Country music

Country music is a genre of American popular music that originated in the Southern United States in the 1920s. It takes its roots from the southeastern genre of American folk music and Western music. Blues modes have been used extensively throughout its recorded history. Country music often consists of ballads and dance tunes with generally simple forms and harmonies accompanied by mostly string instruments such as banjos, electric and acoustic guitars, dobros and fiddles as well as harmonicas. The term country music gained popularity in the 1940s in preference to the earlier term hillbilly music; it came to encompass Western music, which evolved parallel to hillbilly music from similar roots, in the mid-20th century. The term country music is used today to describe many styles and subgenres. The origins of country music are the folk music of mostly white, working-class Americans, who blended popular songs, Irish and Celtic fiddle tunes, traditional ballads, and cowboy songs, and various musical traditions from European immigrant communities. In 2009 country music was the most listened to rush hour radio genre during the evening commute, and second most popular in the morning commute in the United States.

Immigrants to the Southern Appalachian Mountains of North America brought the music and instruments of Europe along with them for nearly 300 years. Country music was „introduced to the world as a Southern phenomenon.“ The first generation emerged in the early 1920s, with Atlanta’s music scene playing a major role in launching country’s earliest recording artists. Okeh Records began issuing hillbilly music records by Fiddlin‘ John Carson as early as 1923, followed by Columbia Records (series 15000D „Old Familiar Tunes“) (Samantha Bumgarner) in 1924, and RCA Victor Records in 1927 (the Carter Family and Jimmie Rodgers). Many „hillbilly“ musicians, such as Cliff Carlisle, recorded blues songs throughout the 1920s.
During the second generation (1930s–1940s), radio became a popular source of entertainment, and „barn dance“ shows featuring country music were started all over the South, as far north as Chicago, and as far west as California. The most important was the Grand Ole Opry, aired starting in 1925 by WSM in Nashville and continuing to the present day. During the 1930s and 1940s, cowboy songs, or Western music, which had been recorded since the 1920s, were popularized by films made in Hollywood. Bob Wills was another country musician from the Lower Great Plains who had become very popular as the leader of a „hot string band,“ and who also appeared in Hollywood westerns. His mix of country and jazz, which started out as dance hall music, would become known as Western swing. Wills was one of the first country musicians known to have added an electric guitar to his band, in 1938. Country musicians began recording boogie in 1939, shortly after it had been played at Carnegie Hall, when Johnny Barfield recorded „Boogie Woogie“.
The third generation (1950s–1960s) started at the end of World War II with „mountaineer“ string band music known as bluegrass, which emerged when Bill Monroe, along with Lester Flatt and Earl Scruggs were introduced by Roy Acuff at the Grand Ole Opry. Gospel music remained a popular component of country music. Another type of stripped-down and raw music with a variety of moods and a basic ensemble of guitar, bass, dobro or steel guitar (and later) drums became popular, especially among poor whites in Texas and Oklahoma. It became known as honky tonk, and had its roots in Western swing and the ranchera music of Mexico and the border states. By the early 1950s a blend of Western swing, country boogie, and honky tonk was played by most country bands. Rockabilly was most popular with country fans in the 1950s, and 1956 could be called the year of rockabilly in country music. Beginning in the mid-1950s, and reaching its peak during the early 1960s, the Nashville Sound turned country music into a multimillion-dollar industry centered in Nashville, Tennessee. The late 1960s in American music produced a unique blend as a result of traditionalist backlash within separate genres. In the aftermath of the British Invasion, many desired a return to the „old values“ of rock n‘ roll. At the same time there was a lack of enthusiasm in the country sector for Nashville-produced music. What resulted was a crossbred genre known as country rock.
Fourth generation (1970s–1980s) music included outlaw country with roots in the Bakersfield sound, and country pop with roots in the countrypolitan, folk music and soft rock. Between 1972 and 1975 singer/guitarist John Denver released a series of hugely successful songs blending country and folk-rock musical styles. During the early 1980s country artists continued to see their records perform well on the pop charts. In 1980 a style of „neocountry disco music“ was popularized. During the mid-1980s a group of new artists began to emerge who rejected the more polished country-pop sound that had been prominent on radio and the charts in favor of more traditional „back-to-basics“ production.
During the fifth generation (1990s), country music became a worldwide phenomenon thanks to Garth Brooks and Alan Jackson. The Dixie Chicks became one of the most popular country bands in the 1990s and early 2000s.
The sixth generation (2000s–present) is exemplified by country singer Carrie Underwood. The influence of rock music in country has become more overt during the late 2000s and early 2010s. Attempts to combine punk and country were pioneered by Jason and the Scorchers, and in the 1980s Southern Californian cowpunk scene with bands like the Long Ryders. Hip-hop also made its mark on country music with the emergence of country rap. Most of the best-selling country songs of this era however were in the country pop genre, such as those by Lady Antebellum, Florida Georgia Line, and Taylor Swift.
Atlanta’s music scene played a major role in launching country’s earliest recording artists in the early 1920s—many Appalachian people had come to the city to work in its cotton mills and brought their music with them. It would remain a major recording center for two decades and a major performance center for four decades, up to the first country music TV shows on local Atlanta stations in the 1950s.
Some record companies in Atlanta turned away early artists such as Fiddlin‘ John Carson, while others realized that his music would fit perfectly with the lifestyle of the country’s agricultural workers. The first commercial recordings of what was considered country music were „Arkansas Traveler“ and „Turkey in the Straw“ by fiddlers Henry Gilliland & A.C. (Eck) Robertson on June 30, 1922, for Victor Records and released in April 1923. Columbia Records began issuing records with „hillbilly“ music (series 15000D „Old Familiar Tunes“) as early as 1924.
A year later, on June 14, 1923, Fiddlin‘ John Carson recorded „Little Log Cabin in the Lane“ for Okeh Records. Vernon Dalhart was the first country singer to have a nationwide hit in May 1924 with „Wreck of the Old 97“. The flip side of the record was „Lonesome Road Blues“, which also became very popular. In April 1924, „Aunt“ Samantha Bumgarner and Eva Davis became the first female musicians to record and release country songs.
Many „hillbilly“ musicians, such as Cliff Carlisle, recorded blues songs throughout the decade and into the 1930s. Other important early recording artists were Riley Puckett, Don Richardson, Fiddlin‘ John Carson, Uncle Dave Macon, Al Hopkins, Ernest V. Stoneman, Charlie Poole and the North Carolina Ramblers and The Skillet Lickers. The steel guitar entered country music as early as 1922, when Jimmie Tarlton met famed Hawaiian guitarist Frank Ferera on the West Coast.
Jimmie Rodgers and the Carter Family are widely considered to be important early country musicians. Their songs were first captured at a historic recording session in Bristol, Tennessee, on August 1, 1927, where Ralph Peer was the talent scout and sound recordist. A scene in the movie O Brother, Where Art Thou? depicts a similar occurrence in the same timeframe.
Rodgers fused hillbilly country, gospel, jazz, blues, pop, cowboy, and folk, and many of his best songs were his compositions, including „Blue Yodel“, which sold over a million records and established Rodgers as the premier singer of early country music.
Beginning in 1927, and for the next 17 years, the Carters recorded some 300 old-time ballads, traditional tunes, country songs and gospel hymns, all representative of America’s southeastern folklore and heritage.
One effect of the Great Depression was to reduce the number of records that could be sold. Radio became a popular source of entertainment, and „barn dance“ shows featuring country music were started all over the South, as far north as Chicago, and as far west as California.
The most important was the Grand Ole Opry, aired starting in 1925 by WSM in Nashville and continuing to the present day. Some of the early stars on the Opry were Uncle Dave Macon, Roy Acuff and African American harmonica player DeFord Bailey. WSM’s 50,000-watt signal (in 1934) could often be heard across the country.
Many musicians performed and recorded songs in any number of styles. Moon Mullican, for example, played Western swing but also recorded songs that can be called rockabilly. Between 1947 and 1949, country crooner Eddy Arnold placed eight songs in the top 10.
From 1945 to 1955 Jenny Lou Carson was one of the most prolific songwriters in country music.
During the 1930s and 1940s, cowboy songs, or Western music, which had been recorded since the 1920s, were popularized by films made in Hollywood. Some of the popular singing cowboys from the era were Gene Autry, the Sons of the Pioneers, and Roy Rogers. Country music and western music were frequently played together on the same radio stations, hence the term country and western music.
And it wasn’t only cowboys; cowgirls contributed to the sound in various family groups. Patsy Montana opened the door for female artists with her history-making song „I Want To Be a Cowboy’s Sweetheart“. This would begin a movement toward opportunities for women to have successful solo careers.
Bob Wills was another country musician from the Lower Great Plains who had become very popular as the leader of a „hot string band,“ and who also appeared in Hollywood westerns. His mix of country and jazz, which started out as dance hall music, would become known as Western swing. Spade Cooley and Tex Williams also had very popular bands and appeared in films. At its height, Western swing rivaled the popularity of big band swing music.
Drums were scorned by early country musicians as being „too loud“ and „not pure“, but by 1935 Western swing big band leader Bob Wills had added drums to the Texas Playboys. In the mid-1940s, the Grand Ole Opry did not want the Playboys‘ drummer to appear on stage. Although drums were commonly used by rockabilly groups by 1955, the less-conservative-than-the-Grand Ole Opry Louisiana Hayride kept its infrequently used drummer back stage as late as 1956. By the early 1960s, however, it was rare that a country band didn’t have a drummer.
Bob Wills was one of the first country musicians known to have added an electric guitar to his band, in 1938. A decade later (1948) Arthur Smith achieved top 10 US country chart success with his MGM Records recording of „Guitar Boogie“, which crossed over to the US pop chart, introducing many people to the potential of the electric guitar. For several decades Nashville session players preferred the warm tones of the Gibson and Gretsch archtop electrics, but a „hot“ Fender style, using guitars which became available beginning in the early 1950s, eventually prevailed as the signature guitar sound of country.
Country musicians began recording boogie in 1939, shortly after it had been played at Carnegie Hall, when Johnny Barfield recorded „Boogie Woogie“. The trickle of what was initially called hillbilly boogie, or okie boogie (later to be renamed country boogie), became a flood beginning in late 1945. One notable release from this period was The Delmore Brothers‘ „Freight Train Boogie“, considered to be part of the combined evolution of country music and blues towards rockabilly. In 1948, Arthur „Guitar Boogie“ Smith achieved top ten US country chart success with his MGM Records recordings of „Guitar Boogie“ and „Banjo Boogie“, with the former crossing over to the US pop charts. Other country boogie artists included Merrill Moore and Tennessee Ernie Ford. The hillbilly boogie period lasted into the 1950s and remains one of many subgenres of country into the 21st century.
By the end of World War II, „mountaineer“ string band music known as bluegrass had emerged when Bill Monroe joined with Lester Flatt and Earl Scruggs, introduced by Roy Acuff at the Grand Ole Opry. Gospel music, too, remained a popular component of country music. Red Foley, the biggest country star following World War II, had one of the first million-selling gospel hits („Peace in the Valley“) and also sang boogie, blues and rockabilly.
In the post-war period, country music was called „folk“ in the trades, and „hillbilly“ within the industry. In 1944, The Billboard replaced the term „hillbilly“ with „folk songs and blues,“ and switched to „country“ or „country and Western“ in 1949.
Another type of stripped down and raw music with a variety of moods and a basic ensemble of guitar, bass, dobro or steel guitar (and later) drums became popular, especially among poor whites in Texas and Oklahoma. It became known as honky tonk and had its roots in Western swing and the ranchera music of Mexico and the border states, particularly Texas, together with the blues of the American South. Bob Wills and His Texas Playboys personified this music which has been described as „a little bit of this, and a little bit of that, a little bit of black and a little bit of white … just loud enough to keep you from thinking too much and to go right on ordering the whiskey.“ East Texan Al Dexter had a hit with „Honky Tonk Blues“, and seven years later „Pistol Packin‘ Mama“. These „honky tonk“ songs associated barrooms, were performed by the likes of Ernest Tubb, Kitty Wells (the first major female country solo singer), Ted Daffan, Floyd Tillman prada zonnebril 2016, and the Maddox Brothers and Rose, Lefty Frizzell and Hank Williams, would later be called „traditional“ country. Williams‘ influence in particular would prove to be enormous, inspiring many of the pioneers of rock and roll, such as Elvis Presley and Jerry Lee Lewis, as well as Chuck Berry and Ike Turner, while providing a framework for emerging honky tonk talents like George Jones. Webb Pierce was the top-charting country artist of the 1950s, with 13 of his singles spending 113 weeks at number one. He charted 48 singles during the decade; 31 reached the top ten and 26 reached the top four.
By the early 1950s a blend of Western swing, country boogie, and honky tonk was played by most country bands. Western music, influenced by the cowboy ballads and Tejano music rhythms of the southwestern U.S. and northern Mexico, reached its peak in popularity in the late 1950s, most notably with the song „El Paso“, first recorded by Marty Robbins in September 1959.
The country music scene largely kept the music of the folk revival and folk rock at a distance, despite the similarity in instrumentation and origins (see, for instance, The Byrds‘ negative reception during their appearance on the Grand Ole Opry). The main concern was politics: the folk revival was largely driven by progressive activists, a stark contrast to the culturally conservative audiences of country music. Only a handful of folk artists, such as Burl Ives, John Denver and Canadian musician Gordon Lightfoot, would cross over into country music after the folk revival died out.
During the mid-1950s a new style of country music became popular, eventually to be referred to as rockabilly.
Rockabilly was most popular with country fans in the 1950s, and 1956 could be called the year of rockabilly in country music. Rockabilly was a mixture of rock-and-roll and hillbilly music. During this period Elvis Presley converted over to country music. He played a huge role in the music industry during this time. The number two, three and four songs on Billboard’s charts for that year were Elvis Presley, „Heartbreak Hotel“; Johnny Cash, „I Walk the Line“; and Carl Perkins, „Blue Suede Shoes“.
Cash and Presley placed songs in the top 5 in 1958 with No. 3 „Guess Things Happen That Way/Come In, Stranger“ by Cash, and No. 5 by Presley „Don’t/I Beg of You.“ Presley acknowledged the influence of rhythm and blues artists and his style, saying „The colored folk been singin‘ and playin‘ it just the way I’m doin‘ it now, man for more years than I know.“ But he also said, „My stuff is just hopped-up country.“ Within a few years, many rockabilly musicians returned to a more mainstream style or had defined their own unique style.
Country music gained national television exposure through Ozark Jubilee on ABC-TV and radio from 1955 to 1960 from Springfield, Missouri. The program showcased top stars including several rockabilly artists, some from the Ozarks. As Webb Pierce put it in 1956, „Once upon a time, it was almost impossible to sell country music in a place like New York City. Nowadays, television takes us everywhere, and country music records and sheet music sell as well in large cities as anywhere else.“
The late 1950s saw the emergence of Buddy Holly, but by the end of the decade, backlash as well as traditional artists such as Ray Price, Marty Robbins, and Johnny Horton began to shift the industry away from the rock n‘ roll influences of the mid-1950s.
Beginning in the mid-1950s, and reaching its peak during the early 1960s, the Nashville sound turned country music into a multimillion-dollar industry centered in Nashville, Tennessee. Under the direction of producers such as Chet Atkins, Paul Cohen, Owen Bradley, Bob Ferguson, and later Billy Sherrill, the sound brought country music to a diverse audience and helped revive country as it emerged from a commercially fallow period.
This subgenre was notable for borrowing from 1950s pop stylings: a prominent and smooth vocal, backed by a string section and vocal chorus. Instrumental soloing was de-emphasized in favor of trademark „licks“. Leading artists in this genre included Jim Reeves, Skeeter Davis, The Browns, Patsy Cline, and Eddy Arnold. The „slip note“ piano style of session musician Floyd Cramer was an important component of this style.
Nashville’s pop song structure became more pronounced and it morphed into what was called countrypolitan. Countrypolitan was aimed straight at mainstream markets, and it sold well throughout the later 1960s into the early 1970s (a rarity in an era where American popular music was being decimated by the British Invasion). Top artists included Tammy Wynette, Lynn Anderson and Charlie Rich, as well as such former „hard country“ artists as Ray Price and Marty Robbins.
Despite the appeal of the Nashville sound, many traditional country artists emerged during this period and dominated the genre: Loretta Lynn, Merle Haggard, Buck Owens, Porter Wagoner, and Sonny James among them.
In 1962, Ray Charles surprised the pop world by turning his attention to country and western music, topping the charts and rating number three for the year on Billboard’s pop chart with the „I Can’t Stop Loving You“ single, and recording the landmark album Modern Sounds in Country and Western Music.
Another genre of country music grew out of hardcore honky tonk with elements of Western swing and originated 112 miles (180 km) north-northwest of Los Angeles in Bakersfield, California. Influenced by one-time West Coast residents Bob Wills and Lefty Frizzell, by 1966 it was known as the Bakersfield sound. It relied on electric instruments and amplification, in particular the Telecaster electric guitar, more than other subgenres of country of the era, and can be described as having a sharp, hard, driving, no-frills, edgy flavor. Leading practitioners of this style were Buck Owens, Merle Haggard, Tommy Collins, Gary Allan, and Wynn Stewart, each of whom had his own style.
By the late 1960s, Western music, in particular the cowboy ballad, was in decline. Relegated to the „country and Western“ genre by marketing agencies, popular Western recording stars released albums to only moderate success.[citation needed] Rock-and-roll dominated music sales, and Hollywood recording studios dropped most of their Western artists.[citation needed] The shift in country music production to Nashville also played a role, where the Nashville sound, country rock, and rockabilly music styles predominated over both „cowboy“ artists and the more recent Bakersfield sound.[citation needed] The latter was largely limited to Buck Owens, Merle Haggard, and a few other bands.[citation needed] In the process, country and western music as a genre lost most of its southwestern, ranchera, and Tejano musical influences. However the cowboy ballad and honky-tonk music would be resurrected and reinterpreted in the 1970s with the growth in popularity of „outlaw country“ music from Texas and Oklahoma.[citation needed]
Derived from the traditional Western and honky tonk musical styles of the late 1950s and 1960s, including Ray Price (whose band, the „Cherokee Cowboys“, included Willie Nelson and Roger Miller) and mixed with the anger of an alienated subculture of the nation during the period, outlaw country revolutionized the genre of country music.
„After I left Nashville (the early 70s), I wanted to relax and play the music that I wanted to play, and just stay around Texas, maybe Oklahoma. Waylon and I had that outlaw image going, and when it caught on at colleges and we started selling records, we were O.K. The whole outlaw thing, it had nothing to do with the music, it was something that got written in an article, and the young people said, ‚Well, that’s pretty cool.‘ And started listening.“ (Willie Nelson)
The term outlaw country is traditionally associated with Hank Williams, Jr., Willie Nelson, Waylon Jennings, David Allan Coe, Whitey Morgan and the 78’s, John Prine, Billy Joe Shaver, Gary Stewart, Townes Van Zandt, Kris Kristofferson, Michael Martin Murphey, and the later career renaissance of Johnny Cash, with a few female vocalists such as Jessi Colter and Sammi Smith. It was encapsulated in the 1976 album Wanted! The Outlaws. A related subgenre is Red Dirt.
Country pop or soft pop, with roots in the countrypolitan sound, folk music, and soft rock, is a subgenre that first emerged in the 1970s. Although the term first referred to country music songs and artists that crossed over to top 40 radio, country pop acts are now more likely to cross over to adult contemporary music. It started with pop music singers like Glen Campbell, Bobbie Gentry, John Denver, Olivia Newton-John, Anne Murray, Marie Osmond, B 2016 chanel kleding. J. Thomas, The Bellamy Brothers, and Linda Ronstadt having hits on the country charts.
Between 1972 and 1975, singer/guitarist John Denver released a series of hugely successful songs blending country and folk-rock musical styles („Rocky Mountain High“, „Sunshine on My Shoulders“, „Annie’s Song“, „Thank God I’m a Country Boy“, and „I’m Sorry“), and was named Country Music Entertainer of the Year in 1975. The year before, Olivia Newton-John, an Australian pop singer, won the „Best Female Country Vocal Performance“ as well as the Country Music Association’s most coveted award for females, „Female Vocalist of the Year“. In response George Jones, Tammy Wynette, and other traditional Nashville country artists dissatisfied with the new trend formed the short-lived Association of Country Entertainers in 1974.
During the mid-1970s, Dolly Parton, a successful mainstream country artist since the late 1960s, mounted a high profile campaign to cross over to pop music, culminating in her 1977 hit „Here You Come Again“, which topped the U.S. country singles chart, and also reached No. 3 on the pop singles charts. Parton’s male counterpart, Kenny Rogers, came from the opposite direction, aiming his music at the country charts, after a successful career in pop, rock and folk music, achieving success the same year with „Lucille“, which topped the country charts and reached No. 5 on the U.S. pop singles charts, as well as reaching Number 1 on the British all-genre chart. Parton and Rogers would both continue to have success on both country and pop charts simultaneously, well into the 1980s. Artists like Crystal Gayle, Ronnie Milsap and Barbara Mandrell would also find success on the pop charts with their records.
In 1975, author Paul Hemphill stated in the Saturday Evening Post, „Country music isn’t really country anymore; it is a hybrid of nearly every form of popular music in America.“
During the early 1980s, country artists continued to see their records perform well on the pop charts. Willie Nelson and Juice Newton each had two songs in the top 5 of the Billboard Hot 100 in the early eighties: Nelson charted „Always on My Mind“ (No. 5, 1982) and „To All the Girls I’ve Loved Before“ (No. 5, 1984, a duet with Julio Iglesias), and Newton achieved success with „Queen of Hearts“ (No. 2, 1981) and „Angel of the Morning“ (No. 4, 1981). Four country songs topped the Billboard Hot 100 in the 1980s: „Lady“ by Kenny Rogers, from the late fall of 1980; „9 to 5“ by Dolly Parton, „I Love a Rainy Night“ by Eddie Rabbitt (these two back-to-back at the top in early 1981); and „Islands in the Stream“, a duet by Dolly Parton and Kenny Rogers in 1983, a pop-country crossover hit written by Barry, Robin, and Maurice Gibb of the Bee Gees. Newton’s „Queen of Hearts“ almost reached No. 1, but was kept out of the spot by the pop ballad juggernaut „Endless Love“ by Diana Ross and Lionel Richie. The move of country music toward neotraditional styles led to a marked decline in country/pop crossovers in the late 1980s, and only one song in that period—Roy Orbison’s „You Got It“, from 1989—made the top 10 of both the Billboard Hot Country Singles“ and Hot 100 charts, due largely to a revival of interest in Orbison after his sudden death.
The record-setting, multi-platinum group Alabama was named Artist of the Decade for the 1980s by the Academy of Country Music.
Country rock is a genre that started in the 1960s but became prominent in the 1970s. The late 1960s in American music produced a unique blend as a result of traditionalist backlash within separate genres. In the aftermath of the British Invasion, many desired a return to the „old values“ of rock n‘ roll. At the same time there was a lack of enthusiasm in the country sector for Nashville-produced music. What resulted was a crossbred genre known as country rock.
Early innovators in this new style of music in the 1960s and 1970s included Bob Dylan, who was the first to revert to country music with his 1967 album John Wesley Harding (and even more so with that album’s follow-up, Nashville Skyline), followed by Gene Clark, Clark’s former band The Byrds (with Gram Parsons on Sweetheart of the Rodeo) and its spin-off The Flying Burrito Brothers (also featuring Gram Parsons), guitarist Clarence White, Michael Nesmith (The Monkees and the First National Band), the Grateful Dead, Neil Young, Commander Cody, The Allman Brothers, The Marshall Tucker Band, Poco, Buffalo Springfield, and Eagles, among many. The Eagles would become the most successful of these country rock acts, and their compilation album Their Greatest Hits (1971–1975) remains the second best-selling album of all time in the US with 29 million copies sold. The Rolling Stones also got into the act with songs like „Dead Flowers“ and a country version of „Honky Tonk Women“.
Described by AllMusic as the „father of country-rock“, Gram Parsons‘ work in the early 1970s was acclaimed for its purity and for his appreciation for aspects of traditional country music. Though his career was cut tragically short by his 1973 death, his legacy was carried on by his protégé and duet partner Emmylou Harris; Harris would release her debut solo in 1975, an amalgamation of country, rock and roll, folk, blues and pop.
Subsequent to the initial blending of the two polar opposite genres, other offspring soon resulted, including Southern rock, heartland rock and in more recent years, alternative country.
In the decades that followed, artists such as Juice Newton, Alabama, Hank Williams, Jr. (and, to an even greater extent, Hank Williams III), Gary Allan, Shania Twain, Brooks & Dunn, Faith Hill, Garth Brooks, Alan Jackson, Dwight Yoakam, Steve Earle, Dolly Parton, Rosanne Cash and Linda Ronstadt moved country further towards rock influence.
In 1980, a style of „neocountry disco music“ was popularized by the film Urban Cowboy, which also included more traditional songs such as „The Devil Went Down to Georgia“ by the Charlie Daniels Band. It was during this time that a glut of pop-country crossover artists began appearing on the country charts: former pop stars Bill Medley (of The Righteous Brothers), „England Dan“ Seals (of England Dan and John Ford Coley), Tom Jones, and Merrill Osmond (both alone and with some of his brothers) all recorded significant country hits in the early 1980s.
Sales in record stores rocketed to $250 million in 1981; by 1984, 900 radio stations began programming country or neocountry pop full-time. As with most sudden trends, however, by 1984 sales had dropped below 1979 figures.
Truck driving country music is a genre of country music and is a fusion of honky-tonk, country rock and the Bakersfield sound. It has the tempo of country rock and the emotion of honky-tonk, and its lyrics focus on a truck driver’s lifestyle. Truck driving country songs often deal with trucks and love. Well-known artists who sing truck driving country include Dave Dudley, Red Sovine, Dick Curless, Red Simpson, Del Reeves, The Willis Brothers and Jerry Reed, with C. W. McCall and Cledus Maggard (pseudonyms of Bill Fries and Jay Huguely, respectively) being more humorous entries in the subgenre. Dudley is known as the father of truck driving country.
During the mid-1980s, a group of new artists began to emerge who rejected the more polished country-pop sound that had been prominent on radio and the charts, in favor of more, traditional, „back-to-basics“ production. Led by Reba McEntire and George Strait, many of the artists during the latter half of the 1980s drew on traditional honky-tonk, bluegrass, folk and western swing. Artists who typified this sound included Travis Tritt, Keith Whitley, Alan Jackson, Ricky Skaggs, Patty Loveless, Kathy Mattea, Randy Travis and The Judds.
Beginning in 1989, a confluence of events brought an unprecedented commercial boom to country music. The arrival of exceptionally talented artists coincided with new marketing strategies to engage fans, technology that more accurately tracked the popularity of country music, and a political and economic climate that focused attention on the genre. Garth Brooks („Friends in Low Places“) in particular attracted fans with his fusion of neotraditionalist country and stadium rock. His stadium concerts promised the same quality of special effects that fans expected from rock stars, while his music drew equally from George Strait and Journey. Other artists such as Brooks and Dunn („Boot Scootin‘ Boogie“) also combined conventional country with slick, rock elements, while Lorrie Morgan, Mary Chapin Carpenter, and Kathy Mattea updated neotraditionalist styles.
Country music was aided by the U.S. Federal Communications Commission’s (FCC) Docket 80–90, which led to a significant expansion of FM radio in the 1980s by adding numerous higher-fidelity FM signals to rural and suburban areas. At this point, country music was mainly heard on rural AM radio stations; the expansion of FM was particularly helpful to country music, which migrated to FM from the AM band as AM became overcome by talk radio (the country music stations that stayed on AM developed the classic country format for the AM audience). At the same time, beautiful music stations already in rural areas began abandoning the format (leading to its effective demise) to adopt country music as well. This wider availability of country music led to producers seeking to polish their product for a wider audience. Another force leading to changes in the country music industry was the changing sound of rock music, which was increasingly being influenced by the noisier, less melodic alternative rock scene. „New country“ ended up absorbing rock influence from more electric musicians that were too melodic for modern rock but too electric for the classic country music sound. (A number of „classic rock“ artists, especially Southern rock ones such as Charlie Daniels and Lynyrd Skynyrd, are more closely associated with the modern country music scene than that of the modern rock scene.)
In the 1990s, country music became a worldwide phenomenon thanks to Garth Brooks, who enjoyed one of the most successful careers in popular music history, breaking records for both sales and concert attendance throughout the decade. The RIAA has certified his recordings at a combined (128× platinum), denoting roughly 113 million U.S. shipments. Other artists that experienced success during this time included Clint Black, Sammy Kershaw, Aaron Tippin, Travis Tritt, Alan Jackson and the newly formed duo of Brooks & Dunn; George Strait, whose career began in the 1980s, also continued to have widespread success in this decade and beyond. Toby Keith began his career as a more pop-oriented country singer in the 1990s, evolving into an outlaw persona in the late 1990s with Pull My Chain and its follow-up, Unleashed.
Female artists such as Reba McEntire, Patty Loveless, Faith Hill, Martina McBride, Deana Carter, LeAnn Rimes, Mindy McCready, Lorrie Morgan, Shania Twain, and Mary Chapin Carpenter all released platinum-selling albums in the 1990s.
The Dixie Chicks became one of the most popular country bands in the 1990s and early 2000s. Their 1998 debut album Wide Open Spaces went on to become certified 12x platinum while their 1999 album Fly went on to become 10x platinum. After their third album, Home, was released in 2003, the band made political news in part because of lead singer Natalie Maines’s comments disparaging then-President George W. Bush while the band was overseas (Maines stated that she and her bandmates were ashamed to be from the same state as Bush, who had just commenced the Iraq War a few days prior). The comments caused a rift between the band and the country music scene, and the band’s fourth (and most recent) album, 2006’s Taking the Long Way, took a more rock-oriented direction; the album was commercially successful overall but largely ignored among country audiences.
In the early-mid-1990s, country western music was influenced by the popularity of line dancing. This influence was so great that Chet Atkins was quoted as saying, „The music has gotten pretty bad, I think. It’s all that damn line dancing.“ By the end of the decade, however, at least one line dance choreographer complained that good country line dance music was no longer being released.
In contrast, artists such as Don Williams and George Jones who had more or less had consistent chart success through the 1970s and 1980s suddenly had their fortunes fall rapidly around 1991 as these new artists rose to prominence.
The sixth generation of country continued the crossover between country and pop music. Richard Marx crossed over with his Days in Avalon album, which features five country songs and several singers and musicians. Alison Krauss sang background vocals to Marx’s single „Straight from My Heart.“ Also, Bon Jovi had a hit single, „Who Says You Can’t Go Home“, with Jennifer Nettles of Sugarland. Kid Rock’s collaboration with Sheryl Crow, „Picture,“ was a major crossover hit in 2001 and began Kid Rock’s transition from hard rock to a country-rock hybrid that would later produce another major crossover hit, 2008’s „All Summer Long.“ Darius Rucker, former frontman for the 1990s pop-rock band Hootie & the Blowfish, began a country solo career in the late 2000s, one that to date has produced three albums and several hits on both the country charts and the Billboard Hot 100. Singer-songwriter Unknown Hinson became famous for his appearance in the Charlotte television show Wild, Wild, South, after which Hinson started his own band and toured in southern states. Other rock stars who featured a country song on their albums were Don Henley and Poison.
In 2005, country singer Carrie Underwood rose to fame as the winner of the fourth season of American Idol and has since become one of the most prominent recording artists of 2006 through 2014, with worldwide sales of more than 65 million records and seven Grammy Awards. With her first single, „Inside Your Heaven“, Underwood became the only solo country artist to have a #1 hit on the Billboard Hot 100 chart in the 2000–2009 decade and also broke Billboard chart history as the first country music artist ever to debut at No. 1 on the Hot 100. Underwood’s debut album, Some Hearts, became the best-selling solo female debut album in country music history, the fastest-selling debut country album in the history of the SoundScan era and the best-selling country album of the last 10 years, being ranked by Billboard as the #1 Country Album of the 2000–2009 decade. She has also become the female country artist with the most number one hits on the Billboard Hot Country Songs chart in the Nielsen SoundScan era (1991–present), having 14 No. 1s and breaking her own Guinness Book record of ten. In 2007, Underwood won the Grammy Award for Best New Artist, becoming only the second Country artist in history (and the first in a decade) to win it. She also made history by becoming the seventh woman to win Entertainer of the Year at the Academy of Country Music Awards, and the first woman in history to win the award twice, as well as twice consecutively 2016 hermes birkin. Time has listed Underwood as one of the 100 most influential people in the world.
Carrie Underwood was one of several country stars produced by a television series in the 2000s. In addition to Underwood, American Idol launched the careers of Kellie Pickler, Josh Gracin, Bucky Covington, Kristy Lee Cook, Danny Gokey and Scotty McCreery (as well as that of occasional country singer Kelly Clarkson) in the decade, and would continue to launch country careers in the 2010s. The series Nashville Star, while not nearly as successful as Idol, did manage to bring Miranda Lambert and Chris Young to mainstream success, also launching the careers of lower-profile musicians such as Buddy Jewell, Sean Patrick McGraw, and Canadian musician George Canyon. Can You Duet? produced the duos Steel Magnolia and Joey + Rory.
Teen sitcoms also have had an impact on modern country music; in 2008, actress Jennette McCurdy (best known as the sidekick Sam on the teen sitcom iCarly) released her first single, „So Close“, following that with the single „Generation Love“ in 2011. Another teen sitcom star, Miley Cyrus (of Hannah Montana), also had a crossover hit in the late 2000s with „The Climb“ and another with a duet with her father, Billy Ray Cyrus, with „Ready, Set, Don’t Go.“ Jana Kramer, an actress in the teen drama One Tree Hill, released a country album in 2012 that has produced two hit singles as of 2013. Actress Hayden Panettiere began recording country songs as part of her role in the TV series Nashville.
In 2010, the group Lady Antebellum won five Grammys, including the coveted Song of the Year and Record of the Year for „Need You Now a UK No28 hit in the mainstream single chart, rare for a country song „.
A large number of duos and vocal groups have begun to emerge on the charts in the 2010s, many of which feature close harmony in the lead vocals. In addition to Lady Antebellum, groups such as The Quebe Sisters Band, Little Big Town, The Band Perry, Gloriana, Thompson Square, Eli Young Band the Zac Brown Band and British duo The Shires have emerged to occupy a large portion of the new country artists in the popular scene. Along with solo singers Kacey Musgraves and Miranda Lambert.
One of the most commercially successful country artists of the late 2000s and early 2010s has been singer-songwriter Taylor Swift. Swift first became widely known in 2006 when her debut single, „Tim McGraw,“ was released when Swift was only 16. In 2006, Taylor released her first studio album, Taylor Swift, which spent 275 weeks on Billboard 200, one of the longest runs of any album on that chart. In 2008, Taylor Swift released her second studio album, Fearless, which made her the second-longest Number One charted on Billboard 200 and the second best-selling album (just behind Adele’s 21) within the past 5 years. At the 2010 Grammys, Taylor Swift was 20 and won Album of the Year for Fearless, which made her the youngest artist to win this award. Swift has received seven Grammys already. Buoyed by her teen idol status among girls and a change in the methodology of compiling the Billboard charts to favor pop-crossover songs, Swift’s 2012 single „We Are Never Ever Getting Back Together“ spent the most weeks at the top of Billboard’s Hot Country Songs chart of any song in nearly five decades. The song’s long run at the top of the chart was somewhat controversial, as the song was largely a pop song without much country influence and its success on the charts driven by a change to the chart’s criteria to include airplay on non-country radio stations, prompting disputes over what constitutes a country song; many of Swift’s later releases, such as „Shake It Off,“ were released solely to pop audiences.
The September 11 attacks of 2001 and the economic recession sparked Country music back into the spotlight. Many country artists, such as Alan Jackson with his ballad on terrorist attacks, „Where Were You (When the World Stopped Turning)“, wrote songs that celebrated the military, highlighted the gospel, and rearranged home values over wealth. In contrast, more rock-oriented country singers took more direct aim at the attacks‘ perpetrators; Toby Keith’s „The Angry American (Courtesy of the Red, White and Blue)“ threatened to „a boot in“ the posterior of the enemy, while Charlie Daniels’s „This Ain’t No Rag, It’s a Flag“ promised to „hunt“ the perpetrators „down like a mad dog hound.“ These songs gained such recognition that it put Country music back into popular culture.
The influence of rock music in country has become more overt during the late 2000s and early 2010s as artists like Eric Church, Jason Aldean, and Brantley Gilbert have had success; Aaron Lewis, former frontman for the rock group Staind, had a moderately successful entry into country music in 2011 and 2012. Also rising in the late 2000s and early 2010s was the insertion of rap and spoken-word elements into country songs; artists such as Cowboy Troy and Colt Ford have focused almost exclusively on country rap (also known as hick hop) while other, more mainstream artists (such as Big & Rich and Jason Aldean) have used it on occasion.
In the 2010s, Bro-country, a genre noted primarily for its themes on drinking and partying, girls, and driving, became particularly popular. Notable artists associated with this genre are Luke Bryan, Jason Aldean, Blake Shelton, and Florida Georgia Line whose song „Cruise“ became the best-selling country song of all time. Research suggested that about 45 percent of country’s best-selling songs could be considered bro-country, with the top two artists being Luke Bryan and Florida Georgia Line. Albums by bro-country singers also sold very well – in 2013, Luke Bryan’s Crash My Party was the third best-selling of all albums in the US, with Florida Georgia Line’s Here’s to the Good Times at sixth, and Blake Shelton’s Based on a True Story at ninth. It is also thought that the popularity of bro-country helped country music to surpass classic rock as the most popular genre in America in 2012. The genre however is controversial as it has been criticized by other country musicians and commentators over its themes and depiction of women, opening up up a divide between the older generation of country singers and the younger bro country singers that was described as „civil war“ by musicians, critics, and journalists.“
Reba McEntire is the only artist to amass No. 1 singles in the past four decades.[citation needed] The most played female artist of 2000s is Martina McBride.
Attempts to combine punk and country were pioneered by Jason and the Scorchers, and in the 1980s Southern Californian cowpunk scene with bands like the Long Ryders. These styles merged fully in Uncle Tupelo’s 1990 LP No Depression, which is widely credited as being the first alt-country album, and gave its name to the online notice board, and eventually magazine, that underpinned that movement. Members and figures associated with Uncle Tupelo formed three major bands in the genre: Wilco, Son Volt, and Bottle Rockets. Other influential bands included Blue Mountain, Whiskeytown and Ryan Adams, Blood Oranges, Bright Eyes, Lucinda Williams, and Drive-By Truckers. Some alt-country songs have been crossover hits, including Ryan Adams’s „When The Stars Go Blue,“ which charted when performed by Tim McGraw.
Outside of the United States, Canada has the largest country music fan and artist base, something that is to be expected given the two countries‘ proximity and cultural parallels. Mainstream country music is culturally ingrained in the prairie provinces, Ontario, and in Atlantic Canada. Celtic traditional music developed in Atlantic Canada in the form of Scottish, Acadian and Irish folk music popular amongst Irish, French and Scottish immigrants to Canada’s Atlantic Provinces (Newfoundland, Nova Scotia, New Brunswick, and Prince Edward Island). Like the southern United States and Appalachia, all four regions are of heavy British Isles stock and rural; as such, the development of traditional music in the Maritimes somewhat mirrored the development of country music in the US South and Appalachia 2016 hermes tassen. Country and Western music never really developed separately in Canada; however, after its introduction to Canada, following the spread of radio, it developed quite quickly out of the Atlantic Canadian traditional scene. While true Atlantic Canadian traditional music is very Celtic or „sea shanty“ in nature, even today, the lines have often been blurred. Certain areas often are viewed as embracing one strain or the other more openly. For example, in Newfoundland the traditional music remains unique and Irish in nature, whereas traditional musicians in other parts of the region may play both genres interchangeably.
Don Messer’s Jubilee was a Halifax, Nova Scotia-based country/folk variety television show that was broadcast nationally from 1957 to 1969. In Canada it out-performed The Ed Sullivan Show broadcast from the United States and became the top-rated television show throughout much of the 1960s. Don Messer’s Jubilee followed a consistent format throughout its years, beginning with a tune named „Goin‘ to the Barndance Tonight“, followed by fiddle tunes by Messer, songs from some of his „Islanders“ including singers Marg Osburne and Charlie Chamberlain, the featured guest performance, and a closing hymn. It ended with „Till We Meet Again“.
The guest performance slot gave national exposure to numerous Canadian folk musicians, including Stompin‘ Tom Connors and Catherine McKinnon. Some Maritime country performers went on to further fame beyond Canada. Hank Snow, Wilf Carter (also known as Montana Slim), and Anne Murray are the three most notable.
The cancellation of the show by the public broadcaster in 1969 caused a nationwide protest, including the raising of questions in the Parliament of Canada.
The Prairie provinces, due to their western cowboy and agrarian nature, are the true heartland of Canadian country music. While the Prairies never developed a traditional music culture anything like the Maritimes, the folk music of the Prairies often reflected the cultural origins of the settlers, who were a mix of Scottish, Ukrainian, German and others. For these reasons polkas and Western music were always popular in the region, and with the introduction of the radio, mainstream country music flourished. As the culture of the region is western and frontier in nature, the specific genre of country and western is more popular today in the Prairies than in any other part of the country. No other area of the country embraces all aspects of the culture, from two-step dancing, to the cowboy dress, to rodeos, to the music itself, like the Prairies do. The Atlantic Provinces, on the other hand, produce far more traditional musicians, but they are not usually specifically country in nature, usually bordering more on the folk or Celtic genres.
Many traditional country artists are present in eastern and western Canada. They make common use of fiddle and pedal steel guitar styles. Some notable Canadian country artists include Shania Twain, Anne Murray, k.d. lang, Gordon Lightfoot, Buffy Sainte-Marie, George Canyon, Blue Rodeo, Tommy Hunter, Rita MacNeil, Stompin‘ Tom Connors, Stan Rogers, Ronnie Prophet, Carroll Baker, The Rankin Family, Ian Tyson, Johnny Reid, Paul Brandt, Jason McCoy, George Fox, Carolyn Dawn Johnson, Hank Snow, Don Messer, Wilf Carter, Michelle Wright, Terri Clark, Prairie Oyster, Family Brown, Johnny Mooring, Marg Osburne, Doc Walker, Emerson Drive, The Wilkinsons, Corb Lund and the Hurtin‘ Albertans, Crystal Shawanda, Dean Brody, Shane Yellowbird, Gord Bamford, Chad Brownlee, The Road Hammers, Rowdy Spurs and The Higgins.
Australian country music has a long tradition. Influenced by American country music, it has developed a distinct style, shaped by British and Irish folk ballads and Australian bush balladeers like Henry Lawson and Banjo Paterson. Country instruments, including the guitar, banjo, fiddle and harmonica, create the distinctive sound of country music in Australia and accompany songs with strong storyline and memorable chorus.
Folk songs sung in Australia between the 1780s and 1920s, based around such themes as the struggle against government tyranny, or the lives of bushrangers, swagmen, drovers, stockmen and shearers, continue to influence the genre. This strain of Australian country, with lyrics focusing on Australian subjects, is generally known as „bush music“ or „bush band music“. „Waltzing Matilda“, often regarded as Australia’s unofficial national anthem, is a quintessential Australian country song, influenced more by British and Irish folk ballads than by American country and western music. The lyrics were composed by the poet Banjo Paterson in 1895. Other popular songs from this tradition include „The Wild Colonial Boy“, „Click Go the Shears“, „The Queensland Drover“ and „The Dying Stockman“. Later themes which endure to the present include the experiences of war, of droughts and flooding rains, of Aboriginality and of the railways and trucking routes which link Australia’s vast distances.
Pioneers of a more Americanised popular country music in Australia included Tex Morton (known as „The Father of Australian Country Music“) in the 1930s. Author Andrew Smith delivers a through research and engaged view of Tex Morton’s life and his impact on the country music scene in Australia in the 1930s and 1940s. Other early stars included Buddy Williams, Shirley Thoms and Smoky Dawson. Buddy Williams (1918–1986) was the first Australian-born to record country music in Australia in the late 1930s and was the pioneer of a distinctly Australian style of country music called the bush ballad that others such as Slim Dusty would make popular in later years. During World War II, many of Buddy Williams recording sessions were done whilst on leave from the Army. At the end of the war, Williams would go on to operate some of the largest travelling tent rodeo shows Australia has ever seen.
In 1952, Dawson began a radio show and went on to national stardom as a singing cowboy of radio, TV and film. Slim Dusty (1927–2003) was known as the „King of Australian Country Music“ and helped to popularise the Australian bush ballad. His successful career spanned almost six decades, and his 1957 hit „A Pub with No Beer“ was the biggest-selling record by an Australian to that time, and with over seven million record sales in Australia he is the most successful artist in Australian musical history. Dusty recorded and released his one-hundredth album in the year 2000 and was given the honour of singing „Waltzing Matilda“ in the closing ceremony of the Sydney 2000 Olympic Games. Dusty’s wife Joy McKean penned several of his most popular songs.
Chad Morgan, who began recording in the 1950s, has represented a vaudeville style of comic Australian country; Frank Ifield achieved considerable success in the early 1960s, especially in the UK Singles Charts, and Reg Lindsay was one of the first Australians to perform at Nashville’s Grand Ole Opry in 1974. Eric Bogle’s 1972 folk lament to the Gallipoli Campaign „And the Band Played Waltzing Matilda“ recalled the British and Irish origins of Australian folk-country. Singer-songwriter Paul Kelly, whose music style straddles folk, rock, and country, is often described as the poet laureate of Australian music.
By the 1990s, country music had attained crossover success in the pop charts, with artists like James Blundell and James Reyne singing „Way Out West“, and country star Kasey Chambers winning the ARIA for Best Female Artist in 2003. The crossover influence of Australian country is also evident in the music of successful contemporary bands The Waifs and the John Butler Trio. Nick Cave has been heavily influenced by the country artist Johnny Cash. In 2000, Cash, covered Cave’s „The Mercy Seat“ on the album American III: Solitary Man, seemingly repaying Cave for the compliment he paid by covering Cash’s „The Singer“ (originally „The Folk Singer“) on his Kicking Against the Pricks album. Subsequently, Cave cut a duet with Cash on a version of Hank Williams‘ „I’m So Lonesome I Could Cry“ for Cash’s American IV: The Man Comes Around album (2002).
Popular contemporary performers of Australian country music include John Williamson (who wrote the iconic „True Blue“), Lee Kernaghan (whose hits include „Boys from the Bush“ and „The Outback Club“), Gina Jeffreys, Forever Road and Sara Storer. In the United States, Olivia Newton-John, Sherrié Austin and Keith Urban have attained great success.
Country music has been a particularly popular form of musical expression among Indigenous Australians. Troy Cassar-Daley is among Australia’s successful contemporary indigenous performers, and Kev Carmody and Archie Roach employ a combination of folk-rock and country music to sing about Aboriginal rights issues.
The Tamworth Country Music Festival began in 1973 and now attracts up to 100,000 visitors annually. Held in Tamworth, New South Wales (country music capital of Australia), it celebrates the culture and heritage of Australian country music. During the festival the CMAA holds the Country Music Awards of Australia ceremony awarding the Golden Guitar trophies. Other significant country music festivals include the Whittlesea Country Music Festival (near Melbourne) and the Mildura Country Music Festival for „independent“ performers during October, and the Canberra Country Music Festival held in the national capital during November.
Country HQ showcases new talent on the rise in the country music scene down under. CMC (the Country Music Channel), a 24‑hour music channel dedicated to non-stop country music, can be viewed on pay TV and features once a year the Golden Guitar Awards, CMAs and CCMAs alongside international shows such as The Wilkinsons, The Road Hammers, and Country Music Across America.
Country music is popular in the UK, with many US acts touring regularly there. There are some British country music acts and publications. One of the most sucessful of the 21st Century are female-male due The Shires who scored a hit album „Brave (album), a No10 in the mainstream UK Album Chart and No1 in the UK Country Music Chart, becoming the best selling album of this genre in the UK in 2015.
There is the C2C: Country to Country festival held every year, and for many years there was a festival at Wembley Arena, which was broadcast on the BBC, the International Festivals of Country Music, promoted by Mervyn Conn, held at the venue between 1969 and 1991. The shows were later taken into Europe, and featured such stars as Johnny Cash, Dolly Parton, Tammy Wynette, David Allan Coe, Emmylou Harris, Boxcar Willie, Johnny Russell and Jerry Lee Lewis. A handful of country musicians had even greater success in mainstream UK music than they did in the United States, despite a certain amount of disdain from the music press; Faron Young, Slim Whitman and (at least from number of top 40 pop singles) Garth Brooks are some examples.
From within the UK, few country musicians achieved widespread mainstream success. Tom Jones, by this point near the end of his peak success as a pop singer, had a string of country hits in the late 1970s and early 1980s. The songwriting tandem of Roger Cook and Roger Greenaway wrote a number of country hits, in addition to their widespread success in pop songwriting; Cook is notable for being the only Briton to be inducted into the Nashville Songwriters Hall of Fame.
Tom Roland, from the Country Music Association International, explains country music’s global popularity: „In this respect, at least, Country Music listeners around the globe have something in common with those in the United States. In Germany, for instance, Rohrbach identifies three general groups that gravitate to the genre: people intrigued with the American cowboy icon, middle-aged fans who seek an alternative to harder rock music and younger listeners drawn to the pop-influenced sound that underscores many current Country hits.“
One of the first Americans to perform country music abroad was George Hamilton IV. He was the first country musician to perform in the Soviet Union; he also toured in Australia and the Middle East. He was deemed the „International Ambassador of Country Music“ for his contributions to the globalization of country music. Johnny Cash, Emmylou Harris, Keith Urban, and Dwight Yoakam have also made numerous international tours.
The Country Music Association undertakes various initiatives to promote country music internationally.
In Brazil, a musical genre known as música sertaneja, a very popular genre of music in Brazil, is very similar to American country music, sharing the music’s rich history of development in the countryside.
In South America, on the last weekend of September, the yearly San Pedro Country Music Festival takes place in the town of San Pedro, Argentina. The festival features bands from different places of Argentina, as well as international artists from Brazil, Uruguay, Chile, Peru and the United States.
In India, the Anglo-Indian community is well known for enjoying and performing country music. An annual concert festival called „Blazing Guitars“ held in Chennai brings together Anglo-Indian musicians from all over the country (including some who have emigrated to places like Australia).
In Ireland TG4 began a quest for Ireland’s next country star called Glór Tíre, translated as „Country Voice“. It is now in its sixth season and is one of TG4’s most watched TV shows. Over the past ten years country and gospel recording artist James Kilbane has reached multi-platinum success with his mix of Christian and traditional country influenced albums. James Kilbane like many other Irish artists are today working closer with Nashville. A recent success in the Irish arena has been Crystal Swing.
In Sweden, Rednex rose to stardom combining country music with electro-pop in the 1990s. In 1994, the group had a worldwide hit with their version of the traditional Southern tune „Cotton-Eyed Joe“. Artists popularizing more traditional country music in Sweden have been Ann-Louise Hanson, Hasse Andersson, Kikki Danielsson, Elisabeth Andreassen and Jill Johnson.
In Poland an international country music festival, known as Piknik Country, has been organized in Mrągowo in Masuria since 1983.
There are more and more country music artists in France. Some of the most important are Liane Edwards, Annabel, Rockie Mountains, Tahiana, and Lili West. French rock and roll superstar Eddy Mitchell is also very inspired by Americana and country music.
In Iran, country music has appeared in recent years. According to Melody Music Magazine, the pioneer of country music in Iran is the English-speaking country music band Dream Rovers, whose founder, singer and songwriter is Erfan Rezayatbakhsh (elf). The band was formed in 2007 in Tehran, and during this time they have been trying to introduce and popularize country music in Iran by releasing two studio albums and performing live at concerts, despite the difficulties that the Islamic regime in Iran makes for bands that are active in the western music field.
Six U.S. cable TV networks are at least partly devoted to the genre: Country Music Television and CMT Pure Country (both owned by Viacom), Rural Free Delivery TV (owned by Rural Media Group), Great American Country (owned by Scripps Networks), Heartland (owned by Luken Communications), and ZUUS Country (owned by ZUUS Media).
The first American country music video cable channel was The Nashville Network, launched in the early 1980s. In 2000, after it and CMT fell under the same corporate ownership, the channel was renamed and reformatted as The National Network, a general-interest network, and eventually became Spike TV. TNN was later revived from 2012 to 2013 after Jim Owens Entertainment acquired the trademark and licensed it to Luken Communications; that channel renamed itself Heartland after Luken was embroiled in an unrelated dispute that left the company bankrupt.
Only one television channel is currently dedicated to country music in Canada: CMT (Canada) owned by Corus Entertainment (90%) and Viacom (10%). In the past, country music had an extensive presence, especially on the Canadian national broadcaster, CBC Television. The show Don Messer’s Jubilee had a great impact on country music in Canada; for instance, it was the program that launched Anne Murray’s career. Country Hoedown and its successor, The Tommy Hunter Show, ran for a combined 32 years on the CBC, from 1960 to 1992; in its last nine years on air, the U.S. cable network TNN carried Hunter’s show.
The only network dedicated to country music in Australia is the Country Music Channel owned by Foxtel.

Talbot Frederick Rothwell

Talbot Frederick Rothwell was born in West Virginia on February 27, 1887 to T. J. and Mary Jane Cross Rothwell. Educated in the public schools of both his native state and Ohio, he began his career in the oil fields and eventually moved to Saratoga, Texas, where he found work with the production division of the Sun Oil Company. On August 13, 1913, he married Mabel Martha Lee, the daughter of Thomas Peter Lee, and to this union, three daughters were born: Mary Elizabeth, Essie Lee, and Virginia Mae.
In 1914 he and Miles Franklin Yount formed the Yount-Rothwell Oil Company, which later became the Yount-Lee Oil Company, of which he became vice president and superintendent of production—and eventually its president.
Tal Rothwell had numerous business ties and held directorships on the boards of the Citizen National Bank of Sour Lake, Texas, the First National Bank of Beaumont, the Lake Tool Company, and the Rex Supply Company of Sour Lake. A devoutly religious man with a gentle voice and calm demeanor, he rose as one of the leaders of the First Methodist Church of Beaumont, where he was steward and chairman of the finance committee 2016 chanel kleding, and the music committee. Once during the Depression, when the church needed $39,000 to complete an addition to the Sunday School building prada tassen 2016, the Rothwells contributed $30,000 to the cause. They also donated the Aeolian-Skinner organ, and a new parsonage to First Methodist.
As a civic leader, Tal served on the Texas Y.M.C.A. board as a member-at-large; was vice president of the Community Chest board, and president of the board of directors of the Beaumont General Hospital, which later became St. Therese. As a devoted family man and humanitarian 2016 hermes tassen, he recognized the fact that some oil field roughnecks tended to drink away their paychecks immediately after receiving them. Due to a genuine concern that his employees’ families were not being adequately fed and clothed, at times he summoned the wives to Spindletop and gave their husbands’ pay to them directly to ensure that they would at least have the opportunity to see the money first. This type of spirit prevailed within the Yount-Lee organization, and Rothwell, like the other company officers, contributed some of his personal income to other worthy causes, which included aid to the area’s needy families.
After the sale of the Yount-Lee Oil Company, Tal Rothwell maintained an office on the fifteenth floor of the San Jacinto Building in Beaumont, Texas, where he looked after his family’s personal investments. He died at age sixty-two on December 16, 1949.
Afterward, Mabel donated the Rothwell Bible Chair and Wesley Foundation to Lamar State College of Technology (now Lamar University), and the dedication was held on February 8, 1953. However, while discussing the terms of her will with Marvin McClendon and Martin Davis, certified public accountants; Harry Garnham, the Rothwell business manager for years; and Ken Linsley, another connection to the estate, she died suddenly of a heart attack in her home on November 14 of that same year. Both “Papa Tal” and Mabel are buried at Beaumont’s Magnolia Cemetery 2016 dior schoenen.

Church of Saint Simeon Stylites

The Church of Saint Simeon Stylites (Arabic: كنيسة مار سمعان العمودي‎ Kanīsat Mār Simʿān al-ʿAmūdī) is a historical building located about 30 km (19 mi) northwest of Aleppo, Syria. It is the oldest surviving Byzantine church, dating back to the 5th century. Built on the site of the pillar of St. Simeon Stylites, a famed hermit monk, the church is popularly known as either Qalaat Semaan (Arabic: قلعة سمعان‎ Qalʿat Simʿān) casual dresses, the ‚Fortress of Simeon‘, or Deir Semaan (Arabic: دير سمعان‎ Dayr Simʿān), the ‚Monastery of Simeon‘ .
As of June 2011, the Church and surrounding village was designated by United Nations Educational bogner ski, Scientific and Cultural Organization (UNESCO) as part of the „Ancient Villages of Northern Syria“, a World Heritage Site Sandro Botticelli.
The Church was held by Islamist extremist groups (including Islamic State) who are opposed to reverence for and existence of shrines and holy sites, both Muslim and Christian raising concerns for its continued existence Discount Bogner outlet 2016. On the 28th of May 2015 the church was captured by the Kurdish YPG/YPJ with apparently little damage.

The Baptistry
South facade of Church of Saint Simeon
Icon of Saint Simeon
Media related to Church of Saint Simeon Stylites at Wikimedia Commons

La Passe du diable

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La Passe du Diable est un film français coréalisé par Jacques Dupont et Pierre Schoendoerffer, sorti en 1956.

Alors que son grand frère Mokhi refuse de l’emmener au grand jeu de bouzkachi de Kaboul, auquel il va participer pour représenter la province de Kataghan, le jeune Rahim décide de s’y rendre par ses propres moyens. Guidé par l’ange de la mort, Azraël soccer jerseys 2016 outlet, Rahim parvient difficilement à Kaboul. Là, humilié par un autre cavalier, Ouroz, Rahim ronge la sangle du cheval de ce dernier. Mais c’est Mokhi qui monte le cheval. S’élançant pour le prévenir alors que le jeu a commencé, l’enfant meurt piétiné par les cavaliers, tandis que Mokhi remporte le bouzkachi sans que la sangle n’ait cédé.
Tourné en 1956 en Afghanistan, sur le thème du bouzkachi, avec des cavaliers locaux dans les principaux rôles, le film est sorti dès 1956 dans les festivals, le film n’a été lancé commercialement qu’en 1958 et la sortie commerciale française ne fut effective qu’en 1959. Jacques Dupont est le réalisateur du film, en collaboration avec Pierre Schoendoerffer, sur un scénario et des dialogues de Joseph Kessel. Sorti major de l’IDHEC en 1945, Dupont avait déjà une solide expérience du cinéma en terrain difficile, avec notamment Crèvecœur (1955), film tourné avec le Bataillon français de Corée, dont les volontaires jouaient leur propre rôle tout en combattant. Sur La Passe du Diable, Schoendoerffer n’était en fait que son second, car il n’avait jamais réalisé de longs-métrages auparavant sortie de chemise de football adidas.
L’écrivain et journaliste Joseph Kessel est à l’origine de ce film adidas soccer jerseys 2016 outlet. En effet, il se lie d’amitié avec le jeune Pierre Schoendoerffer au cours d’un précédent reportage en Birmanie, sur la trace des pierres précieuses. Schoendoerffer qui justifie d’un parcours déjà bien aventureux, se rêve alors en cinéaste. Kessel lui, songe à un voyage vers les steppes de l’Afghanistan mais se heurte à une nouvelle réalité : les grands journaux ne financent plus l’envoi d’un reporter des mois à l’autre bout du globe. Le meilleur prétexte trouvé pour financer une expédition longue est le tournage d’un film. Kessel convainc Georges de Beauregard, un jeune producteur promis à un bel avenir (il produira plus tard A bout de Souffle, Le Mépris, Lola, Doulos, ou encore Le Crabe tambour), de se joindre au projet. Plus difficile est l’obtention du soutien du Centre national de la cinématographie française, qui rechigne à autoriser un Kessel et un Schoendoerffer inexpérimentés à réaliser leur première œuvre. L’immense renommée de Kessel contribue à persuader l’institution qui impose toutefois au duo d’être « chaperonné » par Jacques Dupont, réalisateur chevronné.
Le roman de Kessel Le Jeu du roi situé en Afghanistan, raconte la genèse et le tournage de ce film. Quant à son chef-d’œuvre, Les cavaliers (qui sera lui-même adapté au cinéma en 1971 dans le film Les Cavaliers par John Frankenheimer, avec Omar Sharif et Jack Palance), il s’enracine avec force dans un Afghanistan dont il tombe fou amoureux, et narre l’épopée sublime de quelques Tchopendoz, cavaliers de bouzkachi sortie de chemise de football adidas. Les différents récits que Joseph Kessel tire du voyage amènent les premiers touristes à découvrir ce royaume paisible et accueillant, victorieux de la tutelle britannique et qui ne connaît pas encore l’invasion soviétique.

Verziere

Coordinate: 45°27′46.88″N 9°11′45.31″E / 45.463023°N 9.195919°E45.463023; 9.195919
Il Verziere era l’antico mercato ortofrutticolo di Milano. Attualmente si trova in via Cesare Lombroso, è chiamato „Ortomercato“ o, più generalmente, „Mercati Generali“, un mercato all’ingrosso gestito dalla SOGEMI.
Probabilmente il primo verzee stava in piazza del Duomo, che venne sgomberato nel 1684, quasi ottant’anni dopo la decisione comunale
Venne spostato più a Sud Ovest, vicino a una porta della città (Porta del Verziere, attualmente Piazza Fontana. Vi si trova vicino l’Arcivescovado. Carlo Torre scrive: „dopo d’essere stato il primiero suo sito parte di quel delizioso Giardino, detto Viridario, ora Verziere, mutossi in Palagio Ecclesiastico da Giovanni Visconti …“.
Questa zona in età longobarda aveva preso il toponimo di “rauda” (terra da bonificare)

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. In questo sito era stata da poco costruito un monumento votivo, noto oggi come Colonna del Verziere. Fu infatti iniziata nel 1580, come ex voto per la cessazione dell’epidemia di peste del 1577, ma solo nel 1673 fu completata con la collocazione della statua di Cristo Redentore che la sovrasta. La statua fu scolpita da Giuseppe e Gian Battista Vismara su disegno di Francesco Maria Richini

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.
Nel 1911 è spostato dal Verziere (strada che ancora oggi ne porta il nome) a corso XXII Marzo, adiacente allo scalo merci di Porta Vittoria (Parco Vittorio Formentano). L’area era occupata dal 1848 da un fortino del maresciallo austriaco Josef Radetzky

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, riconquistato dai milanesi dopo le cinque giornate. In generale il mercato vendeva all’ingrosso, ma dal 1959 il sabato fu dedicato alla vendita al dettaglio.
Nel 1965 l’ortomercato fu trasferito nell’attuale sede di via Lombroso: la struttura era ormai superata e la sua posizione, vicinissima al centro, causava enormi problemi alla circolazione. Dell’ampio complesso di edifici resterà solo la Palazzina Liberty, che ospitava il vecchio bar centrale del mercato dove si svolgeva il „Borsino del Mercato“. Questo edificio ha assunto un grande ruolo nella vita culturale della città, ospitando oggi manifestazioni culturali.
Nel 1966, nell’attuale Largo Augusto, una delle antiche sedi del mercato, viene inaugurato il monumento a Carlo Porta

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, opera dello scultore Ivo Soli.
Il mercato di via Lombroso è attualmente gestito dalla SOGEMI.
Tuttavia, storicamente, è documentata la presenza di un mercato ortofrutticolo in numerosi posti, come Largo Richini, Piazza Fontana, Largo Augusto, Piazza Santo Stefano. Un altro „erede“ del verziere „ufficiale“ fu il mercato di piazza Beccaria, sorto nel 1954, spostato a sua volta in piazza San Nazaro e quindi definitivamente in largo Richini, nel quale rimane attualmente solo un chiosco.

Jack L. Bracelin

Jack L. Bracelin was an influential figure in the early history of the neopagan religion of Wicca, being a High Priest of Gardnerian Wicca who had been initiated into the craft by Doreen Valiente in 1956 and had been a member of the Bricket Wood coven.

Prior to being initiated into the craft 2016 Bogner Ski Jackets, Bracelin had worked for the British police in Palestine and had later worked for a paint company.
In 1956 cheap puma soccer cleats outlet 2016, Bracelin was initiated into Wicca through the Bricket Wood coven by the High Priestess Doreen Valiente.
In 1959 Bracelin met the Sufi writer and practitioner Idries Shah at a table in the Cosmo Restaurant in Swiss Cottage, North London. Shah was interested in Wicca, and Bracelin introduced him to Gardner. Shah wrote Gardner’s official biography, Gerald Gardner: Witch, which was published by his own company, Octagon Press, in 1960. However, he used Bracelin’s name as a pseudonym because he did not want to cause confusion amongst his Sufi students and friends as to his interest in a different religion.
Bracelin was one of the beneficiaries of Gardner’s estate at his death, along with Monique Wilson and Patricia Crowther. Bracelin himself inherited enough of the naturist club that he could take it over.
Bracelin later resigned from being the Bricket Wood coven’s High Priest, and soon left the coven itself, because, according to coven member Frederic Lamond, „he asked himself whether the Book of Shadows‘ simplified ceremonial magic rituals expressed his own religious feelings, and concluded they did not“. In 1966 he married a young woman in a ceremony held in a Roman Catholic church

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, which many members of the Wica felt showed that he had turned his back on the craft.
However, Bracelin continued to allow the coven to meet at the Witches‘ cottage, on the condition that they paid rent on the plot of land upon which it was situated. In 1975, Bracelin tried to get them to pay for the nudist club’s electrictiy as well, which the coven members were unwilling to do, and so they sold their plot to another nudist.
Bracelin was a supporter of the hippie movement of the 1960s and 1970s, believing that it embodied the „life-affirming Goddess values“ in its „true expression“. Partially for this reason, he opened a disco in the West End of London, but it was a financial failure.
In June 1976, Bracelin, who was in financial failure, was forced to sell the nudist club, though the new owners agreed to pay Bracelin a small pension

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. Bracelin retired to live in Greece, and it was here that he died in 1983 of a heart attack.
Bracelin is survived by his son Leon Bracelin (1973) and Grandson Jacque Leon Talbot (1991)

Jewgeni Ilgisowitsch Barejew

Jewgeni Ilgisowitsch Barejew (russisch Евгений Ильгизович Бареев, wiss. Transliteration Evgenij Il’gizovič Bareev, englische Schreibweise, die von der FIDE verwendet wird: Evgeny Bareev; * 21. November 1966 in Jemanschelinsk, Oblast Tscheljabinsk) ist ein russischer Schachspieler der Weltspitze, der seit September 2015 für den kanadischen Schachverband gemeldet ist.

Barejew gewann 1982 die Kadettenweltmeisterschaft U16. Er entwickelte sich schachlich rasant weiter, so qualifizierte er sich bereits 1985 durch einen Sieg in Charkow (vor unter anderem Sergei Dolmatow) bei der UdSSR-Liga für die UdSSR-Meisterschaft 1986, bei der er 3.-7 funktional Bogner. wurde. Ende der 1980er Jahre stieg Barejews Stern auf: Er gewann 1987 in Vrnjačka Banja, 1989 in Trnava, 1989 in Moskau und Aosta, 1990 in Dortmund (Open), Moskau und teilte im selben Jahr bei der UdSSR-Meisterschaft in Leningrad Platz 1 bis 4. 1990/91 gewann er in Hastings, 1991/92 und 1992/93 (mit Judit Polgár) erneut. 1994 in Pardubice, im selben Jahr wurde er Zweiter beim nach K.-o.-System ausgetragenen Turnier in Tilburg nach einer 0,5:1,5-Niederlage gegen Waleri Salow, nachdem er Ex-Weltmeister Anatoli Karpow im Halbfinale mit 1,5:0,5 ausgeschaltet hatte.
1995 wurde er im K.-o.-Turnier von Wijk aan Zee Zweiter nach einer Finalniederlage (1,5:2,5) gegen Alexei Drejew. Im selben Jahr gewann Barejew gemeinsam mit Alexei Schirow in León und wurde Zweiter bei der russischen Meisterschaft in Elista hinter Alexander Chalifman. 1999 wurde er Zweiter hinter Garri Kasparow in Sarajevo, 2000 Zweiter hinter Wassyl Iwantschuk in Montecatini Terme. Beim FIDE-World-Cup in Shenyang 2000 unterlag er im Finale dem Inder Viswanathan Anand mit 0,5:1,5. Beim FIDE-World-Cup im Schnellschach 2001 in Cannes wurde Barejew im Finale von Garri Kasparow mit 1,5:0,5 geschlagen.
2002 errang er einen seiner größten Erfolge: er gewann in Wijk aan Zee. Beim Braingames-Kandidatenturnier 2002 in Dortmund unterlag Barejew Wesselin Topalow im Schnellschach und schied im Halbfinale aus, im selben Jahr gewann er ein stark besetztes Schnellschachturnier in Warschau. 2003 spielte er in einem Wettkampf in Maastricht 2:2 (+0, -0, =4) gegen das Schachprogramm HIARCS. Im selben Jahr gewann er in Enghien-les-Bains. 2005 gewann er in Kasan das sehr stark besetzte Halbfinale zur russischen Meisterschaft in Moskau, bei der er Vierter wurde. Beim FIDE-World-Cup in Chanty-Mansijsk 2005 wurde Barejew nach einem Platzierungssieg über Boris Gelfand Fünfter und qualifizierte sich für das von der FIDE wieder eingeführte Kandidatenturnier. Dort gewann er in der ersten Runde gegen Judit Polgár mit 3,5:2,5, schied in der zweiten Runde aber gegen Péter Lékó mit 1,5:3,5 aus.
Bei mehreren Wettkämpfen, darunter dem Weltmeisterschaftskampf Kasparow-Kramnik 2000 in London, war Barejew Sekundant von Wladimir Kramnik. Er schrieb darüber zusammen mit dem Journalisten Ilja Lewitow das Buch From London to Elista (2007, ISBN 9056912194). Er war von 2010 bis 2011 Trainer der russischen Nationalmannschaft. 2011 erhielt er den Titel FIDE Senior Trainer.
Jewgeni Barejew nahm 1990 mit der sowjetischen, später mit der russischen Nationalmannschaft an fünf Schacholympiaden teil und gewann diese 1990, 1994, 1996 und 1998 nike soccer Ausrüstungen Online-Shop 2016, wobei er 1996 gleichzeitig das zweitbeste Einzelergebnis der Reservespieler erreichte. Ferner nahm Barejew an drei Mannschaftsweltmeisterschaften teil, er gewann 1997 und 2005 mit der russischen Mannschaft und erreichte 1993 am dritten Brett und 2005 bei den Reservespielern jeweils das beste Einzelergebnis. Außerdem vertrat er Russland bei vier Mannschaftseuropameisterschaften und gewann diese 1992 und 2003.
Barejew gewann die Russische Mannschaftsmeisterschaft 1996 mit Ladja Asow, später trat er bei diesem Wettbewerb für Norilski Nikel Norilsk (2001 und 2002) Discount Nike Strumpf Steckdose 2016, Ladja Kasan-1000 (2004) Bogner Jacken Sale, Termosteps Samara (2005 und 2006), Elara Tscheboksary (2007), SchSM-64 Moskau (2008) und Ural Jekaterinburg (2009) an. In der deutschen Bundesliga spielte Barejew in der Saison 1991/92 beim Münchener SC 1836 und von 1999 bis 2002 beim Lübecker Schachverein von 1873, mit dem er 2001 und 2002 deutscher Mannschaftsmeister wurde. Die niederländische Meesterklasse gewann Barejew 2005 mit ZZICT/De Variant Breda, die spanische Mannschaftsmeisterschaft 2008 mit CCA CajaCanarias Santa Cruz, die bosnische Premijerliga 2003 mit dem ŠK Bosna Sarajevo, in Frankreich spielte er in der Saison 2002/03 bei Clichy Echecs. Barejew nahm zwölfmal am European Club Cup teil und gewann den Wettbewerb 1994 mit Lyon-Oyonnax, 1997 mit Ladja Asow sowie 1999 und 2000 mit dem ŠK Bosna Sarajevo.
Barejew | Biyiasas | Bluvstein | Charbonneau | Hansen | Kovalyov | Lesiège | Roussel-Roozmon | Sambuev | Spraggett | Suttles | Tiomkin
Verstorbene Großmeister Iwanow | Yanofsky

Liste der Kulturgüter in Mumpf

Die Liste der Kulturgüter in Mumpf enthält alle Objekte in der Gemeinde Mumpf im Kanton Aargau Bogner Jacken Sale, die gemäss der Haager Konvention zum Schutz von Kulturgut bei bewaffneten Konflikten 2016 billige Fußball Nike Strumpf, dem Bundesgesetz vom 6. Oktober 1966 über den Schutz der Kulturgüter bei bewaffneten Konflikten sowie der Verordnung vom 17. Oktober 1984 über den Schutz der Kulturgüter bei bewaffneten Konflikten unter Schutz stehen.
Objekte der Kategorien A und B sind vollständig in der Liste enthalten (Stand: 1 Puma Fußballschuhe auf Verkauf 2016. Januar 2015) funktional Bogner. Unter übrige Baudenkmäler sind weitere geschützte Objekte zu finden, die in der Bau- und Nutzungsordnung der Gemeinde verzeichnet und nicht bereits in der Liste der Kulturgüter enthalten sind.

Die Tabelle enthält im Einzelnen folgende Informationen:
Der Inhalt der Tabelle ist absteigend nach der Kulturgüterkategorie und innerhalb dieser alphabetisch sortiert.

Legende: Siehe Legende der Liste der Kulturgüter von nationaler und regionaler Bedeutung. Anstelle der KGS-Nummer wird als Objekt-Identifikator (ID) die Inventar- oder Gebäudenummer in der Bau- und Nutzungsordnung der Gemeinde verwendet.
Hellikon | Kaiseraugst | Magden | Möhlin | Mumpf | Obermumpf | Olsberg | Rheinfelden | Schupfart | Stein | Wallbach | Wegenstetten | Zeiningen | Zuzgen

The Crystal Method

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The Crystal Method est un duo de musique électronique composé de Ken Jordan et de Scott Kirkland, originaires de Las Vegas (Nevada, États-Unis), créé en 1993 à Los Angeles (Californie, États-Unis). Leur style de musique se compose de breakbeat et de big beat, teinté de sonorités funk, hip-hop et rock.

Les compositions du groupe sont souvent utilisées dans des œuvres télévisuelles (Keep Hope Alive : générique de la série New York 911, générique de Bones, illustration sonore de la série Malcolm et un épisode des experts (dead ringer)) cinématographiques (Matrix, Blade II, Blade: Trinity, 60 secondes chrono, xXx, Zoolander, London, The extremists…) ainsi que dans de nombreux jeux vidéo (Need For Speed: Underground ou le titre Name of the Game dans Splinter Cell, Gran Turismo 2, Gran Turismo 4, FIFA 98

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, Smile et Starting Line dans le jeu Blur soccer jerseys 2016 outlet, le 22 aout 2013, le duo compose aux côtés de Riot Games, le thème de Lucian, (114e champion de League Of Legend), Ils renouvellent leur collaboration en composant en 2015 avec Dada Life le thème Musical Kinetic qui accompagne la sortie du Skin ultime DJ Sona.
En France, l’émission foot de Canal+ maillots adidas en ligne, Canal Football Club crampons de football de puma pas cher, a utilisé le morceau Weapons of Mass Distortion comme générique.
Leur cinquième album est sorti le 14 janvier 2014, pour les 20 ans du groupe.
À l’annonce de la sortie de leur album, ils ont sorti le single „Emulator“.
Le 4 novembre 2013, ils ont dévoilé le premier single du nouvel album „Over it“ en collaboration avec Dia Frampton (en)

Grüsen

51.0011111111118 Bogner Jacken Herren.9511111111111268Koordinaten: 51° 0′ 4″ N, 8° 57′ 4″ O
Grüsen ist ein Stadtteil von Gemünden (Wohra) im Landkreis Waldeck-Frankenberg in Hessen.
Der Ort liegt zwischen Kellerwald und Burgwald in Mittelhessen. Im Osten verlaufen die Landesstraße 3073 und die Schweinfe.
Grüsen wurde im Jahre 780 erstmals im Güterverzeichnis des Klosters Hersfeld urkundlich erwähnt, nämlich mit dem Ortsnamen Grosiun. Später ist der Ort als „Gruose“ (1057), „Grusa“ (1201) und „Grusin“ (1211/16) belegt. 1927 gehörte das Dorf zum Amtsgericht Rosenthal und zum Finanzamt Frankenberg

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. 1933 hatte der Ort 303 Einwohner. Am 31 nike footaball Strumpf und Kappe Auslass. Dezember 1971 kam der Ort im Zuge der Gebietsreform in Hessen zur Stadt Gemünden an der Wohra.
Die evangelische Kirche ist ein 1833 errichteter Saalbau im klassizistischen Stil mit Dachreiter Bogner Outlet. Die U-förmig umlaufende Empore ist auf die hoch gesetzte Kanzel ausgerichtet. Ihr gegenüber auf der Empore hat Carl Jakob Ziese 1841-43 eine Orgel errichtet.
Ellnrode | Grüsen | Herbelhausen | Lehnhausen | Schiffelbach | Sehlen