Rebel’s Honky Tonk!

703918A few weekends ago, I ventured out with a few of my girlfriends to Rebel’s Honky Tonk, which is a country dancing bar on 5th street. (It apparently now changed its name to Rowdy’s Saloon and made a few changes, but I went there when it was called Rebel’s Honky Tonk, so that’s how I refer to the place now.)

I have been to Midnight Rodeo a few years back, which is pretty much a similar concept as Rebel’s, so this was my official second time to get my two-stepping on. As someone who grew up overseas and mostly in the north, Country music has never really been my thing until I moved to Austin for school. My first time to a country dancing bar, Midnight Rodeo, was definitely an experience; I was a little freshman that did not really know much, and this huge dance floor in the middle filled with everyone who already knew how to two-step was too overwhelming.

Since this was my second time to a country dancing place, I already knew what to expect. I remembered to put on my cowboy boots, and started listening to some country songs a few hours before heading out as my “pre-game.”

When my friends and I got there, it was about 10 p.m. and it was not crowded at all. There were a few people on the dance floor, and others scattered throughout the bar, just drinking beer and chatting. The first thing I noticed was that the dance floor was not as big as Midnight Rodeo’s, and there was a huge mechanical bull! My friends and I first got a few drinks and started chatting up, and shortly after, the bar started to get pretty crowded. I could tell a lot of the people there were much older than us, and I spotted some serious cowboys, with their fancy shirts, Wrangler’s jeans, boots and even the cowboy hats.

I think Rebel’s tried to play mostly country songs, with a few modern dancey songs here and there, to please both younger and older people. Since I already made it clear that I don’t know much of the older country songs, there were only a few songs I recognized that night. I can’t remember all names, but I remember singing along to Eli Young Band’s “Drunk Last Night,” and Darius Rucker’s “Wagon Wheel.”

At one point my friends tricked me into going on the dance floor with them, and I attempted to two-step to some country song that I’ve never heard of, and this old-ish gentleman who looked like serious two-stepper helped me out, which was very nice of him. As the bar got more and more crowded, I could see more people two-stepping on the dance floor, and more people using the mechanical bull, overall just enjoying themselves with some good ole’ country music with friends.

I had much fun that night at Rebel’s. I think it’s really awesome that you can see find a spot to get your country dance on in downtown Austin. Being inside and hanging out with people there made me feel like I was in some small town Texas, fully experiencing “the South” – the music, the mechanical bull, friendly people, and the whole atmosphere.

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Filed under Austin, Dancing, Live Music

Girl in A Country Song

Maddie and Tae's first single - "Girl In A Country Song"Ever listen to the lyrics of country songs? I mean really listen? I’ll be the first to admit that sometimes, I just play music and sing along without even knowing what I’m singing about. It becomes second nature after you hear a song a couple of times; the lyrics are constantly stuck in your head, the beat is catchy, and you can’t help but belt out the latest Luke Bryan song at the top of your lungs in the car. But when you really listen to the lyrics, sometimes you catch things that you overlook during a normal, relaxed listen.

To combat this lack of awareness, new duo Maddie and Tae released a song titled “Girl In A Country Song” in July. When I first heard this song on the radio, I couldn’t help but laugh and turn it up, because every single lyric was SO TRUE. Here’s a sampling of the lyrics:

“Bein’ the girl in a country song / How in the world did it go so wrong? / Like all we’re good for / Is looking good for you and your friends on the weekend / Nothing more / We used to get a little respect / Now we’re lucky if we even get / To climb up in your truck, keep my mouth shut and ride along / And be the girl in a country song”

And that’s not even the best part. The song takes so many jabs at the typical lyrics of a male-sung country song, from Luke Bryan’s “That’s My Kind of Night” to Thomas Rhett’s “Get Me Some Of That.” These girls take sarcasm, humor, and attitude to a whole new level, but at the same time, they really are trying to draw attention to a huge issue in modern-day country music.

Role reversal from the music video

When objectifying women is the norm of a genre and people don’t think twice about it when singing along, that’s a problem. Most people associate lyrics like that with rap songs, where they constantly talk about women shaking what they’ve got for the men around them. So when did it become so accepted in country lyrics? The sad part is that I’m completely guilty of the “in one ear, out the other” habit when listening to songs. But this song really made me stop and think about the songs that I listen to, especially this lyric:

“Aww no, Conway and George Strait / Never did it this way / Back in the old days / Aww y’all, we ain’t a cliché / That ain’t no way/ To treat a lady”

They said it perfectly. What happened to the old George Strait songs when a woman was treasured? The Conway Twitty songs about his “darlin’” rather than the generic label “girl.” You know, I honestly couldn’t even tell you. All I know is that I genuinely wouldn’t want to be the girl in a country song.

Girl In A Country Song – Maddie and Tae (music video)

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Filed under Bro Country, Music Videos, Women

Bro, That’s what Country is all about.

Has anyone else every heard of a subgenre of country music called “Bro Country?” Well… Neither have I, but I found this Time article interesting so I decided to look into it further.

Blog post 2 pic 2The well-known Country music duo Florida Georgia Line is the epitome of what is known as Bro Country. It has a really relaxed sound to it, and it makes you think about all the good times that you’ve had with your boys (I’m not sure if girls can relate as much with this topic). Bro Country is all about the bros and that kind of lifestyle. It involves: parties, drinking, and girls, of course!! Other artists that portray this kind of vibe are Jason Aldean, Blake Shelton, and Luke Bryan.

The debate over bro country not only divides guys and girls, but also the frat boys and the “old farts.” In response to this situation between the kids and the old men, Blake Shelton comments: “Well that’s because you (old men) don’t buy records anymore, jackass. The kids do, and they don’t want to buy the music you were buying.” The turning point from the older side to the bro side of country was most likely with the release of the song Cruise by Florida Georgia Line.

From then on out, artists used guitars as opposed to fiddles more often, and the sound of Country music in general seemed to shift. It shifted to a more relaxed, younger sound that seems to only be growing in popularity. The appearance of the modern day country artist changed along with the sound, as well. These artists are now covered in tattoos, tank top wearin’, young, party hearted frat boys it seems. Country music has seemed to move to be very modern, and this shift has only occurred in the past few years.

Country star Kenny Chesney is a firm supporter of the Bro Country movement, as displayed in his song “No Shirt, No Shirt, No Problem.” He is a very laid-back and carefree country artist, making him display what being a bro as all about. In his newest album, the track “Wild Child” he describes the kind of girl that country boys are interested in. Chesney says: “If you didn’t wear cut-off jeans or a bikini top, or sit on a tailgate and drink, then you really weren’t worthy.” The Bro Country movement lets everybody know exactly what they’re lookin’ for in life and that it’s all about having a good time.

Comment and let me know what y’all think. Thanks for reading!!

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Filed under Bro Country

Still a Fujiyama Mama

Wanda Jackson

This past August I caught the legendary Wanda Jackson performing at Austin’s Continental Club. It was a memorable show, but it left me with mixed feelings about her legacy and popular culture’s general lack of interest in female musicians once they reach “a certain age.” This is probably why it has taken me well over two months to write about the experience. Conveniently, yesterday was Jackson’s birthday. She turned 77.

Known as the “Queen of Rockabilly,” Jackson rose to fame in the late 1950s as a kind of female version of Elvis Presley. In fact, she and Elvis toured together and even dated for a time. She gives him credit for convincing her to leave the honky-tonk music she grew up singing in California and Oklahoma for the rockabilly songs that would eventually land her a spot in the Rock and Roll Hall of Fame (she was inducted in 2009).

Wanda Jackson & Elvis Presley

Wanda & Elvis (c. 1956)

The most successful rockabilly performers tended to be men (Elvis, Cash, etc.). Jackson did not ever top them in radio play or record sales, but in her songs she found the room to put their masculinist worldview in its place. “I Gotta Know” (1956), for example, pokes fun at Elvis’s dancing, with the narrator complaining that “[w]hen you’re on that floor you’re cool man cool, but when it comes to loving you need to go to school.”

Furthermore, in songs like “Fujiyama Mama” (1957) and “Riot in Cell Block #9” (1960), she brings into plain view the topic of female sexuality, which the male rockabillies avoided. In these songs, sexual desire is a dangerous and unsettling force–powerful as an atomic bomb or a prisoners’ revolt. In “Riot,” she describes female inmates overpowering their guards and cat-calling the male militia members who are sent in to calm them down. The song had been a hit for the Robins–an all-male R&B band–in 1954, but when Jackson performed it,  it became a kind of transgressive, feminist response to Elvis’s “Jailhouse Rock” (1957).

In the 1960s, rockabilly began losing its commercial appeal and Jackson moved back into country (and later, gospel) music. In songs like “The Box It Came In” (1966) and “My Big Iron Skillet” (1969), she continued criticizing philandering men, even threatening them with violence. But her bigger hits from this period were more often about heartbreak and standing by your man whether he’s right or wrong, which makes it hard to argue that there is any kind of feminist message unifying her many, many records. Colin Escot, in the book accompanying Bear Family’s 8-CD collection of her country recordings, chalks this up to Jackson’s never having the kind of major hit that would bring her the power to choose the best new songs. In a sense, she made a career making the best she could of the leftovers.

Dusty's Wanda Jackson ShowOn one hand, the Continental Club is a perfect place for Jackson to perform. Open since 1957, it has hosted some of the United States’s greatest musicians, from Tommy Dorsey to Stevie Ray Vaughan. The owner, Steve Wertheimer, has honored Jackson with tribute shows, and she clearly feels at home there. The performance I attended lasted a little over an hour, which was understandable given her age and that there were 2-3 other acts also playing that night. She was surprisingly energetic, shrieking into the mic like a crazed inmate at one point and later yodeling her way through “I Betcha My Heart I Love You.”

But on the other hand, I couldn’t help but think that after rocking for six decades the Queen of Rockabilly should be playing someplace a little nicer–someplace where the audience has sense enough to shut up when she talks about grabbing sodas on her dates with Elvis Presley. For all its history, the Continental Club is a little shabby around the edges and is exactly the sort of place Jackson must have had in mind when she admitted to Escot that she wished she didn’t have to play honky tonks anymore. I would think that Wanda fucking Jackson wouldn’t have to play anywhere she didn’t want to anymore.

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Filed under Austin, Bakersfield Sound, Classic Country, Live Music, Reflection, Rockabilly

Dance Your Heart Out

Have you ever heard a country song and get lost in the lyrics? I feel that every country song puts me in a different mood. I even have different country playlists on my Spotify. One is labeled “Midnight” and contains songs that I have danced multiple times to at Midnight Rodeo. I think it is also interesting the way that country music also connects people. Even though my boyfriend and I met through a social dance class, we kind of started to fall for each other each time we would go country dancing. Even before we were a couple, strangers at Midnight Rodeo and even Dallas Nightclub would tell us we dance so well together. There are a few songs that every time we hear them played at any country venue, we cannot stay off the dance floor.

Shania Twain – Man! I Feel Like a Woman!

This is one of the best one-step songs we love dancing to. They do not play it at a lot of country dance halls, but at Midnight Rodeo they usually play it every Thursday. I think it is even more interesting because before the song comes on she usually tells us it is ladies choice. I think it’s more fun when I get to ask him to dance.

Lee Brice – I Don’t Dance

This song is pretty ironic only because my boyfriend actually knows how to dance and he is pretty good at it too. But we both love the song anyway. Of course as soon as it comes on we try and find each other to dance the song with one another. When it comes on in the car we turn it up and just listen. We stop talking for a moment and just feel the music and imagine ourselves out on the dance floor two- steppin’ the night away.

Deana Carter – Strawberry Wine

This song is much different than the rest because even though it is a country song, there is a different way to dance to the song than just two-step. This can actually be considered a cross-step waltz song. The beat is much different and the steps are a lot smaller with a different frame structure. Sometimes I feel like when we dance it at Midnight Rodeo people look at us like we are crazy. But I’m truly glad he knows cross-step waltz and is really good at it.

Blake Shelton – Footloose

So I know this is not the original “Footloose” track, but it is the one that they play sometimes at Midnight Rodeo. This is not really one-step or two-step either. This is actually one of our favorite line dances that they play at many different country dance halls. There are also many different ways you can do the line dance. I remember we went to rebels and people were doing all kinds of crazy moves. I like the version that we learned at Midnight Rodeo and in our social dance class.

In case anyone was wondering where you could learn two-step, or one-step, or cross-step waltz, there is an AMAZING social dance class offered at UT taught by Campbell Miller. There are even different levels from Beginner to Advanced. That’s where the two of us met and I can honestly say that the class is one of the best parts of my day.

Feel free to leave your comments below!

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Filed under Dancing, Song Analysis, Texas