The Live Performance Of Dolly Parton's Just Because I 'm A Woman

Commercially, some women have experienced extreme success while under the country music umbrella. Shania Twain, one of the most popular artists in the 1990s, “Not only is [...] country music’s most successful female artist, she also recorded the genre’s most successful album of all time, Come On Over in 1997” (McCarthy, par. 3). Taylor Swift’s 2013 arena tour to support her last country album was the most lucrative tour in North America that year, bringing in more than $113 million in ticket revenue (Sisario, par. 16). Critically, women have fared extremely well in recent years. A movement to make music acknowledging the genre’s roots has been lead by a group of female country musicians- to the admiration of critics and fans alike, if they get the chance to hear the music. Since 2014, seven of fifteen nominees for the Grammy Award for country album of the year have been women, with two of the three winners being female (Leight, par. 28-30). If women are given the opportunity to be heard on the radio and develop a fanbase, the chances to achieve a high level of prosperity are just as high as their male counterparts’. The level of critical success experienced by some new female artists shows that women and the themes they portray in their songs appeal to many people, even if the music is not being heard by the

Dolly Parton is so much more than what people see her as. She is much more than a “Barbie doll,” that is why I am going to inform the class about Dolly Parton’s early life, her career, and about information that most people do not know about her. Additionally, I want to make the class more familiar with some of Dolly Parton’s most sensible words, which serve as valuable quotes to live by. I want people to know how wonderful Dolly Parton is so that less people will possess negative opinion about her. Dolly Parton proves that there is so much more to people than just their looks.

Combining with the motif of protest was the issues of women rights. Women celebrated the 50th anniversary of the 19th amendment, and liberal abortion laws in the year of 1970. No longer merely entertainment, popular music became a powerful means of protest and an effective force for social change. The whole feeling of fighting for what is right was often found in lyrics and music of the time. Although women had been in the music industry for centuries the song of the seventies that backed the idea of woman’s push for power was “I Am Women,” by Helen Reddy. The first line simply stats the mood of the whole song by stating, “I am women, hear me roar.”

Charlotte Church speaks out about this issue saying “The culture of demeaning women in pop music is so ingrained as to become routine, from the way we are dealt with by management and labels, to the way we are presented the public” (Chase par. 9). This leads to questions, for example, must women be sexualized to gain greater earnings? Does sex truly sell? When we examine artists such as Julia Hotter, HAIM, or Polica, we perceive them as strong artists who are unrestricted in their art by their gender or sexuality. However, when comparing their success, sexualized women have dominated the music industry. Chase explains that women are allowed to fill three main roles in modern pop music: One of the Girls’ Girls, the Victim/ Torch Singer, and Unattainable Sexbot. Artists such as Beyoncé would be considered “One of the Girls’ Girls” who are for women power and are considered empowering. Adele is considered a “Victim/Torch Singer” even though she does not use sexuality to sell records, lyrically, she perceives the wronged women and creates a state of despair. An “Unattainable Sexbot” would be, without a doubt, Miley Cyrus, whose main goal is to be the most successful in the music industry by being hyper-sexualized and unrealistic. If an artist does not fit into one of these categories, they generally have a much harder time being one of the most successful in the music

Robin Thicke’s music video to his song “Blurred Lines” avidly contributes to the patriarchy, while portraying sexism, gender standards, and beauty standards. His music video can be analyzed from a feminist theory approach, as it’s evident that his song and video contribute to a patriarchal society and its inherently sexist and sexualized ideologies. The ideology behind the song and music video is purely sexual and about male dominance. The lyrics to the song and actions in the video exhibit extreme over sexualization and objectification of the women. Analyzing this piece of popular culture through a feminist approach opens up a provoking conversation about how popular culture functions in a patriarchal culture. Analyzing pop culture though a feminist theory can allow for a larger variety and more in-depth analysis about the social aspects and political agenda within popular culture.

In 1997, Shania Twain released the song “Man I feel like a woman!”. The catchy melody immediately made this song a huge hit, but it’s the meaning of the lyrics that made it the feminist anthem that is still loved after so many years. The music video itself is empowering as it shows a confident Shania in the spotlight surrounded by her male musicians. However, the lyrics are what this analysis is more focused on. Twain sings about being her true self and letting loose. The song is an example of feminism, because it challenges gender stereotypes, the pressure put on girls to look a certain way and gender norms. The argument will be structured in three paragraphs, each developing on one of the ideas found in the thesis.

“On Broadway, although some female roles are narrow, demeaning, passive, or long-suffering and convey weakness, the performer sings with incredible strength. Listening to the female singing voice is a more complicated phenomenon. Visually, the character singing is the passive object of our gaze. But aurally, she is resonant; her musical speech drowns out everything in range. A singer, more than any other musical performer, stands before us having wrested the composing voice away from the lyricist and composer who wrote the score.” Said Musicologist Carolyn Abbate (Wolf, p.31)

One important theme of the women of the 1920’s that connects various aspects of the women is their sexuality. The women before those who became empowered in the 1920’s would never open up about their sexuality. The women prior to the 1920’s had an image of modesty and were viewed to be married to only one man. In 1920, the women began to express their sexual desires freely. Singers like Bessie Smith could paint a picture and bring anything to life with just her voice. One example by Bessie Smith “I’m Wild About That Thing”. In this song, Bessie Smith sings of how she loves her man and how happy he makes her. In her lyrics she says “Do it easy honey don’t get

Since its inception, country music has proven to be? as a powerful outlet to express the view of the contemporary culture. As a result, the lyrical value of such songs provides listeners an insight to the changing climate of social and political ideologies. During the 60’s defined gender roles dominated social lifestyle and was were? mimicked in music. In recent years, a resurgence of idealistic, stereotypical gender-specific roles have cropped up in country songs, creating a subgenre labelled “bro-country.” Jody Rosen of the New York Times first coined the term “bro-country” in order to describe songs that use lyrical tools idealizing dominant, hegemonic gender roles present in culture. Songs such as Tim McGraw’s “How I’ll Always Be,” Luke Bryan’s “Huntin’, Fishin’, Lovin’, Every Day,” Sam Hunt’s “Make you Miss Me,” and Dierks Bently’s “Different for Girls” use the lyrical discourse, under the lens of “bro-country”, to highlight dominant, male gender-specific roles, while simultaneously reinforcing prominent, often negative, views of women.

Country music has proven as a powerful medium to express the views of the contemporary culture. As a result, the lyrical value of such songs provides listeners an insight to the changing climate of social and political ideologies. During the 1960’s defined gender roles dictated social lifestyles and were mimicked in music. In recent years, a resurgence of idealistic, stereotypical gender-specific roles have cropped up in country songs, creating a subgenre labelled “bro-country.” Jody Rosen of the New York Times first coined the term “bro-country” in order to describe songs that use lyrical tools glorifying prevailing, hegemonic gender roles present in culture. Songs such as Tim McGraw’s “How I’ll Always Be,” Luke Bryan’s “Huntin’, Fishin’, Lovin’, Every Day,” Sam Hunt’s “Make you Miss Me,” and Dierks Bently’s “Different for Girls” use the lyrical discourse, under the lens of “bro-country”, to highlight dominant, male gender-specific roles, while simultaneously reinforcing prominent, often negative, views of women.

Women’s music came from radical, grassroots origins in the 1970s thanks to contributions by brave women, mostly lesbians (Mosbacher, 2002). These women used non-violent, peaceful force to forge their own way into the music industry. It was a peaceful yet political revolution of togetherness and liberation. It brought together women of different backgrounds who produced easy-listening, mellow harmonies played with lyrics filled with tumultuous

Taylor Swift, a pop icon and polarizing figure, is often known for her empowering music, feminist attitude, and meaningful lyrics. Many of her fans praise the feminist messages some of her songs deliver, however others say she comes from a position of privilege and only advocates for white women. Still, a common perception of Swift is that she has evolved from an innocent country singer into a more controversial and sometimes provocative pop singer. What is ignored though, is that despite this perception, themes depicted in “old” Taylor’s music still displayed highly problematic concepts about gender, just in less obvious ways. Particularly in her music video for “You Belong With Me,” the audience if presented with a fulfilling love story involving a nerdy girl getting the popular. On its surface, this concept may seem normal, but the narrative of this video unintentionally conveys significant gender issues in today’s society. Thus, through her 2008 music video for “You Belong With Me,” Taylor Swift ironically presents herself as the ideal nerdy girl next door who gets the guy when she suddenly turns beautiful while demonizing a cheerleader, revealing problematic notions of how women are supposed to look and behave in society, as well as reinforcing negative female stereotypes.

Women in country songs are identified by their bodies, and clothing, which gives off a certain appearance. The song opens with talking about “bare feet” and “painted on cut off jeans”, which is calling out David Nail and his song “Whatever She’s Got” as well as “Aw Naw” by Chris Young where they both talks about the girls who “got the blue jeans painted on tight” and how everyone wants that on a saturday night. Men want a carefree woman who wears tight clothes and that everyone wants a girl who can move her body in those “painted on jeans”. Then they go on to talk about men sitting on the tailgate or their truck whistling and watching the girls, this calls out Billy Currington and his song “Hey Girl” where he talks about how all the guys are looking at her, and how she is “so hot, gotta give it a shot”, paying attention to the girl 's body and how men will flirt with women, and the control a “hot” woman has over a man making them “all tongue tied” so that they can’t think straight. Calling out multiple artist with talking about “shakin’ my moneymaker”, which makes reference to “Get Me Some of That” by Thomas Rhett

Music has become one of the most influential and extensive ways to touch people. From getting a tune stuck in your head to having a certain feeling when listening to it. Music has started to more and more show misogynistic views which is a bad influence on listeners. The question, is were there popular music not like that within the past? If there is a difference in the way women were portrayed should it change. Take two different song from different times period and see the difference in how women are depicted.

Firstly, I choose the album Coat of Many Colors because of my strong love for country music. Dolly Parton is a well-known household name, and in my house is a name that is cherished. I personally believe that the 1970’s was one of country’s finest years, where the era produced many top hits. An example of one of these top hits is Parton’s Coat of Many Colors. The album also invoked my interest is learning about the ways that Parton changed country music. It is inspiring to hear about a strong female figure making her own career in a patriarchal society. This invoked my interest in the album, learning about the effects that this album had. Overall, I feel as this album personally spoke to me and intrigued me.