![]() ![]() These narratives simultaneously challenge some aspects of hegemonic masculinity (urbanity, white-collar labor) while reinforcing others (whiteness, heterosexuality).Ĭountry music, at its heart, is about the “story-song,” melodramatic tales of living, love and loss designed to evoke an emotional response as opposed to a danceable beat or a catchy hook ( Aday and Austin 2000). 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. 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 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. This article extends the social science literature on the genre by examining themes of masculine identity in popular country hits of the current century. American society but is historically under-researched compared to rock, rap and other styles. Country music remains one of the most popular genres in U.S. ![]()
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