Meanings of the home in popular song lyrics: A feminist critique examining rock and country music

1997 ◽  
Vol 1 (3) ◽  
pp. 271-296 ◽  
Author(s):  
M. Elizabeth Blair ◽  
Eva M. Hyatt
Author(s):  
Stacey Harwood

AbstractWhy are new lyrics to old songs so often a source of inspiration and fun? This article explores how poems that rewrite popular song lyrics belong on the continuum between parody and burlesque. The parodist pays homage to the author of the source, but at the same time skewers the author by appropriating his distinctive style and using it to poke fun at him. The burlesque writer trades on the familiarity of the source material and uses it for commentary. New words for old songs give pleasure because they engage more of the senses than simply reading them. The reader “hears” the poem while reading it. The humor in the poem is enhanced for those who know the original melodies, keeping the song alive through the humor the parodist evokes.


2017 ◽  
Vol 2 (1) ◽  
pp. 90-107
Author(s):  
Yuichiro Kobayashi ◽  
Misaki Amagasa ◽  
Takafumi Suzuki
Keyword(s):  

2020 ◽  
Vol 2 (1) ◽  
pp. 96-120 ◽  
Author(s):  
David Kwon

With the common correlation of the patriotic music community to “America,” country music after 9/11, in many respects, could be seen as a site for the reinforcement and construction of American national identity. This article particularly explores the use of country music in the United States to represent and create a political ideology of “imagined” national identity in the time period between September 11, 2001 and the invasion of Iraq in the Spring of 2003. However, the nation, as imagined in these country song lyrics, has very specific dimensions. It is not just any nation. It is perceived (and valued, for that matter) as justifiably aggressive. It is a Christian nation defined in opposition to the Islamic “other.” This targeted racial and religious group is not just an outside foreign “other” but a heavily stigmatized foreigner from within their own country. The mapping of these particular concepts of nation and religion onto mainstream country music constitutes its primary imagined identity.


2020 ◽  
Vol 42 (11) ◽  
pp. 59-81
Author(s):  
Sun-Hye Shin ◽  
Hye-Won Ko
Keyword(s):  

2018 ◽  
Vol 48 (1) ◽  
pp. 1-30 ◽  
Author(s):  
Lauren Squires

AbstractPopular song lyrics constitute an exception to dominant, standard language ideologies of English: nonstandard grammatical forms are common, relatively unstigmatized, and even enregistered in the genre. This project uses song lyrics to test whether genre cues can shift linguistic expectations, influencing how speakers process morphosyntactic variants. In three self-paced reading experiments, participants read sentences from pop songs. Test sentences contained either ‘standard’ NPSG + doesn't or ‘nonstandard’ NPSG + don't. In Experiment 1, some participants were told that the sentences came from lyrics, while others received no context information. Experiment 2 eliminated other nonstandardisms in the stimuli, and Experiment 3 tested for the effect of stronger context information. Genre information caused participants to orient to the sentences differently, which partially—but not straightforwardly—mitigated surprisal at nonstandard don't. I discuss future directions for understanding the effects of context on sociolinguistic processing, which I argue can inform concepts like genre and enregisterment, and the processes underlying language attitudes. (Morphosyntactic variation, genre, invariant don't, language ideology, pop songs, experimental sociolinguistics, sentence processing)*


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