Country Music, Feminism, and Saint Dolly Parton: Fliss

NOTE: To partner this essay, here’s a Spotify playlist link that includes some of the best country tracks that represent changing representations of womanhood and relationships.

In 1974, just months before he resigned in disgrace, President Richard Nixon took to the stage of the Grand Ole Opry and stated that country music was “the heart of America. It talks about family. It talks about religion ... Country music makes America a better country”. These types of statement confirm the stereotypical perspective that many people have about American country music: it’s conservative, nationalistic, and perpetuates nuclear family values. Heterosexual relationships represented used to conform the the ideal that men are Men and women are women: you better believe a woman should be like Tammy Wynette and “Stand by Her Man” (1969).

However, whilst an uber-patriarchal interpretation of country music was celebrated by Nixon and others, this ignores the populist roots of the genre. Nadine Hubbs argues that “Country music is a flashpoint … [it takes] part in cultural dialogues that both produce and push against class and status, gender and sexuality, race and ethnicity, and other formations” (Hubbs 2014, 49). To suggest that country music is inherently sexist would be to ignore the role that the music already played for those audiences that existed on the peripheries of mainstream feminism’s vision. The fact that country as a genre is often associated with people that belong to lower socio-economic classes is particularly important; the image of the ‘hillbilly’ is one commonly associated with the genre . Indeed, artists such as Dolly Parton created music that worked as a means of discussing and making sense of womanhood within working class, rural communities.

Just because I’m blonde don’t think I’m dumb / because this dumb blonde ain’t nobody’s fool

Dolly Parton’s music concerning double standards within heterosexual relationships evolved alongside the feminist movement. Parton’s music decries the demonization of feminine promiscuity, especially the ways in which working class women are stigmatised. Parton’s reclamation, and celebration, of feminine sexuality normalised the idea that women were sexual creatures, and disregarded those narratives that othered sexual women. Songs such as “Just Because I’m a Woman” (1968) argue against those double standards that condemn feminine sexuality whilst celebrating masculine sexual endeavours: “Now a man will take a good girl / And he'll ruin her reputation / But when he wants to marry / Well, that's a different situation”. She stands for those women who are misunderstood and misrepresented. The popular middle-class second-wave of feminism failed to recognise that narratives of feminine sexuality are not applicable to all women: class impacts the ‘appropriate’ boundaries of sexuality. Parton’s power as a singer-songwriter gave her a platform to transgress narratives that suggest that celebrating feminine sexual power is morally aberrant. In particular, she defends the experiences of those women who come from lower socio-economic backgrounds.

Whilst Parton was by no means the only female country artist to rock the boat in terms of gender representation, she is probably the most iconic performer to do so. The music she created during the second wave of feminist thought makes important statements about feminine sexuality yet managed to walk the line enough in order to maintain her popularity amongst conservative music radio: when considering heightened political divisions in America, her inter-generational and cross-political appeal is even more impressive. There are many reasons she has gained the nickname of “Saint Dolly Parton”, but I’d argue the main one is her songwriting: she has created a musical platform that amplifies the experiences of many women who may not have been represented otherwise.

@maishroom