Podcast appearances and mentions of Marissa R Moss

As we revisit this crowd favorite episode from last year, can we ask you to leave us VMs and tell you how you're coping with cringe now? Is it changing? What's to thank (or blame)? 833-632-5463! If you're not getting our newsletter!Today's prompt: Nell Diamond's repost of a tweet from @isabelunraveled. (For more on Nell, founder of Hill House Home, dip into these profiles from New York Magazine and Harper's Bazaar.)The Justin Long post. Discuss!For some cringe backstory: Kaitlyn Tiffany's story “How Did We Get So ‘Cringe'?” for The Atlantic.We had to revisit Elizabeth Gilbert's Big Magic—because avoiding cringe and chasing perfectionism are related…no? See also: Ninth Street Women by Mary Gabriel, David Brandon Geeting's installment of the Perfectly Imperfect newsletter, and the edition of Kaelen Haworth's Kael Mail newsletter about ins but no outs. Check out Her Country by Marissa R. Moss. Among the themes: how Kacey Musgraves, Maren Morris, and Mickey Guyton gave up on wanting people to like them to find success. On finding affection for your younger self: this Anne Helen Petersen newsletter, Jonah Hill's doc Stutz, the podcast Mortified, Justin Cooley on his role in Kimberly Akimbo, and Mo Willems in the NYT.A definition of post-cringe; an example of post-cringe: Kaitlin Phillips.How are you embracing cringe? Who's your cringe-spiration? You know where to find us: 833-632-5463, podcast@athingortwohq.com, @athingortwohq, or our Geneva!See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

University of Wisconsin-Green Bay Music Professor Bill Sallak stops by to talk about his job and dual role as director of percussion and audio engineering, working previously at Kent State (OH), Akros Percussion Collective, and manufacturing his own percussion items (03:20), growing up near Buffalo (NY), his interests in science and math, and watching transcendent athletes and teams (29:05), attending SUNY-Fredonia for undergrad (48:40), his research into J.S. Bach's music transcribed for marimba (56:25), attending the University of Akron (OH) for his master's and accompanying for modern dance (01:06:30), his sabbatical year at Ohio University and his doctoral studies at Arizona State (01:20:45), and finishes with the Random Ass Questions, including segments on flexibility in performance, making pasta sauce, Invisible Cities, great percussion music, and Barbara Kingsolver (01:35:50).Finishing with a Rave on Marissa R. Moss's 2022 book Her Country (01:57:50).Bill Sallak Links:Bill Sallak's homepageBill Sallak's UWGB pageBill's version of the JS Bach Cello SuitesPrevious Podcast Guests mentioned:Elizabeth DeLamater in 2019Aiyun Huang in 2023Kay StonefeltOther Links:Phoenix StudiosCenter for Games and Interactive Media“Mutatis Mutandis” - Herbert Brün, performed by Akros Percussion Collective“Bird of Passage” - Karlheinz StockhausenSteven Schick“Piano Concerto” - Györgi Ligeti“Nothing is Real” - Alvin LucierMichael RectorLarry SniderThomas Siwe“Sextet” - Steve ReichDomino Hasek HighlightsPat LaFontaine HighlightsGolden State Warriors 2015-2016 HighlightsLiverpool FC wins 2020 Champions LeagueJurgen KloppMo Salah highlightsBernard Woma“Psappha” - Iannis Xenakis“Zyklus” - Karlheinz StockhausenJean GeoffroyLeigh Howard StevensJ.J. Quantz on OrnamentationWieland KuijkenMerce CunninghamJoan Meggitt“The Anvil Chorus” - David LangRoger BraunJ.B. SmithMark SunkettAnner Bylsma - Bach Cello SuitesPaul Tortelier - Bach Cello SuitesDecasia trailerMichael Gordon and the Bang on a Can All-StarsInvisible Cities - Italo Calvino“Hold On I'm Comin'” - Sam and Dave LiveThe NOW Pizzeria - Hamburgh, NY“Top of the Hill” - Tom Waits“Tom Traubert's Blues” - Tom Waits“A Valentine Out of Season” - John CageDemon Copperhead - Barbara KingsolverRaves:Her Country - Marissa R. Moss

There's been a record-breaking trend this year of country music dominating the top of the Billboard Hot 100. But it's not just any country music. These hits by artists like Morgan Wallen, Jason Aldean, Oliver Anthony & Luke Combs— all cis white men— are each employing identity politics and tapping into broader socio-political conflict in the US, either implicitly or explicitly, to help power their rise to pop dominance. So for the first segment of today's show, The Atlantic's Spencer Kornhaber, who has written extensively about the influx of bro country on the charts, is here to help explain this phenomenon. In the second of half of the episode, writer and journalist Marissa R. Moss, who publishes the great country newsletter Don't Rock the Inbox turns Louie on to five great country acts operating on the margins— all of whom, notably, are not cis white men— who deserve our attention and are providing a beacon of hope in the entrenched and often sexist, homophobic, transphobic and racist world of Nashville radio. Read Spencer's pieces on the rise of country bros in The AtlanticSubscribe to Marissa's newsletter, Don't Rock the InboxListen to a playlist of Marissa's recommendationsJoin Pop Pantheon: All Access, Our Patreon Channel, for Exclusive Content and MoreBuy Tickets to Pop Pantheon Live: Britney's Memoir, Music & Legacy on 11/2 In PasadenaCome to Gorgeous Gorgeous NYC: Halloween Edition on October 27Shop Merch in Pop Pantheon's StoreFollow Marissa R. Moss on TwitterFollow Spencer Kornhaber on TwitterFollow DJ Louie XIV on InstagramFollow DJ Louie XIV on TwitterFollow Pop Pantheon on InstagramFollow Pop Pantheon on Twitter

Jobi Riccio hikes into The Marinade. Jobi is a singer and songwriter from Morrison, CO, whose debut album Whiplash on Yep Roc records has garnered praise from multi-Grammy award winning modern songwriting legend Jason Isbell. Her Country author Marissa R. Moss in her Don't Rock the Inbox newsletter said Riccio's song “Sweet” is “A little bit classic country, a little bit nineties Sheryl Crow kiss-off, and that's about as winning a combination as you can get.” We caught up with Jobi via Zoom to talk about growing up in idyllic surroundings, commitment to craft, cultivating community, chronic dog boners (stay with us) and so much more.  The song you are hearing in this episode is "For Me It's You" from Jobi Riccio's Whiplash. Follow all things Jobi at: jobiriccio.com Support The Marinade on Patreon: patreon.com/marinadepodcast    

Marissa R. Moss is an award winning journalist from New York who now makes her home in Nashville. She frequently contributes to Rolling Stone, American Songwriter, Billboard, and NPR. Her work has also appeared in Nylon, Pitchfork, Entertainment Weekly, The Guardian, and Politico. Her book Her Country: How the Women of Country Music Became the Success Story They Were Never Supposed To Be was released in May of 2022. Her Country is a must read for anyone who loves country music, American politics, modern history, or just a expertly-written book. This conversation is an insightful deep dive into the creative process of an excellent writer and I am so grateful for the opportunity. The music in this episode is from Van Plating and Hannah Harber. Support The Marinade and get exclusive content on Patreon. Follow Marissa R. Moss.

How did you spend your spare time this month:* AA: listening to podcasts, being a single dog mom, seeing Joseph 2x, pelotoning, making peanut butter rice crispy treats* MM: having covid —> watching stuff. Twilight movies!Best/Worst:* Best MM: brussels gnocchi from NYT* Best AA: Salad I made 5x in a row - 365 sesame ginger dressing* Worst MM: having covid* Worst AA: No Goodbyes * Shared Best: Eric Kim / Korean AmericanSpare Time Rec:* AA: Las Cultch / Everything Everywhere All The Time* MM: Okay, Boomer the pod & SeveranceCulture / 3 Things You Need to Know:* A - Audrey Gelman Pivots to CottageCore* B - CNN+ to shut down* C - Elon Musk buys TwitterWild Card:* AA or MM - Her Country by Marissa R. Moss / cottage cheese hot takeLook Ahead:* AA: more live music, celebrating Erika, getting a new job, picnics * MM: leaving my home lol This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit inyoursparetime.substack.com

Buckle in, listeners, because we're diving head-first down the rabbit hole of *cringe*. What does cringe look like these days? How do we embrace it—the good kind? How do cut everyone (ourselves included) some cringe slack?   If you're not getting our newsletter!   Today's prompt: Nell Diamond's repost of a tweet from @isabelunraveled. (For more on Nell, founder of Hill House Home, dip into these profiles from New York Magazine and Harper's Bazaar.)   The Justin Long post. Discuss!   For some cringe backstory: Kaitlyn Tiffany's story “How Did We Get So ‘Cringe'?” for The Atlantic.   We had to revisit Elizabeth Gilbert's Big Magic—because avoiding cringe and chasing perfectionism are related…no? See also: Ninth Street Women by Mary Gabriel, David Brandon Geeting's installment of the Perfectly Imperfect newsletter, and the edition of Kaelen Haworth's Kael Mail newsletter about ins but no outs.    Check out Her Country by Marissa R. Moss. Among the themes: how Kacey Musgraves, Maren Morris, and Mickey Guyton gave up on wanting people to like them to find success.     On finding affection for your younger self: this Anne Helen Petersen newsletter, Jonah Hill's doc Stutz, the podcast Mortified, Justin Cooley on his role in Kimberly Akimbo, and Mo Willems in the NYT.   A definition of post-cringe; an example of post-cringe: Kaitlin Phillips.   How are you embracing cringe? Who's your cringe-spiration? We need your thoughts at 833-632-5463, podcast@athingortwohq.com, or @athingortwohq—or join our Geneva! For a whole lot more recommendations, try out a Secret Menu membership.   Download the free Zocdoc app and book that doctor's appointment—now's the time! Help out your hair with Nutrafol. Take $15 off your first month's subscription with the code ATHINGORTWO. YAY. Produced by Dear Media

25 years ago, on January 27, the band then known as the Dixie Chicks released their major label debut, Wide Open Spaces. Author and music historian Marissa R. Moss joins us to discuss the legacy of the album and the pioneering trio for our 1998 album anniversaries series, Silver Liner Notes.

It was only two decades ago, but, for the women of country music, 1999 seems like an entirely different universe. With Shania Twain, country's biggest award winner and star, and The Chicks topping every chart, country music was a woman's world: specifically, country radio and Nashville's Music Row. Cut to 2021, when women are only played on country radio 16% of the time, on a good day, and when only men have won Entertainer of the Year at the CMA Awards for a decade. To a world where artists like Kacey Musgraves sell out arenas but barely score a single second of airplay. But also to a world where these women are infinitely bigger live draws than most male counterparts, having massive pop crossover hits like Maren Morris's "The Middle," pushing the industry to confront its deeply embedded racial biases with Mickey Guyton's "Black Like Me," winning heaps of Grammy nominations, banding up in supergroups like The Highwomen and taking complete control of their own careers, on their own terms. When the rules stopped working for the women of country music, they threw them out and made their own: and changed the genre forever, and for better. Her Country: How the Women of Country Music Became the Success They Were Never Supposed to Be (Henry Holt, 2022) is veteran Nashville journalist Marissa R. Moss's story of how in the past two decades, country's women fought back against systems designed to keep them down, armed with their art and never willing to just shut up and sing: how women like Kacey, Mickey, Maren, The Chicks, Miranda Lambert, Rissi Palmer, Brandy Clark, LeAnn Rimes, Brandi Carlile, Margo Price and many more have reinvented the rules to find their place in an industry stacked against them, how they've ruled the century when it comes to artistic output--and about how women can and do belong in the mainstream of country music, even if their voices aren't being heard as loudly. Marissa R. Moss is an award-winning journalist who has written about the topic of gender inequality on the country airwaves for outlets like Rolling Stone, NPR, Billboard, Entertainment Weekly, and many more. Moss was the 2018 recipient of the Rolling Stone Chet Flippo Award for Excellence in Country Music Journalism, and the 2019 Nashville Scene Best of Nashville Best Music Reporter. She has been a guest on The TODAY Show, Entertainment Tonight, CBS Morning Show, NPR's Weekend Edition, WPLN, the Pop Literacy Podcast, and more. Marissa R. Moss on Twitter. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM, serves as a co-chair of the associate board at the Gene Siskel Film Center of the School of the Art Institute of Chicago, and volunteers in the music archive at the Old Town School of Folk Music. Bradley Morgan on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

It was only two decades ago, but, for the women of country music, 1999 seems like an entirely different universe. With Shania Twain, country's biggest award winner and star, and The Chicks topping every chart, country music was a woman's world: specifically, country radio and Nashville's Music Row. Cut to 2021, when women are only played on country radio 16% of the time, on a good day, and when only men have won Entertainer of the Year at the CMA Awards for a decade. To a world where artists like Kacey Musgraves sell out arenas but barely score a single second of airplay. But also to a world where these women are infinitely bigger live draws than most male counterparts, having massive pop crossover hits like Maren Morris's "The Middle," pushing the industry to confront its deeply embedded racial biases with Mickey Guyton's "Black Like Me," winning heaps of Grammy nominations, banding up in supergroups like The Highwomen and taking complete control of their own careers, on their own terms. When the rules stopped working for the women of country music, they threw them out and made their own: and changed the genre forever, and for better. Her Country: How the Women of Country Music Became the Success They Were Never Supposed to Be (Henry Holt, 2022) is veteran Nashville journalist Marissa R. Moss's story of how in the past two decades, country's women fought back against systems designed to keep them down, armed with their art and never willing to just shut up and sing: how women like Kacey, Mickey, Maren, The Chicks, Miranda Lambert, Rissi Palmer, Brandy Clark, LeAnn Rimes, Brandi Carlile, Margo Price and many more have reinvented the rules to find their place in an industry stacked against them, how they've ruled the century when it comes to artistic output--and about how women can and do belong in the mainstream of country music, even if their voices aren't being heard as loudly. Marissa R. Moss is an award-winning journalist who has written about the topic of gender inequality on the country airwaves for outlets like Rolling Stone, NPR, Billboard, Entertainment Weekly, and many more. Moss was the 2018 recipient of the Rolling Stone Chet Flippo Award for Excellence in Country Music Journalism, and the 2019 Nashville Scene Best of Nashville Best Music Reporter. She has been a guest on The TODAY Show, Entertainment Tonight, CBS Morning Show, NPR's Weekend Edition, WPLN, the Pop Literacy Podcast, and more. Marissa R. Moss on Twitter. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM, serves as a co-chair of the associate board at the Gene Siskel Film Center of the School of the Art Institute of Chicago, and volunteers in the music archive at the Old Town School of Folk Music. Bradley Morgan on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices

It was only two decades ago, but, for the women of country music, 1999 seems like an entirely different universe. With Shania Twain, country's biggest award winner and star, and The Chicks topping every chart, country music was a woman's world: specifically, country radio and Nashville's Music Row. Cut to 2021, when women are only played on country radio 16% of the time, on a good day, and when only men have won Entertainer of the Year at the CMA Awards for a decade. To a world where artists like Kacey Musgraves sell out arenas but barely score a single second of airplay. But also to a world where these women are infinitely bigger live draws than most male counterparts, having massive pop crossover hits like Maren Morris's "The Middle," pushing the industry to confront its deeply embedded racial biases with Mickey Guyton's "Black Like Me," winning heaps of Grammy nominations, banding up in supergroups like The Highwomen and taking complete control of their own careers, on their own terms. When the rules stopped working for the women of country music, they threw them out and made their own: and changed the genre forever, and for better. Her Country: How the Women of Country Music Became the Success They Were Never Supposed to Be (Henry Holt, 2022) is veteran Nashville journalist Marissa R. Moss's story of how in the past two decades, country's women fought back against systems designed to keep them down, armed with their art and never willing to just shut up and sing: how women like Kacey, Mickey, Maren, The Chicks, Miranda Lambert, Rissi Palmer, Brandy Clark, LeAnn Rimes, Brandi Carlile, Margo Price and many more have reinvented the rules to find their place in an industry stacked against them, how they've ruled the century when it comes to artistic output--and about how women can and do belong in the mainstream of country music, even if their voices aren't being heard as loudly. Marissa R. Moss is an award-winning journalist who has written about the topic of gender inequality on the country airwaves for outlets like Rolling Stone, NPR, Billboard, Entertainment Weekly, and many more. Moss was the 2018 recipient of the Rolling Stone Chet Flippo Award for Excellence in Country Music Journalism, and the 2019 Nashville Scene Best of Nashville Best Music Reporter. She has been a guest on The TODAY Show, Entertainment Tonight, CBS Morning Show, NPR's Weekend Edition, WPLN, the Pop Literacy Podcast, and more. Marissa R. Moss on Twitter. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM, serves as a co-chair of the associate board at the Gene Siskel Film Center of the School of the Art Institute of Chicago, and volunteers in the music archive at the Old Town School of Folk Music. Bradley Morgan on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-south

It was only two decades ago, but, for the women of country music, 1999 seems like an entirely different universe. With Shania Twain, country's biggest award winner and star, and The Chicks topping every chart, country music was a woman's world: specifically, country radio and Nashville's Music Row. Cut to 2021, when women are only played on country radio 16% of the time, on a good day, and when only men have won Entertainer of the Year at the CMA Awards for a decade. To a world where artists like Kacey Musgraves sell out arenas but barely score a single second of airplay. But also to a world where these women are infinitely bigger live draws than most male counterparts, having massive pop crossover hits like Maren Morris's "The Middle," pushing the industry to confront its deeply embedded racial biases with Mickey Guyton's "Black Like Me," winning heaps of Grammy nominations, banding up in supergroups like The Highwomen and taking complete control of their own careers, on their own terms. When the rules stopped working for the women of country music, they threw them out and made their own: and changed the genre forever, and for better. Her Country: How the Women of Country Music Became the Success They Were Never Supposed to Be (Henry Holt, 2022) is veteran Nashville journalist Marissa R. Moss's story of how in the past two decades, country's women fought back against systems designed to keep them down, armed with their art and never willing to just shut up and sing: how women like Kacey, Mickey, Maren, The Chicks, Miranda Lambert, Rissi Palmer, Brandy Clark, LeAnn Rimes, Brandi Carlile, Margo Price and many more have reinvented the rules to find their place in an industry stacked against them, how they've ruled the century when it comes to artistic output--and about how women can and do belong in the mainstream of country music, even if their voices aren't being heard as loudly. Marissa R. Moss is an award-winning journalist who has written about the topic of gender inequality on the country airwaves for outlets like Rolling Stone, NPR, Billboard, Entertainment Weekly, and many more. Moss was the 2018 recipient of the Rolling Stone Chet Flippo Award for Excellence in Country Music Journalism, and the 2019 Nashville Scene Best of Nashville Best Music Reporter. She has been a guest on The TODAY Show, Entertainment Tonight, CBS Morning Show, NPR's Weekend Edition, WPLN, the Pop Literacy Podcast, and more. Marissa R. Moss on Twitter. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM, serves as a co-chair of the associate board at the Gene Siskel Film Center of the School of the Art Institute of Chicago, and volunteers in the music archive at the Old Town School of Folk Music. Bradley Morgan on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

It was only two decades ago, but, for the women of country music, 1999 seems like an entirely different universe. With Shania Twain, country's biggest award winner and star, and The Chicks topping every chart, country music was a woman's world: specifically, country radio and Nashville's Music Row. Cut to 2021, when women are only played on country radio 16% of the time, on a good day, and when only men have won Entertainer of the Year at the CMA Awards for a decade. To a world where artists like Kacey Musgraves sell out arenas but barely score a single second of airplay. But also to a world where these women are infinitely bigger live draws than most male counterparts, having massive pop crossover hits like Maren Morris's "The Middle," pushing the industry to confront its deeply embedded racial biases with Mickey Guyton's "Black Like Me," winning heaps of Grammy nominations, banding up in supergroups like The Highwomen and taking complete control of their own careers, on their own terms. When the rules stopped working for the women of country music, they threw them out and made their own: and changed the genre forever, and for better. Her Country: How the Women of Country Music Became the Success They Were Never Supposed to Be (Henry Holt, 2022) is veteran Nashville journalist Marissa R. Moss's story of how in the past two decades, country's women fought back against systems designed to keep them down, armed with their art and never willing to just shut up and sing: how women like Kacey, Mickey, Maren, The Chicks, Miranda Lambert, Rissi Palmer, Brandy Clark, LeAnn Rimes, Brandi Carlile, Margo Price and many more have reinvented the rules to find their place in an industry stacked against them, how they've ruled the century when it comes to artistic output--and about how women can and do belong in the mainstream of country music, even if their voices aren't being heard as loudly. Marissa R. Moss is an award-winning journalist who has written about the topic of gender inequality on the country airwaves for outlets like Rolling Stone, NPR, Billboard, Entertainment Weekly, and many more. Moss was the 2018 recipient of the Rolling Stone Chet Flippo Award for Excellence in Country Music Journalism, and the 2019 Nashville Scene Best of Nashville Best Music Reporter. She has been a guest on The TODAY Show, Entertainment Tonight, CBS Morning Show, NPR's Weekend Edition, WPLN, the Pop Literacy Podcast, and more. Marissa R. Moss on Twitter. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM, serves as a co-chair of the associate board at the Gene Siskel Film Center of the School of the Art Institute of Chicago, and volunteers in the music archive at the Old Town School of Folk Music. Bradley Morgan on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

It was only two decades ago, but, for the women of country music, 1999 seems like an entirely different universe. With Shania Twain, country's biggest award winner and star, and The Chicks topping every chart, country music was a woman's world: specifically, country radio and Nashville's Music Row. Cut to 2021, when women are only played on country radio 16% of the time, on a good day, and when only men have won Entertainer of the Year at the CMA Awards for a decade. To a world where artists like Kacey Musgraves sell out arenas but barely score a single second of airplay. But also to a world where these women are infinitely bigger live draws than most male counterparts, having massive pop crossover hits like Maren Morris's "The Middle," pushing the industry to confront its deeply embedded racial biases with Mickey Guyton's "Black Like Me," winning heaps of Grammy nominations, banding up in supergroups like The Highwomen and taking complete control of their own careers, on their own terms. When the rules stopped working for the women of country music, they threw them out and made their own: and changed the genre forever, and for better. Her Country: How the Women of Country Music Became the Success They Were Never Supposed to Be (Henry Holt, 2022) is veteran Nashville journalist Marissa R. Moss's story of how in the past two decades, country's women fought back against systems designed to keep them down, armed with their art and never willing to just shut up and sing: how women like Kacey, Mickey, Maren, The Chicks, Miranda Lambert, Rissi Palmer, Brandy Clark, LeAnn Rimes, Brandi Carlile, Margo Price and many more have reinvented the rules to find their place in an industry stacked against them, how they've ruled the century when it comes to artistic output--and about how women can and do belong in the mainstream of country music, even if their voices aren't being heard as loudly. Marissa R. Moss is an award-winning journalist who has written about the topic of gender inequality on the country airwaves for outlets like Rolling Stone, NPR, Billboard, Entertainment Weekly, and many more. Moss was the 2018 recipient of the Rolling Stone Chet Flippo Award for Excellence in Country Music Journalism, and the 2019 Nashville Scene Best of Nashville Best Music Reporter. She has been a guest on The TODAY Show, Entertainment Tonight, CBS Morning Show, NPR's Weekend Edition, WPLN, the Pop Literacy Podcast, and more. Marissa R. Moss on Twitter. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM, serves as a co-chair of the associate board at the Gene Siskel Film Center of the School of the Art Institute of Chicago, and volunteers in the music archive at the Old Town School of Folk Music. Bradley Morgan on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

It was only two decades ago, but, for the women of country music, 1999 seems like an entirely different universe. With Shania Twain, country's biggest award winner and star, and The Chicks topping every chart, country music was a woman's world: specifically, country radio and Nashville's Music Row. Cut to 2021, when women are only played on country radio 16% of the time, on a good day, and when only men have won Entertainer of the Year at the CMA Awards for a decade. To a world where artists like Kacey Musgraves sell out arenas but barely score a single second of airplay. But also to a world where these women are infinitely bigger live draws than most male counterparts, having massive pop crossover hits like Maren Morris's "The Middle," pushing the industry to confront its deeply embedded racial biases with Mickey Guyton's "Black Like Me," winning heaps of Grammy nominations, banding up in supergroups like The Highwomen and taking complete control of their own careers, on their own terms. When the rules stopped working for the women of country music, they threw them out and made their own: and changed the genre forever, and for better. Her Country: How the Women of Country Music Became the Success They Were Never Supposed to Be (Henry Holt, 2022) is veteran Nashville journalist Marissa R. Moss's story of how in the past two decades, country's women fought back against systems designed to keep them down, armed with their art and never willing to just shut up and sing: how women like Kacey, Mickey, Maren, The Chicks, Miranda Lambert, Rissi Palmer, Brandy Clark, LeAnn Rimes, Brandi Carlile, Margo Price and many more have reinvented the rules to find their place in an industry stacked against them, how they've ruled the century when it comes to artistic output--and about how women can and do belong in the mainstream of country music, even if their voices aren't being heard as loudly. Marissa R. Moss is an award-winning journalist who has written about the topic of gender inequality on the country airwaves for outlets like Rolling Stone, NPR, Billboard, Entertainment Weekly, and many more. Moss was the 2018 recipient of the Rolling Stone Chet Flippo Award for Excellence in Country Music Journalism, and the 2019 Nashville Scene Best of Nashville Best Music Reporter. She has been a guest on The TODAY Show, Entertainment Tonight, CBS Morning Show, NPR's Weekend Edition, WPLN, the Pop Literacy Podcast, and more. Marissa R. Moss on Twitter. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM, serves as a co-chair of the associate board at the Gene Siskel Film Center of the School of the Art Institute of Chicago, and volunteers in the music archive at the Old Town School of Folk Music. Bradley Morgan on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

It was only two decades ago, but, for the women of country music, 1999 seems like an entirely different universe. With Shania Twain, country's biggest award winner and star, and The Chicks topping every chart, country music was a woman's world: specifically, country radio and Nashville's Music Row. Cut to 2021, when women are only played on country radio 16% of the time, on a good day, and when only men have won Entertainer of the Year at the CMA Awards for a decade. To a world where artists like Kacey Musgraves sell out arenas but barely score a single second of airplay. But also to a world where these women are infinitely bigger live draws than most male counterparts, having massive pop crossover hits like Maren Morris's "The Middle," pushing the industry to confront its deeply embedded racial biases with Mickey Guyton's "Black Like Me," winning heaps of Grammy nominations, banding up in supergroups like The Highwomen and taking complete control of their own careers, on their own terms. When the rules stopped working for the women of country music, they threw them out and made their own: and changed the genre forever, and for better. Her Country: How the Women of Country Music Became the Success They Were Never Supposed to Be (Henry Holt, 2022) is veteran Nashville journalist Marissa R. Moss's story of how in the past two decades, country's women fought back against systems designed to keep them down, armed with their art and never willing to just shut up and sing: how women like Kacey, Mickey, Maren, The Chicks, Miranda Lambert, Rissi Palmer, Brandy Clark, LeAnn Rimes, Brandi Carlile, Margo Price and many more have reinvented the rules to find their place in an industry stacked against them, how they've ruled the century when it comes to artistic output--and about how women can and do belong in the mainstream of country music, even if their voices aren't being heard as loudly. Marissa R. Moss is an award-winning journalist who has written about the topic of gender inequality on the country airwaves for outlets like Rolling Stone, NPR, Billboard, Entertainment Weekly, and many more. Moss was the 2018 recipient of the Rolling Stone Chet Flippo Award for Excellence in Country Music Journalism, and the 2019 Nashville Scene Best of Nashville Best Music Reporter. She has been a guest on The TODAY Show, Entertainment Tonight, CBS Morning Show, NPR's Weekend Edition, WPLN, the Pop Literacy Podcast, and more. Marissa R. Moss on Twitter. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM, serves as a co-chair of the associate board at the Gene Siskel Film Center of the School of the Art Institute of Chicago, and volunteers in the music archive at the Old Town School of Folk Music. Bradley Morgan on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

It was only two decades ago, but, for the women of country music, 1999 seems like an entirely different universe. With Shania Twain, country's biggest award winner and star, and The Chicks topping every chart, country music was a woman's world: specifically, country radio and Nashville's Music Row. Cut to 2021, when women are only played on country radio 16% of the time, on a good day, and when only men have won Entertainer of the Year at the CMA Awards for a decade. To a world where artists like Kacey Musgraves sell out arenas but barely score a single second of airplay. But also to a world where these women are infinitely bigger live draws than most male counterparts, having massive pop crossover hits like Maren Morris's "The Middle," pushing the industry to confront its deeply embedded racial biases with Mickey Guyton's "Black Like Me," winning heaps of Grammy nominations, banding up in supergroups like The Highwomen and taking complete control of their own careers, on their own terms. When the rules stopped working for the women of country music, they threw them out and made their own: and changed the genre forever, and for better. Her Country: How the Women of Country Music Became the Success They Were Never Supposed to Be (Henry Holt, 2022) is veteran Nashville journalist Marissa R. Moss's story of how in the past two decades, country's women fought back against systems designed to keep them down, armed with their art and never willing to just shut up and sing: how women like Kacey, Mickey, Maren, The Chicks, Miranda Lambert, Rissi Palmer, Brandy Clark, LeAnn Rimes, Brandi Carlile, Margo Price and many more have reinvented the rules to find their place in an industry stacked against them, how they've ruled the century when it comes to artistic output--and about how women can and do belong in the mainstream of country music, even if their voices aren't being heard as loudly. Marissa R. Moss is an award-winning journalist who has written about the topic of gender inequality on the country airwaves for outlets like Rolling Stone, NPR, Billboard, Entertainment Weekly, and many more. Moss was the 2018 recipient of the Rolling Stone Chet Flippo Award for Excellence in Country Music Journalism, and the 2019 Nashville Scene Best of Nashville Best Music Reporter. She has been a guest on The TODAY Show, Entertainment Tonight, CBS Morning Show, NPR's Weekend Edition, WPLN, the Pop Literacy Podcast, and more. Marissa R. Moss on Twitter. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM, serves as a co-chair of the associate board at the Gene Siskel Film Center of the School of the Art Institute of Chicago, and volunteers in the music archive at the Old Town School of Folk Music. Bradley Morgan on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

[REBROADCAST FROM April 13, 2022] Following our Listening Party with Maren Morris, we take a deep dive into the recent history of women in country music with Marissa R. Moss, author of the forthcoming book, Her Country: How the Women of Country Music Became the Success They Were Never Supposed to Be. Subjects of the book include Morris, along with Mickey Guyton, Kacey Musgraves, Brandi Carlile, and the Chicks. Her Country will be published on May 10.

The This Is Nashville team is off for July 4. We're rebroadcasting an episode about women and country music, which originally aired on May 16. As the 1990s came to a close, country music's biggest stars were women — Shania Twain, Faith Hill and the Chicks ruled the charts. Fast forward to 2021, and it's “bro country” as far as the eye can see. Women are often the subjects of songs — wearing short shorts as they climb into pickup trucks. Women appear in as few as 10 percent of the songs on country radio. How did we get here? And how have women found ways to fight back and find paths for themselves? Writer and journalist Marissa R. Moss unpacks these questions and more. At the top of the show, reporter Paige Pfleger talks about her recent story about women's negative experiences with men in songwriting sessions. Guests: Paige Pfleger, WPLN reporter Crys Matthews, singer/songwriter Marissa R. Moss, author of Her Country: How the Women of Country Music Became the Success They Were Never Supposed to Be Leah Turner, musician

If you follow country music at all, or music in general, you probably know of the struggles that female artists have had in the country music world. It's been a highly publicized issue that's received a lot of press. Journalist and author Marissa R Moss tackles this subject in her new book 'Her Country: How The Women of Country Music Became The Success Story They Were Never Supposed To Be.' As you can tell from the title, Marissa points out that there has seemed to be an effort to keep female voices off country radio. I was excited to talk to her about this because my main job is in country radio. I wanted to speak with her and offer my perspective from my side of the industry. I really enjoyed chatting with Marissa. She's such an interesting and knowledgeable person. I'm a little nervous about what can happen if certain people in my industry hear this. I'm sure they will take offense with some of the things I say, but it's the truth. I hope you enjoy this conversation and be sure to check out the book, 'Her Country.' It's really fascinating.

Our guest this hour is award-winning music journalist Marissa R. Moss. Marissa joins Amy Wright in conversation today to discuss her brand-new book, Her Country: How the Women of Country Music Became the Success They Were Never Supposed to Be, a book in which she shares the full inside story of women like Maren Morris, Mickey Guyton, and Kacey Musgraves, and how they've fought their way to the top of the male-dominated country music industry. Moss has written about the topic of gender inequality on the country airwaves for outlets like Rolling Stone, NPR, Billboard, Entertainment Weekly, and many more, and we're thrilled to have her on the show today.Part of Pantheon Podcasts

Our guest this hour is award-winning music journalist Marissa R. Moss. Marissa joins Amy Wright in conversation today to discuss her brand-new book, Her Country: How the Women of Country Music Became the Success They Were Never Supposed to Be, a book in which she shares the full inside story of women like Maren Morris, Mickey Guyton, and Kacey Musgraves, and how they've fought their way to the top of the male-dominated country music industry.  Moss has written about the topic of gender inequality on the country airwaves for outlets like Rolling Stone, NPR, Billboard, Entertainment Weekly, and many more, and we're thrilled to have her on the show today. Part of Pantheon Podcasts Learn more about your ad choices. Visit megaphone.fm/adchoices

Our guest this hour is award-winning music journalist Marissa R. Moss. Marissa joins Amy Wright in conversation today to discuss her brand-new book, Her Country: How the Women of Country Music Became the Success They Were Never Supposed to Be, a book in which she shares the full inside story of women like Maren Morris, Mickey Guyton, and Kacey Musgraves, and how they've fought their way to the top of the male-dominated country music industry. Moss has written about the topic of gender inequality on the country airwaves for outlets like Rolling Stone, NPR, Billboard, Entertainment Weekly, and many more, and we're thrilled to have her on the show today.Part of Pantheon Podcasts

Our guest this hour is award-winning music journalist Marissa R. Moss. Marissa joins Amy Wright in conversation today to discuss her brand-new book, Her Country: How the Women of Country Music Became the Success They Were Never Supposed to Be, a book in which she shares the full inside story of women like Maren Morris, Mickey Guyton, and Kacey Musgraves, and how they've fought their way to the top of the male-dominated country music industry.  Moss has written about the topic of gender inequality on the country airwaves for outlets like Rolling Stone, NPR, Billboard, Entertainment Weekly, and many more, and we're thrilled to have her on the show today. Part of Pantheon Podcasts Learn more about your ad choices. Visit megaphone.fm/adchoices

As the 1990s came to a close, country music's biggest stars were women — Shania Twain, Faith Hill and the Chicks ruled the charts. Fast forward to 2021, and it's “bro country” as far as the eye can see. Women are often the subjects of songs — wearing short shorts as they climb into pickup trucks. Women appear in as few as 10 percent of the songs on country radio. How did we get here? And how have women found ways to fight back and find paths for themselves? Writer and journalist Marissa R. Moss unpacks these questions and more. At the top of the show, reporter Paige Pfleger talks about her recent story about women's negative experiences with men in songwriting sessions. Guests: Paige Pfleger, WPLN arts reporter Crys Matthews, singer/songwriter Marissa R. Moss, author of Her Country: How the Women of Country Music Became the Success They Were Never Supposed to Be Leah Turner, musician

This week on the SouthBound podcast, host Tommy Tomlinson talks to Marissa R. Moss, who has written a new book called "HER COUNTRY" about how a new generation of female artists have made their own paths in a country music industry that has become increasingly hostile to them. We talk about Kacey Musgraves, Maren Morris, Mickey Guyton and many more artists.

Popular female country artists like Kacey Musgraves and Maren Morris have scored major pop crossover hits, made huge splashes in the vinyl market and perform for sold-out crowds across the United States, yet barely have a blip on country radio. Though far from a new phenomenon, it's one that has drawn battle lines over the last two decades between gatekeepers of a genre dominated by white males and a rightfully fervent opposition seeking accountability, diversity and equal representation. On this week's episode, music journalist Marissa R. Moss (Rolling Stone, Billboard) explains how she tackles these issues and more in her new book, “Her Country: How the Women of Country Music Became the Success They Were Never Supposed to Be” (available today, May 10th). We also dive into why Sturgill Simpson's latest record is best enjoyed on vinyl, the rise of Nashville's Black Opry, and how life events influence how we hear and appreciate music. Visit marissarmoss.com for more information about “Her Country,” and follow her on Instagram and Twitter @marissarmoss.

The Power of Women in Country Music highlights the past 100 years This month, the GRAMMY Museum's The Power Of Women In Country Music opens for a summer run in Los Angeles. The event highlights the past, present and future of country music's greatest female trailblazers by exploring the rich history of women as a driving force in country music. The Power Of Women In Country Music will take visitors on a journey through the history of women in country music, from the early years and post-World War II, to the emergence of Nashville as a country music mecca, and to female country artists becoming international pop sensations. The exhibit will feature artifacts or special content from a diverse roster of 70 female country artists. The exhibit launches on Friday, May 27th and will run through Sunday, October 2nd. LeAnn Rimes is scheduled for a special Public Program moderated by Marissa R. Moss, author of Her Country: How the Women of Country Music Became the Success They Were Never Supposed to Be, to celebrate the new exhibit on Tuesday, May 31st. Tickets are available now via the GRAMMY Museum's website. Kelsey Goelz, GRAMMY Museum's Associate Coordinator and curator of the exhibit, chats with us about what artifacts fans can expect to see. She also explains why it's important that the traveling exhibit continues to grow. Stick around after the interview where Matt and I chat about Naomi Judd, who passed away last week at 76, and Dolly Parton being inducted into the Rock and Roll Hall of Fame this fall. Full audio and video can be streamed below. Be sure to subscribe to The Music Universe Podcast wherever you get your podcasts. https://youtu.be/XKf7FEG4ViI

Music journalist Marissa R. Moss, author of the soon-to-be-released Her Country: How the Women of Country Music Became the Success They Were Never Supposed to Be, stops by to get me acquainted with Margo Price's 2016 debut album, Midwest Farmer's Daughter. Marissa talks about the circumstances that brought her to Nashville, how she became acquainted with Price's music, and what makes Midwest Farmer's Daughter a special album.Give Marissa a follow on Twitter and Instagram at @marissarmoss!You can also learn more about Marissa and her work at her website, https://www.marissarmoss.com/.Al is on Twitter at @almelchiorBB, and this show has accounts on Twitter and Instagram at @youmealbum. Be sure to follow @youmealbum to find out in advance about upcoming guests and featured albums for this podcast.Al has recently launched You, Me and An Album: The Newsletter. You can subscribe for free to get Al's monthly posts, but paid subscriptions give you access to weekly posts and much more. Please consider trying a paid subscription as it also helps to support this podcast! https://youmealbum.substack.com/1:12 Marissa joins the show2:22 Marissa explains why she moved to Nashville7:14 Marissa first saw Margo Price with Buffalo Clover10:43 Margo Price's music isn't necessarily easy to categorize12:42 Marissa knew Midwest Farmer's Daughter was special almost instantlyObservations about (nearly all of) the album's tracks:14:16 Hands of Time19:57 Marissa helps Al understand the distinction between Americana and country music24:05 Hurtin' (On the Bottle)25:19 This Town Gets Around26:15 Since You Put Me Down30:27 Tennessee Song32:46 Four Years of Chances38:26 Hurtin' (On the Bottle), again41:55 How the Mighty Have Fallen48:35 Weekender/World's GreatestLoser/Desperate and Depressed55:38 Marissa talks about why she wanted to tell the story she tells in Her Country1:00:58 Marissa discusses her upcoming plans

Following our Listening Party with Maren Morris, we take a deep dive into the recent history of women in country music with Marissa R. Moss, author of the forthcoming book, Her Country: How the Women of Country Music Became the Success They Were Never Supposed to Be. Subjects of the book include Morris, along with Mickey Guyton, Kacey Musgraves, Brandi Carlile, and the Chicks. Her Country will be published on May 10.

Marissa R. Moss is a freelancer who writes about musicians for Rolling Stone, Billboard, American Songwriter, and more. In August, she profiled country music superstar Sturgill Simpson for Rolling Stone. Moss has been writing about music for years. She writes a lot about country musicians, partially because she lives in Nashville. But also because she loves the storytelling aspect of it. Moss has written about Kacey Musgraves, Jason Isbell, Tanya Tucker, Eric Church, Miranda Lambert, and more. She was given the Best Music Reporter award by Nashville Scene in 2019. Now she is putting the finishing touches on her first book. “Her Country: How the Women of Country Music Became the Success They Were Never Supposed To Be” will be published by Henry Holt and Company. It goes on sale in May 2022.

The song of the summer, “Old Town Road,” is as 2019 as it gets: It’s a bop, but it’s a hit that rose to popularity thanks to online platforms and that calls into question all conventional wisdom about race and country music. This showdown also comes amid a years-long discussion about the lack of women allowed into the upper echelon of still-critical radio airplay in the country music industry. (Even awards queens such as Kacey Musgraves and Miranda Lambert aren't immune.) So can country music get woke? We investigate with the help of country music journalist Marissa R. Moss. Discussion points include: Dr. Jada Watson’s study of women on country radio The Annenberg Inclusion Initiative’s study of women in country

Songwriter John Prine has been making records for nearly 50 years. He’s won Grammys and Americana Music and Honors Awards, and over the years his avowed fans have included the likes of Bob Dylan, Johnny Cash and modern-day collaborators like Brandy Carlile, Jason Isbell, Amanda Shires and The Black Keys’ Dan Auerbach. On Friday, April 13th, Prine will release 'The Tree of Forgiveness,' his first album of new material in 13 years. For this week’s Scene cover story, contributor Marissa R. Moss spoke with Prine about the record, his career, his collaborators and more. On this week’s Scenecast, we invite Marissa in to talk about her story.