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21, Minarul
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When it comes to country music, few names resonate as deeply as George Strait. Known as the "King of Country," George Strait has left an indelible mark on the music industry. With over four decades of success, numerous awards, and countless hits, his influence continues to inspire artists and captivate fans around the world. Early Life and Humble Beginnings George Harvey Strait Jr. was born on May 18, 1952, in Poteet, Texas, and raised in nearby Pearsall. Growing up in a small town, George's love for country music began at a young age. Inspired by artists like Merle Haggard, Hank Williams, and George Jones, Strait developed a passion for storytelling through music. After high school, he enlisted in the U.S. Army, where his musical journey took an unexpected turn. While stationed in Hawaii, he joined a country band called "Rambling Country," performing for fellow service members. This experience would lay the foundation for his future career. George Strait's Legacy Strait's influence on country music is immeasurable. He has inspired countless artists, including Blake Shelton, Miranda Lambert, and Chris Stapleton. Beyond music, Strait is known for his philanthropy. Through his annual George Strait Team
2006
In popular music, country music, also called country and western music or country-western, is an amalgam of popular musical forms developed in the Southern United States, with roots in traditional folk music, Celtic Music, Blues, Gospel music, and Old-time music that began to develop rapidly in the 1920s. The term country music began to be widely applied to the music in the 1940s and was fully embraced in the 1970s while country and western declined in use. “Encompassing a wide range of musical genres, from folk songs and religious hymns to rhythm and blues, country music reflects our Nation’s cultural diversity as well as the aspirations and ideals that unite us. It springs from the heart of America and speaks eloquently of our history, our faith in God, our devotion to family, and our appreciation for the value of freedom and hard work. With its simple melodies and timeless, universal themes, country music appeals to listeners of all ages and from all walks of life.” (President George H. W. Bush celebrated country music by declaring October, 1990 “Country Music Month”).
Journal of Popular Music Studies, 1999
W hat makes country music country music? And why does that matter? Both of these questions are posed persistently and tenaciously in the critical and fan literature of country music. Recently, for example, both Tony Scherman (1994: pp. 54-57) and Johnny Cash (Cash and Carr, 1997) suggested that contemporary country has lost its distinctive style-and perhaps its identity-in a process of musical and lyrical distancing from its origins in the poor white rural matrix of class experience and musical style. The catalyst for these anxieties, as Dan Daley pointed out in Nashville's Unwritten Rules, is country's "absorption of new idiomatic influences," which "has always raised flags about country's musical integrity over the years" (1998: p. 335). For Daley, such appropriation raises no problems, since "the bulk of country records [are] made in Nashville by the same handful of producers, writers, publishers, and musicians" (1998: p. 336). Daley's institutional, but not geographical, position was seconded by Bill Ivey: "[A] country record is any record a radio station that calls itself 'country' will play and any record that a consumer who considers himself a 'country fan' will buy. .. no fiddles, steel guitars, high lonesome harmonies, or rhinestone suits required" (1994, p. 281).
Popular Music, 2011
Sociology Theses, 2006
Social Sciences, 2019
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).
Academia Letters, 2022
This is the second part of my discussion of Leonard Cohen. In the first part, 'Reading Song as Poem', I focussed entirely on the song 'Suzanne'. Here, I offer a wider perspective, relating various songs to those of his predecessor, Hank Williams, and to those of his contemporary, Townes Van Zandt. In either case, it is less a matter of influence than of affinity.
Dovella, 37, 1990
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