneck, presents an "arrested development" version of the country boy, fully-grown but rejecting the social and familial responsibilities of the other archetypes. These narratives simultaneously challenge some aspects of hegemonic masculinity (urbanity, white-collar labor) while reinforcing others (whiteness, heterosexuality).

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Section: Country (Music) Masculinity As a Contested Identitymentioning

confidence: 99%

“Boys ‘Round Here”: Masculine Life-Course Narratives in Contemporary Country Music

Pruitt

2019

Social Sciences

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Satan, Sinners, and Damnation: Religion and Heritage in the Contemporary Southern Rock Music Revival

Eastman

Iapalucci

2014

Rock Music Studies

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“Between Jennings and Jones”: Jamey Johnson, Hard-Core Country Music, and Outlaw as Authenticating Strategy

Cited by 2 publications

References 18 publications

“Boys ‘Round Here”: Masculine Life-Course Narratives in Contemporary Country Music

“Boys ‘Round Here”: Masculine Life-Course Narratives in Contemporary Country Music

Satan, Sinners, and Damnation: Religion and Heritage in the Contemporary Southern Rock Music Revival

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