Dolly Parton

Total Page:16

File Type:pdf, Size:1020Kb

Dolly Parton Ke značné popularitě Dolly Parton: Dolly pomohla i její nepřehlédnutelná Bárbína ze Smoky Mountains vizáž, a to zejména bujné poprsí a velká Padesát let na scéně, desítky hitů, pozornost D nd ixie-la blond paruka. Bě- bulvárních médií, ale hlavně spoustu výborné hem 70. let se stala muziky má za sebou Dolly Parton. Čím nás překvapí příště? ikonou, kterou znal prakticky celý svět i mimo oblast coun- songy, avšak nahrá- try. Dolly, která byla vací společnost trvala vždy trochu od rány, na tom, že se její hlas je na svůj vzhled ná- hodí spíš na pop. Její ležitě hrdá a mno- rané popové nahráv- hokrát prohlásila, ky však vůbec nebyly že „vypadat takhle úspěšné. Teprve když levně stojí spoustu se jedna z jejích skla- peněz“. Dolly také deb stala countryovým kdysi prozradila, že hitem v podání Billa se jednou inkognito Phillipse, v Monument přihlásila na soutěž Records dovolili Dolly dvojnic Dolly Parton a nepodařilo se jí zvítězit. Všechny nabídky ne- nahrávat country ma- chat se fotografovat nahá vždy odmítla, ačkoliv v roce 1978 nafotila teriál a ta se v roce sérii vyzývavých snímků pro Playboy. (Před mnoha lety Dolly údajně 1966 poprvé zviditel- v nadsázce prohlásila, že nahá se nechá fotografovat, až jí bude sto nila svým prvním hi- let – už tedy zbývá jen 28!) tem Dumb Blonde. Dolly Parton od samého počátku kariéry projevovala talent, o kterém V roce 1967 se Dolly si ostatní zpěvačky mohou nechat jen zdát. Psala si sama naprostou Parton ujal Porter Wa- většinu svých textů, a kromě toho mistrně ovládala celou řadu ná- goner a pozval ji jak strojů. Když jsem jí v roce 2011 viděl na koncertě ve Švédsku, tehdy do své televizní show, ve svých 65 letech během show postupně vystřídala 10 různých ná- tak i do zájezdního strojů od banja, houslí a steel kytary až po autoharfu a dudy (skotské, programu. Dolly vzpo- nikoliv ty její). Její muzikantství i showmanství můžeme skvěle vidět míná, že publikum ji podrobnosti nebyly nikdy zveřejněny, pouze se ví, že Wagonerovy po- v živém vystoupení písně Do I Ever Cross Your Mind, kde po skon- George Jones kdysi v jednom songu zpíval, že Dolly Parton má dva zpočátku vůbec nepři- žadavky pravidelně rozpalovaly Dolly do běla. Pár se po mnoha letech čení standardní verze zahraje zrychlenou variantu, která představuje velké důvody, proč je slavnou. Těch důvodů je však ve skutečnosti jalo a často skandovalo nakonec usmířil a roku 2007 Dolly držela Wagonera za ruku na smr- pomyslné přehrání LP desky na gramofonu s nastavenou rychlostí mnohem víc. Více než padesátiletou dráhu této ikony country music jméno zpěvačky Nor- telném lůžku v jeho posledním okamžiku. 45 RPM pro malé singly. si dnes představíme. my Jean, kterou Dolly Ke skladbě I Will Always Love You se pojí ještě jeden zajímavý pří- V roce 1987 se vrátila ke country music a spojila síly se zpěvačka- Dolly Parton se narodila v roce 1946 v horách na východě Tenne- ve Wagonerově skupi- běh. Ve stejný rok, kdy Dolly píseň vydala, o její nahrání projevil zá- mi Emmylou Harris a Lindou Ronstadt. Jejich společné album nazva- ssee a ačkoliv to řada lidí neví, Dolly je skutečně její pravé křestní ně nahradila. Dolly Par- jem Elvis Presley. Dolly souhlasila, ale jen do chvíle, kdy jí jeho mana- né Trio mělo obrovský úspěch a strávilo pět týdnů na 1. místě albové- jméno. Rodina byla velmi chudá a prostý život založený na odříkání ton a Porter Wagoner žer Colonel Parker sdělil, že Elvis bude vlastnit 50% podíl autorských ho žebříčku. V závěru 80. let si opět užívala slušný komerční úspěch a hluboké křesťanské víře se v jejích textech později často odrážel. Už utvořili úspěšné duo práv na píseň, stejně jako to dělá úplně se všemi skladbami, které a na vrchol hitparády umístila několik dalších hitů. Začátkem 90. let jako dítě se naučila hrát na podomácku vyrobenou kytaru, v 10 letech a během následujících šesti let zabodovali s celou řadou úspěšných nazpívá. Dolly s těžkým srdcem nakonec odmítla a toto rozhodnutí už byla Dolly považovaná za legendu, přestože jí bylo teprve 45 let. už pravidelně zpíva- duetů. Dolly kromě toho natáčela i sólové nahrávky a postupem času jí po letech vyneslo miliony dolarů. V roce 1992 si tuto píseň totiž Vydala ještě několik la v místním rádiu byla čím dál víc frustrovaná ze skutečnosti, že její sólové pokusy jsou vybral Kevin Costner do filmu Osobní strážce a v podání Whitney solidních desek, než a ve 13 letech se po- naprosto ignorovány a všechny zajímají jen její duety s Wagonerem. Houston se nahrávka stala celosvětovým hitem, který Dolly Parton jí převálcovala mla- prvé podívala do Na- Vše se změnilo v roce 1971, kdy Dolly poprvé vyhrála hitparádu s pís- na honorářích přinesl velké jmění. dá generace country shvillu, kde vystoupi- ní Joshua, brzy následovanou autobiografickou skladbou Coat Of V druhé polovině 70. let se Dolly orientovala více na pop. Její des- zpěvaček, které z rá- la v Grand Ole Opry Many Colors, která vypráví příběh jejího dětství a která se rovněž sta- ka Here You Come Again měla mimořádný úspěch, Dolly za ni do- dií prakticky vyhnaly a setkala se s John- la jednou z jejích nejznámějších písní. O dva roky později pak přišla stala cenu Grammy a deska se rovněž stala jejím prvním albem, jehož každého nad 40 – nym Cashem, který další velká pecka Jolene, která Dolly proslavila po celém světě. se prodalo přes milion kusů. V roce 1980 si spolu s herečkou Jane stejný scénář však ji povzbudil k vytrva- Začátkem 70. let byla z Dolly Parton slavná zpěvačka a tím pádem se Fonda zahrávala sekretářku ve filmu 9 To 5, ke kterému napsala titul- probíhal i mezi zpěvá- losti v dosažení jejího potřebovala vymanit z Wagonerova vlivu, aby se mohla plně soustře- ní song. Skladba se stala obřím hitem a vyhrála zároveň countryovou ky a kapelami a všich- snu. Následující den dit na sólovou dráhu. Wagoner měl totiž z Dolly už od konce 60. let i popovou hitparádu. Dolly tímto filmem zahájila rovněž sólovou dráhu ni starší umělci muse- po maturitě si pak zlatý důl a smluvně měl ošetřenou kontrolu nad všemi jejími texty, na- dráhu herečky, ve které se zaměřila na spíše ženské snímky. li zkrátka ustoupit. sbalila uzlíček a od- hrávkami i účinkováním v jeho show. K finálnímu rozhodnutí jeho sou- V dalších letech se s Burtem Reynoldsem objevila v hudební kome- Přestože v polovině stěhovala se do Na- bor opustit Dolly dospěla v roce 1974. Napsala pro něho píseň I Will dii Nejlepší bordýlek v Texasu, v trapném propadáku Kočičí zlato se 90. let její komerční shvillu, kde se začala Always Love You a když mu jí poprvé přehrála, dojatý Wagoner sou- snažila ze Sylvestra Stalloneho udělat country hvězdu (to měla vzdát úspěch prudce pokle- živit jako textařka. hlasil, že ji propustí pod podmínkou, že tuto píseň bude moci sám už po přečtení scénáře) a významnou roli sehrála i v utahaném slaďá- sl, Dolly nezahálela Psal se rok 1964 produkovat. Tak se stalo a skladba I Will Always Love You téhož roku ku Ocelové magnólie. a natočila společné a Dolly bylo 18 let. vyletěla na 1. místo hitparády. Díky filmům a velké oblibě u popového publika si Dolly získala ješ- album s Lorettou Lynn Po nějaké době Dolly se vydala na sólovou dráhu a Wagoner brzy zjistil, o jaký zdroj tě více příznivců. Své úspěchy v oblasti popu pak završila v roce a Tammy Wynet- v Nashvillu začala příjmů tím přišel, tak milou Dolly roku 1979 zažaloval o 3 miliony do- 1985 megahitem Islands In The Stream, který natočila jako duet te pod názvem Hon- také natáčet vlastní larů. Vleklý spor byl začátkem 80. let mimosoudně vypořádán a jeho s Kennym Rogersem. ky Tonk Angels, roku 28 | CHROM & PLAMENY CHROM & PLAMENY | 29 HUDBA DREW MORELAND – DREW MORELAND Texas, to není jen stát. Texas, to je stav mysli, stav duše. Jako učebnicový příklad texaské country by se dala použít deska, se kterou právě debutuje čtyřiatřicetiletý ro- dák ze San Antonia Drew Moreland. Pláně i hory svého rodného státu obráží sám i se svou kapelou The Neon Hustle teprve od roku 2016, ale za písně z vlastní autorské dílny, které na albu najdete, by se nemusely stydět ani renomované country hvězdy. Drewovi se podařilo vyvarovat se obvyklých klišé typu pickupy, holky a pivo značky Lonestar a místo toho vás provede po zapadlých prašných cestách i opuštěných dálnicích západního Texasu. Rozžhavené slunce pozvolna zapadá a do krvava zbarvený písek se míchá s roztaveným asfal- tem, stejně jako se hřích potkává s vykoupením, tradiční hodnoty s pokušením a ztracené duše s těmi, kteří v zápase o své místo na světle (zatím) uspěli. Drew Moreland je přesně tam, kde má být a kde mu Další silné album přišlo v roce 2011, jme- produkovala muzikál 9 To 5 pro Broadway, je dobře. Jeho hlas má přesně tu správnou dávku naléhavého amatérismu i přesvědčivosti, kapela za ním novalo se Better Day a Dolly v rámci jeho provozuje síť restaurací a v Pigeon Forge se spolehlivě drží osvědčeného outlaw soundu s dominantními kytarovými a steelkovými sóly, zbytečně propagace zavítala i do Evropy. Kolekce Blue v Tennessee má už od roku 1986 dokonce nevyčnívá ani nepřehlušuje to podstatné – Drewovy příběhy. Největší peckou desky je jednoznačně oteví- Smoke přišla v roce 2014, opět podpořená svůj vlastní zábavní park Dollywood, kte- rák a stoprocentní hit Road Stone, který vás správně naladí a navnadí k poslechu celého alba a pak si ho světovým turné a zatím poslední desku na- rý ročně navštíví 3 miliony turistů. V rámci s největší pravděpodobností pustíte znova. • www.drewmoreland.com 1995 se dostalo velké pozornosti nové verzi později navázala spolupráci s řetězcem restau- zvanou Pure & Simple vydala Dolly v roce svých charitativních akcí už léta provozuje písně I Will Always Love You v duetu s Vincem rací Cracker Barrel, pro které vydala exkluzivně 2016.
Recommended publications
  • Pat Paxton in PHOENIX Airplay Leaders the Interview Page 3 Page 17 Page 33
    POWER Entercom’s IS FORTY 31 PAT PAXTON IN PHOENIX Airplay Leaders The Interview PAGE 3 PAGE 17 PAGE 33 SEPTEMBER 2008 Guitar Heroes: Tim Hattrick (l) and Willy D. Loon (r) don the KNIX logo suits and bookend PD Alan Sledge. KNIX IS 4 In Phoenix hen Buck Owens bought KNIX-FM in Phoenix for $75,000, few could have imagined the extent to which his station’s commitment to country and to its listeners would succeed. At its peak, the station Wwas beyond dominant and, more important, perhaps the most influential and trendsetting Country station ever on the FM dial. As KNIX celebrates its 40th anniversary, Country Aircheck contacted several current and former executives for their favorite recollections of the station Buck built. and 30 Dolly Parton look-alike contestants paraded onstage Michael Owens, KNIX GM 1978-1999: before more than 1,000 listeners who had jammed into the Sometime in early 1979 – about a year after I became General club. Unfortunately, another 500 couldn’t get in because the Manager of KNIX-AM/FM – we were struggling with ratings place was filled! We had a couple people from RCA/Nashville and revenue. We were 10th or 12th at the time, trying hard to (Dolly’s label at the time) as judges, along with local newspaper break through to become a player in this big Phoenix market. We and TV celebrities. Local TV stations covered it live and the came up with an idea for a promotion and teamed with a local Phoenix Gazette newspaper ran a front-page photo plus a two- independent gasoline company to sell gas at 10 cents per gallon.
    [Show full text]
  • THE STAGING of the FEMALE BODY in University of Stavanger COUNTRY MUSIC [email protected]
    MÜZİKTE TEMSİL & MÜZİKSEL TEMSİL II ‘STAND BY YOUR MAN’ Lise K. Özgen THE STAGING OF THE FEMALE BODY IN University of Stavanger COUNTRY MUSIC [email protected] I am going to look at performativity and expressions of femininity in popular music; more specifically in country music. An interesting example can be the Canadian singer d.lang, where the transition between women/man dynamic to a more ambiguous gender construction is fundamental in how lang represents herself through her songs. Performativity The connection between gender and performance has been discussed in many cultural theoretical settings, using the term ‘masquerade’. The term has become an important and nuanced theoretical aspect of femininity and its representation. Joan Riviere’s ‘Womanliness as a Masquerade’ from 1929 holds a key place in discussion of female sexuality in psychoanalysis. Riviere argued that femininity was a performance where there was no genuine femininity separate from the masquerade; there is no distinction between authentic womanliness and its masquerade. “Womanliness ... could be assumed and worn as a mask, both to hide the possession of masculinity and to avert the reprisals expected if she was found to possess it…” (Riviere 1929:213). According to this, gendered identities are produced and performed in everything one does, and there is no gendered identity separate from performance. Performance demands the idea of an act, where the performer constructs a fabricated or invented identity. In this context we can also include Judith Butler’s ideas about performativity. We as individuals create ourselves through activities. Performance is not something passive which carries in it an inherent meaning; instead we are created by active actions that confirm meaning.
    [Show full text]
  • Tolono Library CD List
    Tolono Library CD List CD# Title of CD Artist Category 1 MUCH AFRAID JARS OF CLAY CG CHRISTIAN/GOSPEL 2 FRESH HORSES GARTH BROOOKS CO COUNTRY 3 MI REFLEJO CHRISTINA AGUILERA PO POP 4 CONGRATULATIONS I'M SORRY GIN BLOSSOMS RO ROCK 5 PRIMARY COLORS SOUNDTRACK SO SOUNDTRACK 6 CHILDREN'S FAVORITES 3 DISNEY RECORDS CH CHILDREN 7 AUTOMATIC FOR THE PEOPLE R.E.M. AL ALTERNATIVE 8 LIVE AT THE ACROPOLIS YANNI IN INSTRUMENTAL 9 ROOTS AND WINGS JAMES BONAMY CO 10 NOTORIOUS CONFEDERATE RAILROAD CO 11 IV DIAMOND RIO CO 12 ALONE IN HIS PRESENCE CECE WINANS CG 13 BROWN SUGAR D'ANGELO RA RAP 14 WILD ANGELS MARTINA MCBRIDE CO 15 CMT PRESENTS MOST WANTED VOLUME 1 VARIOUS CO 16 LOUIS ARMSTRONG LOUIS ARMSTRONG JB JAZZ/BIG BAND 17 LOUIS ARMSTRONG & HIS HOT 5 & HOT 7 LOUIS ARMSTRONG JB 18 MARTINA MARTINA MCBRIDE CO 19 FREE AT LAST DC TALK CG 20 PLACIDO DOMINGO PLACIDO DOMINGO CL CLASSICAL 21 1979 SMASHING PUMPKINS RO ROCK 22 STEADY ON POINT OF GRACE CG 23 NEON BALLROOM SILVERCHAIR RO 24 LOVE LESSONS TRACY BYRD CO 26 YOU GOTTA LOVE THAT NEAL MCCOY CO 27 SHELTER GARY CHAPMAN CG 28 HAVE YOU FORGOTTEN WORLEY, DARRYL CO 29 A THOUSAND MEMORIES RHETT AKINS CO 30 HUNTER JENNIFER WARNES PO 31 UPFRONT DAVID SANBORN IN 32 TWO ROOMS ELTON JOHN & BERNIE TAUPIN RO 33 SEAL SEAL PO 34 FULL MOON FEVER TOM PETTY RO 35 JARS OF CLAY JARS OF CLAY CG 36 FAIRWEATHER JOHNSON HOOTIE AND THE BLOWFISH RO 37 A DAY IN THE LIFE ERIC BENET PO 38 IN THE MOOD FOR X-MAS MULTIPLE MUSICIANS HO HOLIDAY 39 GRUMPIER OLD MEN SOUNDTRACK SO 40 TO THE FAITHFUL DEPARTED CRANBERRIES PO 41 OLIVER AND COMPANY SOUNDTRACK SO 42 DOWN ON THE UPSIDE SOUND GARDEN RO 43 SONGS FOR THE ARISTOCATS DISNEY RECORDS CH 44 WHATCHA LOOKIN 4 KIRK FRANKLIN & THE FAMILY CG 45 PURE ATTRACTION KATHY TROCCOLI CG 46 Tolono Library CD List 47 BOBBY BOBBY BROWN RO 48 UNFORGETTABLE NATALIE COLE PO 49 HOMEBASE D.J.
    [Show full text]
  • 2011 – Cincinnati, OH
    Society for American Music Thirty-Seventh Annual Conference International Association for the Study of Popular Music, U.S. Branch Time Keeps On Slipping: Popular Music Histories Hosted by the College-Conservatory of Music University of Cincinnati Hilton Cincinnati Netherland Plaza 9–13 March 2011 Cincinnati, Ohio Mission of the Society for American Music he mission of the Society for American Music Tis to stimulate the appreciation, performance, creation, and study of American musics of all eras and in all their diversity, including the full range of activities and institutions associated with these musics throughout the world. ounded and first named in honor of Oscar Sonneck (1873–1928), early Chief of the Library of Congress Music Division and the F pioneer scholar of American music, the Society for American Music is a constituent member of the American Council of Learned Societies. It is designated as a tax-exempt organization, 501(c)(3), by the Internal Revenue Service. Conferences held each year in the early spring give members the opportunity to share information and ideas, to hear performances, and to enjoy the company of others with similar interests. The Society publishes three periodicals. The Journal of the Society for American Music, a quarterly journal, is published for the Society by Cambridge University Press. Contents are chosen through review by a distinguished editorial advisory board representing the many subjects and professions within the field of American music.The Society for American Music Bulletin is published three times yearly and provides a timely and informal means by which members communicate with each other. The annual Directory provides a list of members, their postal and email addresses, and telephone and fax numbers.
    [Show full text]
  • 'Dolly Celebrates 25 Years of Dollywood' Talent Bios
    ‘DOLLY CELEBRATES 25 YEARS OF DOLLYWOOD’ TALENT BIOS DOLLY PARTON - "I've always been a writer. My songs are the door to every dream I've ever had and every success I've ever achieved," says Dolly Parton of her incredible career, which has spanned nearly five decades and is showing no signs of slowing down. An internationally renowned superstar, the iconic and irrepressible Parton has contributed countless treasures to the world of music entertainment, penning classic songs such as "Jolene," "Coat of Many Colors," and her mega-hit "I Will Always Love You." With 1977's crossover hit "Here You Come Again," she successfully erased the line between country and pop music without noticeably altering either her music or her image. "I'm not leaving country," she said at the time, "I'm just taking it with me." Making her film debut in the 1980 hit comedy “9 to 5,” Parton earned rave reviews for her performance and an Oscar nomination for writing the title tune, along with her second and third Grammy Awards. Roles in “Steel Magnolias,” “Best Little Whorehouse in Texas,” “Rhinestone,” and “Straight Talk” followed, along with two network television series, made for television movies, network and HBO specials, and guest-starring roles in series television. In 2006, Parton earned her second Oscar nomination for "Travelin' Thru," which she wrote for the film “Transamerica.” Dolly Parton's remarkable life began very humbly. Born January 19, 1946 on a farm in Sevier County, Tennessee, Parton is the fourth of twelve children. Her parents, Robert Lee and Avie Lee Parton struggled to make ends meet in the impoverished East Tennessee hills.
    [Show full text]
  • Off the Beaten Track
    Off the Beaten Track To have your recording considered for review in Sing Out!, please submit two copies (one for one of our reviewers and one for in- house editorial work, song selection for the magazine and eventual inclusion in the Sing Out! Resource Center, our multimedia, folk-related archive). All recordings received are included in Publication Noted (which follows Off the Beaten Track). Send two copies of your recording, and the appropriate background material, to Sing Out!, P.O. Box 5460 (for shipping: 512 E. Fourth St.), Bethlehem, PA 18015, Attention Off The Beaten Track. Sincere thanks to this issues panel of musical experts: Roger Dietz, Richard Dorsett, Tom Druckenmiller, Mark Greenberg, Victor K. Heyman, Stephanie P. Ledgin, John Lupton, Andy Nagy, Angela Page, Mike Regenstreif, Peter Spencer, Michael Tearson, Rich Warren, Matt Watroba, Elijah Wald, and Rob Weir. liant interpretation but only someone with not your typical backwoods folk musician, Jodys skill and knowledge could pull it off. as he studied at both Oberlin and the Cin- The CD continues in this fashion, go- cinnati College Conservatory of Music. He ing in and out of dream with versions of was smitten with the hammered dulcimer songs like Rhinordine, Lord Leitrim, in the early 70s and his virtuosity has in- and perhaps the most well known of all spired many players since his early days ballads, Barbary Ellen. performing with Grey Larsen. Those won- To use this recording as background derful June Appal recordings are treasured JODY STECHER music would be a mistake. I suggest you by many of us who were hearing the ham- Oh The Wind And Rain sit down in a quiet place, put on the head- mered dulcimer for the first time.
    [Show full text]
  • Backwoods Girl
    Backwoods Girl 36 Count, 4 Wall, Improver Web site: www.linedancermagazine.com Choreographer: Chris Hodgson (UK) June 2008 Choreographed to: Backwoods Barbie by E-mail: [email protected] Dolly Parton, CD: Backwoods Barbie Start on Vocals 1-8 TOUCH HEEL-TOE / GRAPEVINE RIGHT-TOUCH / TOUCH HEEL-TOE 1-2 Touch Right Heel Forward, Touch Right Toe Next To Left Foot 3-4 Step Right To Right Side, Cross Left Behind Right 5-6 Step Right To Right Side, Touch Left Foot Next To Right 7-8 Touch Left Heel Forward, Touch Left Toe Next To Right Foot (12 o’clock) 9-16 GRAPEVINE LEFT With 1/2 TURN RIGHT-BRUSH / STEP FWD-TAP / STEP BACK-TAP 1-2 Step Left To Left Side, Cross Right Behind Left 3-4 Step Left 1/4 Turn Left, Turn 1/4 Left On Left Foot Brushing Right Foot Forward 5-6 Step Forward On Right, Tap Left Next To Right 7-8 Step Back On Left, Tap Right Next To Left (6 o’clock) 17-24 WALK FWD x 3-KICK / WALK BACK x 3-TOUCH 1-2 Step Forward On Right, Step Forward On Left 3-4 Step Forward On Right, Kick Left Foot Forward (optional clap) 5-6 Step Back On Left, Step Back On Right 7-8 Step Back On Left, Touch Right Foot Next To Left (6 o’clock) 25-32 SIDE-TOG-SIDE-TOUCH / GRAPEVINE LEFT With 1/4 TURN LEFT-BRUSH 1-2 Step Right To Right Side, Step Left Next To Right 3-4 Step Right To Right Side, Touch Left Foot Next To Right 5-6 Step Left To Left Side, Cross Right Behind Left 7-8 Step Left 1/4 Turn Left, Brush Right Foot Forward (3 o’clock) 33-36 STEP PIVOT 1/4 LEFT x 2 1-2 Step Forward On Right, Pivot 1/4 Turn Left (weight now on Left) 3-4 Step Forward On Right, Pivot 1/4 Turn Left (weight now on Left) (9 o’clock) Linedancer Magazine, 166 Lord Street, Southport, United Kingdom, PR9 0QA Tel: +44 (0)1704 392300 Fax: +44 (0)1704 501678 .
    [Show full text]
  • Wednesday, July 31 Thursday, August 1
    Wednesday, July 31 7:00-8:45 p.m. Pearl (an opera) KJ Bradford Aud. Amy Scurria, Duke University Session Chair: Margaret Thickstun, Hamilton College Pearl is an opera in development by Amy Scurria, composer, Carol Gilligan, feminist psychologist and librettist, Jonathan Gilligan, professor, poet, and librettist, and Sara Jobin conductor and producer. This work draws on Hawthorne’s Scarlet Letter but seeks to tell a different story, not Hawthorne’s but one that uses Hawthorne’s characters and circumstances, and is informed by a 21st-century feminist worldview. Our opera is a retelling of the Scarlet Letter by Nathaniel Hawthorne from the perspective of the daughter, Pearl. Pearl is a grown woman, a writer, with a daughter of her own. She is looking back at the events that shaped her childhood, seeking to find the truth that she knew as a child, but could not tell. Our opera purposefully turns the operatic status quo on its head by refusing to have any women characters die, go mad, or commit suicide. Our project is a direct response to Catherine Clément’s revealing book Opera, or the Undoing of Women. We tell another story: one that sheds light on the ills of the patriarchy, the cruelty and political maneuvering that occur in attempting to fit within the patriarchal construct, and the damage that it causes to both men and women. We end our opera with a voice of hope, calling people to consider a “brighter day, a new union not founded on dusky grief, but on shared joy.” Pearl was workshopped in the Berkshires at Shakespeare and Company on August 13, 2012.
    [Show full text]
  • The Faith of Dolly Parton by Dudley Delffs
    Dudley’s book gives great insight into why so many people around the world love Dolly Parton. While Dolly is one of the biggest superstars, she has never forgotten who she is and where she came from and the faith that anchors her life. GOVERNOR OF TENNESSEE, Bill Haslam, and First Lady Crissy Haslam Three amazing strands of stories are woven into this fabu- lous book, The Faith of Dolly Parton by Dudley Delffs. The thread of biography speaks of a fascinating woman whom we tend to think we know, but whom I admire even more when seeing her through the lens of faith. The thread of memoir shared through the author’s blending of his own life story with Dolly’s is a gift of hope and connection. And the final thread, that of devotional, invites us to more. Faith- based questions at the end of each chapter take us deeper into our own stories, while the prayers remind us that it was Dolly’s faith that has taken her to the heights she’s attained, as she humbly acknowledges. Reading this book reminded me of my own faith journey and the gift of story told through music, words, and life. I love this book! You will too! JANE KIRKPATRICK, award- winning author of All She Left Behind The Faith of Dolly Parton is a little book filled with big dreams! Dudley Delffs weaves together his unique spiritual journey with the wonder and wisdom of Dolly Parton’s with a heartwarming result. I was uplifted by the inspirational gifts of both and delighted by the author’s humor and the 9780310352921_FaithDollyParton_int_HC.indd 1 4/6/18 11:31 AM joy hidden in the stories of Dolly’s life.
    [Show full text]
  • (615) 327-0100 Established Nashville Producer
    1303 16th Ave. South Nashville, TN 37212 www.plamedia.com FOR IMMEDIATE RELEASE Contact: P.L.A. Media Phone: (615) 327-0100 Renowned Nashville Producer Adds Additional Credits to His Already Lengthy List of Achievements Established Nashville producer Kent Wells recently added another credit to his resume with the sole production on the newest Dolly Parton studio album, Better Day. As a producer, Kent has generated numerous projects for other country artists including Michael Peterson, Neal McCoy, 4Runner, among others. He also co-produced, co-wrote and played on Dolly’s critically acclaimed Backwoods Barbie album, which was the highest debuting Billboard Chart album release of her historic career. With Dolly’s new album, Kent is extremely pleased and excited about how it turned out. “Working with Dolly is always so fun, and her creativity and talent really shine on the new record, as is the case with all her records, I guess,” laughs Kent. In addition to working with the legendary Dolly Parton, Kent also formed a new label, Go Time Records (GTR). The idea for the label grew from an ever increasing demand for music and music related products for many of the artists Kent was already developing at his production company. Featuring artists from multiple genres including country, rock and pop, the new label provides a chance for new artists to be credible, have a label home and national/international distribution and other career services. From production, duplication, packaging, imaging and distribution and marketing, the label will assist artists with independent releases and guide them through the ever-changing landscape while they control their own pace and tempo.
    [Show full text]
  • Reading Dolly Parton a Radiant Entertainer Finally Gets Her Due As a Composer and Lyricist—And Champion of Resilience Amid Troubles
    This copy is for your personal, non-commercial use only. To order presentation-ready copies for distribution to your colleagues, clients or customers visit https://www.djreprints.com. https://www.wsj.com/articles/here-she-comes-again-reading-dolly-parton-11609433264 BOOKSHELF Here She Comes Again: Reading Dolly Parton A radiant entertainer finally gets her due as a composer and lyricist—and champion of resilience amid troubles. Dolly Parton in 1978. PHOTO: RICHARD E. AARONREDFERNS By Eddie Dean Dec. 31, 2020 1147 am ET Listen to this article 12 minutes In the late 1960s, Dolly Parton got her big break as the “girl singer” on “The Porter Wagoner Show,” a syndicated television program that brought hard-core honky-tonk and down-home humor into the living rooms of America. It may be hard to believe now, but back then Ms. Parton was only the second most flamboyant performer onstage. One of country music’s most magnetic stars, Wagoner had a peroxide pompadour and eye- popping, rhinestone-studded Nudie suits that defined Nashville glitz. Meanwhile, “Miss Dolly,” as he called her, was kept buttoned up in demure outfits despite her natural radiance and zest. Underpaid and underappreciated, Ms. Parton would later compare her seven-year stint with Wagoner to the time that indentured servants were required to work in order to earn their freedom. It was indeed a raw deal, but it was worth it. It gave her national exposure and performing experience with a peerless entertainer twice her age. It also allowed her to hone her songwriting talent, which had brought her to Nashville in 1964 as an 18-year- old from the Smoky Mountains.
    [Show full text]
  • Peter Rowan Bluegrass Band
    PETER ROWAN BLUEGRASS BAND The Peter Rowan Bluegrass Band consists of outstanding musicians with over 100 years of combined recording and performance experience. Joining guitarist Peter Rowan are Michael Witcher, dobro; Keith Little, banjo; and Paul Knight, bass. The ensemble has graced the stages of Hardly Strictly Bluegrass, Grey Fox, Merlefest, Rothbury Austra- lia’s National Folk Festival, and numerous other festivals domestically and abroad, entertaining audiences with origi- nal and traditional songs executed in vibrant harmony. In September 2010, the Peter Rowan Bluegrass Band released their debut album for Nashville’s Compass Records- Legacy; the new album, featuring traditional and original compositions, was produced by Compass owner/recording artist Alison Brown and includes Ricky Skaggs, Gillian Welch, David Rawlings and Del McCoury and received a Grammy nomination in 2010. Peter Rowan – Guitar, Vocals GRAMMY-award winner and six-time GRAMMY nominee, Peter Rowan is a bluegrass singer-songwriter with a career spanning over five decades. From his early years playing under the tutelage of bluegrass patriarch Bill Monroe, Peter’s stint in Old & In the Way with Jerry Garcia and his subsequent breakout as both a solo performer and bandleader, Rowan has built a devoted, international fan base through his continuous stream of original recordings, collaborative projects, and constant touring. Keith Little – Banjo, Vocals A native of the Sierra Nevada foothills of northern California, Keith Little is a nationally acclaimed bluegrass musician, recording artist, and composer. Over a career spanning forty years, Keith has been an important member of many national touring bands (Country Gentlemen, Ricky Skaggs & Kentucky Thunder, Lonesome Standard Time), and has performed on the GRAMMY award winning recordings “The Grass Is Blue” and “Little Sparrow” by Dolly Parton, and “Another Coun- try” by the Chieftains.
    [Show full text]