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Hillbilly Maidens, Okies, and CowgirlsWomen's Country Music, 1930-1960$
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Stephanie Vander Wel

Print publication date: 2020

Print ISBN-13: 9780252043086

Published to Illinois Scholarship Online: September 2020

DOI: 10.5622/illinois/9780252043086.001.0001

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PRINTED FROM ILLINOIS SCHOLARSHIP ONLINE (www.illinois.universitypressscholarship.com). (c) Copyright Illinois University Press, 2022. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in ISO for personal use.date: 25 June 2022

Conclusion

Conclusion

Country Vocalities and Gendered Theatrics

Chapter:
(p.191) Conclusion
Source:
Hillbilly Maidens, Okies, and Cowgirls
Author(s):

Stephanie Vander Wel

Publisher:
University of Illinois Press
DOI:10.5622/illinois/9780252043086.003.0009

The conclusion considers the ways in which female country artists of the 1960s and 1970s and more contemporary artists have drawn on the performative and singing practices of women in early country music. Specifically, it examines Loretta Lynn’s inclusion of the musical tropes and vocal expressions of honky-tonk and how Dolly Parton has combined past theatrical conventions with contrasting vocal approaches in her fluid play of gender. The Dixie Chicks, Gretchen Wilson, and Miranda Lambert have also carried the recurrent themes of the past to the dynamic present in their performances of the singing cowgirl, the redneck woman, and the crazy ex-girlfriend. The conclusion argues that the stylized displays of rusticity, working-class womanhood, confrontational narratives, and vocalities redolent of past traditions have all had a lasting influence on recent female artists.

Keywords:   Loretta Lynn, Dolly Parton, Dixie Chicks, Miranda Lambert, Gretchen Wilson, class, gender, vocality, theatrics

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