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Womanly Virtues
In defense of Shania Twain
By Beverly Keel
from 1998, however it still applies to today
You can email Beverly Keel at
bkeel@mtsu.edu |
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As the denizens
of Music Row take time to reflect on 1998 during this holiday season,
one of the things they should be most thankful for is Shania Twain.
But don't expect members of the industry to extend any seasonal
generosity to the Canadian diva, who has become the Rodney Dangerfield
of country music. Despite her mass appeal--which is luring new fans to
country music at a time when country needs all the ears it can
get--she gets no respect. Instead, she's been called the Farrah
Fawcett of country music.
While the country music industry can't deny Twain's success--more than
15 million records sold, heavy video airplay on MTV and VH1, the cover
of Rolling Stone--many resent the very factors that are central to her
popularity: a crossover sound, a focus on image, and a refusal to play
the Music Row game. But aren't these the very traits needed to break
Nashville out of its sound-alike, A&R-by- committee doldrums?
The rumors began rolling down Music Row as soon as her CDs started
rolling off the shelves: She couldn't sing live; she was a
recording-studio creation of husband/producer Robert "Mutt" Lange. It
was easy for detractors to take their pot shots, since she chose not
to tour in support of her second record, and few people heard her when
she toured to promote her debut. All the rumors were laid to rest,
however, during her 1998 tour, when she proved that she sounds just
like she does on her recordings.
The most frequent criticisms have been about what Twain isn't: "She
isn't country," one manager told me. "She's no Trisha Yearwood," one
label president said, while a music journalist pointed out that she
isn't Wynonna or Patty Loveless either. "It's a good thing Hank
Williams Sr. is dead; this would kill him," wrote a critic for The
(Cleveland) Plain Dealer, noting that Twain "looked more like an
aerobics teacher than someone carrying on the legacy of Patsy Cline."
But Twain never claimed to be carrying the country-music torch, and
she has never pretended to be one of the genre's top vocalists. What
rule says she has to be like Cline, or Yearwood, or Sara Evans?
For decades now, country music has been negotiating the difference
between traditional and contemporary, and as we've learned, the music
only has a future so long as it stays current. If pop fans are drawn
to Twain, perhaps they'll investigate further and check out Reba or
Vince Gill. Isn't this the very reason why Garth Brooks was heralded
as the savior of Tune Town only a few years ago?
Twain is precisely what she has advertised herself to be: an
entertaining singer/songwriter who makes the music she wants to make
without compromising or kowtowing to the industry or to radio. And
that's what Music Row can't stand: She's an outsider who has succeeded
on her own terms. "I don't listen to the industry at all," she told
The Hartford Courant. "I'm much more interested in what the fans
think."
Bucking a long-standing country tradition, she didn't tour incessantly
or rely on radio-safe songs. Instead she flaunted her looks in
expensive videos and bypassed many of the gatekeepers of the Nashville
star-making machine. But then, Twain has never really been a member of
Nashville's country club, partly because she (gasp!) moved North
before she broke through, and partly because of her personality.
Indeed, despite her sexy, bouncy videos, Twain isn't warm, bubbly, or
eager to please. She's reserved and slow to let others in. On this
basis, critics can certainly argue that she's manufactured, but in the
end what does it matter? All music stars--country and pop--create
personae. Isn't it more a question of the kind of posturing they
resort to? In this regard, isn't Garth Brooks' "aw shucks" routine a
lot more insidious than Twain's comely maiden?
Maybe one of the reasons Twain has received so much flak is because
the gender-driven double standard is still thriving. She creates the
image of being a sexy, voluptuous woman, yet she's driven, focused,
and direct. As the cliché goes, such businesslike traits are
considered assets in male singers, but in Twain, they're seen as
liabilities. Nashville has seen its share of driven women--Dolly
Parton, Reba McEntire, and Pam Tillis--but the difference is that
Twain doesn't temper her drive with humor, subtlety, or modesty.
Even more curious is the fact that Twain's supposedly sexy image
really isn't all that overdone--or all that different from any other
Nashville performer. Much ado has been made about her revealing
clothing, but it's actually much less revealing than legend would have
you believe. Except for the occasional CMA Awards gown, she rarely
shows any cleavage, and she never shows her legs. She may look hot,
but her moves are G-rated.
OK, so her pants are tight, but Brooks admits that he wears his
onstage pants two sizes too small. And what about all the other male
singers bulging out of their painted-on Wranglers? She's not the only
one using sex to sell music--she's just the best at it.
It can be argued that Twain's success serves as a mirror through which
we're forced to confront our own feelings about the marketing of
female sexuality. Her image forces us to address stereotypes about
women and beauty, women and success, women and artistry. While she
certainly doesn't represent Everywoman--no one does--she does
encapsulate many of the desires, quandaries, and contradictions of
young independent women. She's the ultimate Cosmo girl, the purveyor
of girl power in country. (And I'd like to think there's a little bit
of a Spice Girl in all of us.)
While the media might herald other acts such as Garth Brooks and LeAnn
Rimes, little noise has been made here about Twain's accomplishments,
which continue to stack up--whether it's her inclusion in VH1's pop
divas event, her bona fide pop hit with "You're Still the One," or
landing the most nominations at the American Music Awards. The record
execs, publicists, and managers who touted every Garth Brooks' move
with a Chamber of Commerce-like enthusiasm ("Garth's success is
country's success!") are now tight-lipped with their praise for Twain.
Twain has exceeded country music's parameters, yet she remains one of
its finest ambassadors. She is helping Nashville overcome the
much-detested hay-bale image the industry has been trying to shed for
a decade. While Music Row is still bickering over whether or not she's
country, the rest of America thinks she is, and they like what they
see. As she continues to climb the career ladder, she may well be
making room for more acts that don't fit neatly into the country
industry's mold, while making pop fans more open to country music.
When she succeeds, Nashville wins |
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