“Summertime” by Orville Peck is here.

I’m just making a new category called “Orville Peck” because I talk about him so damn much.

“Queen of the Rodeo” by Orville Peck

I’m a little obsessed with the video for “Queen of the Rodeo” (with a little bit of “Falling Roses”) by Orville Peck.

The video is stunning and fun. The song itself is refreshingly very positive: “The song and video are about allowing yourself to get out of your own way, beat your demons and crown yourself queen of the rodeo.”

I will let the video stills speak for themselves:

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2020: The Year of Live Music

Livin’ live in 2020.

Calling it now: 2020 is The Year of Live Music in my small corner of the world.

I ended 2019 by seeing a pretty transcendent performance by BADBADNOTGOOD (a bucket list show for me).

This is what is on deck for 2020 so far:

Continue reading “2020: The Year of Live Music”

Intersectionality in Country Music

2020 is here, and country and honky tonk music is queer and colorful.

As I mentioned in my Raw Yee-Haw post, country and honky-tonk has always had a variety of rebels. I use the term “variety” because the type of rebellion is really up-for-grabs. For example:

  •  David Allan Coe: He really deserves his own post: spent a large part of his life in prison, lived in a hearse, says the “n-word” quite a bit (yikes), and made a country-metal album with Pantera. Many of his songs cover issues of class-consciousness.
  • Dixie Chicks: America’s sweethearts until they pissed off much of the conservative country fandom when they were critical– rightfully so– of George W. Bush and the Iraq War. The Dixie Chicks held their ground, never apologized, and, honestly, it was awesome. “Not Ready to Make Nice” was a song that was a result of the incident. It’s also a song that has gotten me through some of my most pissed off times.

These are two different presentations of rebellion with quite different motivations. I could discuss so many other examples, but these are two that come to my mind more immediately.

Continue reading “Intersectionality in Country Music”