Girl in a Country Song: Gender Roles and Objectification of Women in Popular Country Music across 1990 to 2014

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

“…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). Peterson (1999) and Ching (2001) divide country music, as a genre into "hard" and "soft" forms, with "hard-shell" (Peterson's term) or "hard country" (Ching's term) referring to a specific vision of the country artist as a perpetual outsider, not only to the big city but to the country music establishment itself.…”

“…Shelton and the men then party together in a barn, including a scene where a white man in camouflage overalls uses a pair of turntables DJ-style (Fanjoy 2013). However, all of the songs where white men adopt hip-hop stylings are from 2010 or later, performed by artists under the age of 40 at the time of recording, can be considered part of the subgenre identified as "bro-country" (Rosen 2013;Rasmussen and Densley 2017;Hyden 2014) and fit into my typology as being about Country Boys; it seems older, more established artists are less likely to engage in the blurring of lines, sticking to traditional instrumentation and themes.…”

“…This article is designed to work in parallel with recent research in the field such as Rasmussen and Densley (2017) analysis of changing roles for women in country music. More significantly, if assumptions by Levy (2018) and others about an ongoing shift in country music towards the mainstream of pop music are correct, then this piece serves as a sort of theoretical benchmark; this is not only a time capsule of country on the verge of a massive transformation but a beachhead for future analyses to build upon.…”

“…Long associated with traditional values and small-town life, the genre remains popular in regions outside the Deep South (Shusterman 1999;Bernstein 2016). Rasmussen and Densley (2017) identified the current era of "bro country" as more masculine-oriented and more likely to objectify women than songs from prior decades did. This study operates in parallel to theirs, looking at what country songs from roughly the same timeframe (2000)(2001)(2002)(2003)(2004)(2005)(2006)(2007)(2008)(2009)(2010)(2011)(2012)(2013)(2014)(2015) say about men and male identities and updates Aday and Austin's (2000) longitudinal study of aging imagery in country music for the decade and a half following that publication.…”

Uma abordagem baseada em letras para a descoberta de conhecimento da música brasileira: o sertanejo como um estudo de caso

“…e[Rasmussen and Densley 2017], o sertanejo pode ser compreendido ainda em dois subgêneros que se diferem. De um lado o sertanejo masculino, subgênero formado de músicas interpretadas por artistas masculinos e o "feminejo", artistas femininas.…”