ABSTRACT WE’RE CHANGING THE WAY WE DO BUSINESS: A CRITICAL ANALYSIS OF THE DIXIE CHICKS AND THE COUNTRY MUSIC INDUSTRY by Justine Frances Stokes Over the last fifteen years, the Dixie Chicks have become one of country music’s most successful acts. However, the relationship between the band and the country music industry became strained following anti-war comments by lead singer Natalie Maines in March of 2003. This project analyzes this relationship from a feminist political economic perspective to examine how an apparent conservative ideology within the country music industry has impacted the career of the Dixie Chicks. By analyzing the various albums the Dixie Chicks have released since 1997 and the subsequent ways the band and their albums were marketed by their record company, questions raised about how women within country music are portrayed and treated by country music are investigated, along with how the Dixie Chicks may have subverted the treatment. WE’RE CHANGING THE WAY WE DO BUSINESS: A CRITICAL ANALYSIS OF THE DIXIE CHICKS AND THE COUNTRY MUSIC INDUSTRY A Thesis Submitted to the Faculty of Miami University in partial fulfillment of the requirements for the degree of Master of Arts Department of Mass Communication by Justine Frances Stokes Miami University Oxford, Ohio 2008 Advisor__________________________ Dr. David Sholle Reader___________________________ Dr. Lisa McLaughlin Reader___________________________ Dr. Ronald Scott TABLE OF CONTENTS ACKNOWLEDGEMENTS ........................................................................................................ iv CHAPTER ONE DIXIE CHICKS AND THE COUNTRY MUSIC INDUSTRY ................. 1 1.1 Introduction ...................................................................................................................................... 1 1.2 Country Music, Ideology, and Gender ........................................................................................... 3 1.3 Research Question ............................................................................................................................ 9 1.4 Literature Review ............................................................................................................................. 9 Issues in Popular Music ....................................................................................................................... 9 Issues in Country Music..................................................................................................................... 14 Dixie Chicks....................................................................................................................................... 20 Methodological Frameworks ............................................................................................................. 21 1.4 Scope of Study................................................................................................................................. 21 1.5 Research Methodology ................................................................................................................... 22 1.6 Chapter Organization .................................................................................................................... 23 1.7 Conclusion ....................................................................................................................................... 23 CHAPTER TWO A BRIEF HISTORY OF COUNTRY MUSIC ......................................... 24 2.1 Introduction .................................................................................................................................... 24 2.2 The Early Years of Country Music............................................................................................... 24 2.3 The Early Commercialization of Country.................................................................................... 25 2.3 Nashville, Music Row & the Nashville Sound.............................................................................. 30 2.4 War & Conservatism...................................................................................................................... 34 2.4 Patsy Cline and the Honky-Tonk Angels ..................................................................................... 37 2.5 1990s Nashville and Redneck Feminism....................................................................................... 41 2.7 Dixie Chicks..................................................................................................................................... 42 ii CHAPTER THREE THE DIXIE CHICKS ............................................................................. 46 3.1 Introduction .................................................................................................................................... 46 3.2 Wide Open Spaces............................................................................................................................ 46 3.3 Fly..................................................................................................................................................... 50 3.4 Home ................................................................................................................................................ 56 3.7 Taking the Long Way ...................................................................................................................... 69 CHAPTER FOUR CONCLUSION .......................................................................................... 77 4.1 Introduction .................................................................................................................................... 77 4.2 Final Showdown: The 2007 Grammys.......................................................................................... 77 4.3. Further Research........................................................................................................................... 82 4.4 Final Thoughts ................................................................................................................................ 82 APPENDIX.................................................................................................................................. 85 APPENDIX A WIDE OPEN SPACES ALBUM COVER................................................................. 85 APPENDIX B FLY ALBUM COVER................................................................................................ 86 APPENDIX C REDBOOK COVER.................................................................................................... 87 APPENDIX D PEOPLE COVER........................................................................................................ 88 APPENDIX E HOME ALBUM COVER ........................................................................................... 89 APPENDIX F HOME LINER NOTES BACK COVER AND CD .................................................. 90 APPENDIX G ENTERTAINMENT WEEKLY COVER ................................................................... 91 APPENDIX H TAKING THE LONG WAY ALBUM COVER......................................................... 92 APPENDIX I TIME COVER .............................................................................................................. 93 APPENDIX J JOHNNY CASH BILLBOARD AD............................................................................ 94 APPENDIX K SHUT UP AND SING US POSTER .......................................................................... 95 APPENDIX L SHUT UP AND SING CANADIAN POSTER .......................................................... 96 Works Cited................................................................................................................................. 97 iii ACKNOWLEDGEMENTS This project began ten years ago on a muggy August day when a couple of college kids from Iowa made a trek to the Twin Cities for Lilith Fair. It was on that day the Dixie Chicks entered into my life. It was a moment proving to be more important than I could ever have imagined. It is with that in mind that I must first thank Rachel for agreeing to leave the long drink line to go see what the fuss surrounding the Dixie Chicks was all about. She is only one of many friends who provided much needed support throughout this process. Whether it was encouragement, sound advice, a kick in the shins, or articles and artifacts for research, my friends’ enthusiasm for this project only pushed me along. I must also thank everyone in the Miami University community. My committee who never let me forget to actually write this, I am forever in debt to your time and commitment to this project. My colleagues in the department, who were always there to remind me we are all in this together, their support was only matched by their laughter. To the faculty, staff, and students, thanks for being a much needed distraction. Finally, thank you to my family. Particularly my mother and grandmother, who I imagine will someday read this together over coffee and bear claws. iv CHAPTER ONE DIXIE CHICKS AND THE COUNTRY MUSIC INDUSTRY 1.1 Introduction On March 10, 2003, the Dixie Chicks, an all-female country band comprised of Martie Maguire, Natalie Maines, and Emily Robison, went on tour to promote their then-current album Home. While concert tours often function as promotional tools to gain an audience, the Top of the World Tour was, for the Dixie Chicks, a congratulatory lap