Some context: Reba Nell McEntire was born March 28, 1955, in McAlester, Oklahoma, to Jacqueline (nee Smith; born November 6, 1926) and Clark Vincent McEntire (November 30, 1927 - October 23, 2014). Her father, and her grandfather, John Wesley McEntire (February 19, 1897 - February 13, 1976), were both champion steer ropers and her father was a World Champion Steer Roper three times (1957, 1958, and 1961). John McEntire was the son of Clark Stephen McEntire (September 10, 1855 - August 15, 1935) and Helen Florida McEntire (nee Brown; May 19, 1868 - May 16, 1947).
On October 21, 2014, it was announced that McEntire would be the inaugural signing for Big Machine's new imprint Nash Icon Music. She also disclosed that she was working on a new album, with 11 new songs. Her first single for the new label, "Going Out Like That", was announced December 16, 2014 and was released on January 6, 2015. It served as the lead-off single to Love Somebody, McEntire's twenty-seventh studio album, released on April 14, 2015. Love Somebody debuted at No. 1 on the Billboard Top Country Albums--her twelfth number-one album on the chart--and No. 3 on Billboard 200, selling 62,469 copies in the U.S. The album has sold 171,600 copies in the U.S. as of October 5, 2015. In 2016, McEntire was selected as one of thirty artists to perform on "Forever Country", a mash-up track of Take Me Home, Country Roads, On the Road Again and I Will Always Love You which celebrates 50 years of the CMA Awards. McEntire released her third Christmas album My Kind of Christmas on September 2, 2016. The album was exclusively sold at Cracker Barrel and online. She also announced she would soon be selling her own line of clothing, home decor, jewelry and other things under the "Rockin' R by Reba" line also at Cracker Barrel. McEntire was a guest judge on the July 13, 2016 episode of America's Got Talent. She used her golden buzzer, which she could only use once and allowed an act to go straight to the live shows, on contortionist Sofie Dossi.
What album is this
A: McEntire's twenty-seventh studio album,
Some context: Judith Butler FBA (born February 24, 1956) is an American philosopher and gender theorist whose work has influenced political philosophy, ethics and the fields of third-wave feminist, queer and literary theory. Since 1993, she has taught at the University of California, Berkeley, where she is now Maxine Elliot Professor in the Department of Comparative Literature and the Program of Critical Theory. She is also the Hannah Arendt Chair at the European Graduate School. Butler is best known for her books Gender Trouble:
In this essay, Judith Butler proposes her theory of gender performativity, which would be later taken up in 1990 throughout her work, Gender Trouble. She begins by basing her theory of gender performativity on a feminist phenomenological point of view. She suggests that both phenomenology and feminism ground their theories in "lived experience". Further, in comparing phenomenologist Maurice Merleau-Ponty and feminist Simone de Beauvoir, Butler argues that both theories view the sexual body as a historical idea or situation; she accepts this notion of a "distinction between sex, as biological facticity, and gender, as the cultural interpretation or signification of that facticity". This combination of theories is essential for founding Butler's view of "theatrical" or performative genders in society. Butler argues that it is more valid to perceive gender as a performance in which an individual agent acts. The performative element of her theory suggests a social audience. For Butler, the "script" of gender performance is effortlessly transmitted generation to generation in the form of socially established "meanings": She states, "gender is not a radical choice... [nor is it] imposed or inscribed upon the individual". Given the social nature of human beings, most actions are witnessed, reproduced, and internalized and thus take on a performative or theatric quality. With Butler's theory, gender is essentially a performative repetition of acts associated with the male or female. Currently, the actions appropriate for men and women have been transmitted to produce a social atmosphere that both maintains and legitimizes a seemingly natural gender binary. Consistently with her acceptance of the body as a historical idea, she suggests that our concept of gender is seen as natural or innate because the body "becomes its gender through a series of acts which are renewed, revised, and consolidated through time". Butler argues that the performance of gender itself creates gender. Additionally, she compares the performativity of gender to the performance of the theater. She brings many similarities, including the idea of each individual functioning as an actor of their gender. However, she also brings into light a critical difference between gender performance in reality and theater performances. She explains how the theater is much less threatening and does not produce the same fear that gender performances often encounter because of the fact that there is a clear distinction from reality within the theater. Butler uses Sigmund Freud's notion of how a person's identity is modeled in terms of the normal. She revises Freud's notion of this concept's applicability to lesbianism, where Freud says that lesbians are modeling their behavior on men, the perceived normal or ideal. She instead says that all gender works in this way of performativity and a representing of an internalized notion of gender norms.
Did she work alone?
A:
In this essay, Judith Butler proposes her theory of gender performativity, which would be later taken up in 1990 throughout her work, Gender Trouble.