Porter and dolly relationship with god

Good golly, Miss Dolly: Simon Hattenstone goes on the road with Dolly Parton | Music | The Guardian

porter and dolly relationship with god

Dolly has publicly spoken out in support of same-sex marriage. song, which is rumored to have been written about Porter Waggoner, in And while Tammy had all her operations because she was ill, Dolly had "I felt that everybody loved me, and to this day I have a love relationship with my fans. "I almost look like Little Lord Fauntleroy, don't I? Little Lord Fauntleroy. . nor confirming stories about affairs with country star Porter Wagoner. But there's only one Dolly Parton, and she's not divisible. Porter Wagoner and Dolly Parton"), you can hear how Parton stays well within the margins of the material. relationship with Wagoner, a relationship that was always platonic, but at times stormily passionate. . They are God, music and sex.

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porter and dolly relationship with god

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porter and dolly relationship with god

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In addition, your user name will be viewable by other users, along with a profile picture if you have chosen to upload one. We have no responsibility to maintain the privacy or security of any such information that you may choose to post to the Services. Her Tennessee theme park, Dollywood, is a popular tourist attraction. And although her movies, with the exception of the "9 to 5," haven't been huge hits, you can't blame her for trying to translate her particular brand of sparkle to the big screen.

She's a charmer, and her speaking voice alone is gently musical. But there's also a no-nonsense crispness about her particularly in a scene where she goes to the trunk of a car to get a crowbar and calmly assesses the dead body that's stashed there.

That seems to be a real-life trait, a characteristic that helps her get things done, rather than just hanging around dreaming about them. But Parton's career as a star does have one major drawback: It may have drained too much attention and perhaps some of her own energy from Dolly Parton the singer.

A friend of mine at the time, one of the truest country fans I've ever known, casually mentioned what a great singer she was.

He also noted her skill as a guitarist, which seemed doubly unbelievable to me, given those devilish fingernails. I resisted even further -- until I heard "Coat of Many Colors," Parton's autobiographical song about the ridicule she experienced as a young schoolgirl when she wore the patchwork coat her mother had lovingly made for her.

You might hear "Coat of Many Colors" and call it a tearjerker. I call it a heartbreaker, a song that has the power to change you, subtly, forever, maybe not so much for the subject matter as for the way Parton sings it. The song's lyrics are simply written, a straightforward narrative: Parton's voice stands alone among living country singers, but it also stands as one of the greatest country voices of all time. Her plaintive, shivering phrases come straight from the mountains, though not from the earth: She skims through a song the way a brook trips and trickles over little stones -- there's both merriment and stately beauty in it.

You can get a sense of the fineness of Parton's vocal texture by listening to her own recording of "I Will Always Love You," playing it against Whitney Houston's megahuge, bloated version of the song. No need to actually put the Houston version on the turntable; simply playing it in your head is torture enough. A guitar motif washed with mournful sunset colors opens Parton's version; when she steps in, she handles the lyrics with the cautious tenderness of a farm girl carrying a jumble of newly hatched chicks in her apron.

She's aware of the fragility of what she's holding, and of its fleetingness: Unlike a passel of chicks, it's destined to soon fly away from her forever.

Dolly Parton and Porter Wagoner - Just Between You And Me - Complete Recordings 1967-76

Houston's version, on the other hand, is an overbearing monstrosity, nothing but a vehicle for her windup-toy melisma. She works the inherent wistfulness of the song as if it were pie dough, rolling and patting it until it's thick and heavy and tough.

porter and dolly relationship with god

Parton's reading packs boundless, if restrained, passion into phrases that barely rise above a whisper. I'd say that of all her country contemporaries, living or dead, Parton is the most sensuous. Her voice has so much shimmering life to it, as well as a kind of voluptuousness -- it's the voice of someone who's eager to take everything in. Even if Parton sometimes sings of restraint, her music is never about repression.

Dolly Parton

That's confirmed by the way she writes about sex in her autobiography: I have been driven by three things; three mysteries I wanted to know more about; three passions. They are God, music and sex. I would like to say that I have listed them in the order of their importance to me, but their pecking order is subject to change without warning. Even if Parton tends to revel in melodrama and melodrama is, after all, essential to country musicshe never quite succumbs to the self-pitying victimization that so many female country singers slip into.

She claims she wrote "Just Because I'm a Woman" as the result of her husband's asking her if he was the first man she'd ever slept with; the honesty of her answer hurt him deeply.

But Parton couldn't change the truth, and she didn't feel she should apologize for it.

porter and dolly relationship with god

The song addresses the hypocrisy of a certain kind of man who'll sleep with one type of woman but look for "an angel to wear his wedding band. Parton, who considers herself a Christian as well as a deeply spiritual person, is unfettered by the Bible Belt notion still extant today and not just in the Bible Belt that sex should never be spoken of, let alone enjoyed. The hardest part of being a Dolly Parton fan is navigating her currently available catalog.

The state of her RCA releases is, quite frankly, a mess, a jumble of greatest-hits packages that repeat one another endlessly.

Parton's work on the "Trio," her first recording with Linda Ronstadt and Emmylou Harris a second followed inis lovely, particularly her rendering of the traditional "Rosewood Casket. If purity is what we demand of our country singers -- even our complex and sometimes puzzling ones -- then Parton, no matter how many pop-crossover successes she's had, is the consummate country singer.

If I had to choose one song that crystallizes Parton's supremacy as both a singer and songwriter, it would be "Down From Dover. The song tells the story of a young girl who's been left waiting, pregnant, for a boy who's clearly never going to come back.

As it begins, "Down From Dover" sounds much like a regular pop song, with its curlicued guitars -- by the lines between pop and country were already fairly blurred. And its story is told so straightforwardly that it's almost a miniature novel.

But the mood of "Down From Dover" springs directly from the most tragic ballads of Scotland and Wales, songs that, even with centuries of mourning and keening poured into them, manage to hold tight like a corset. In these songs, emotions don't spill forth in a cathartic outpouring; they tremble inside the meter and musical phrases, concentrated, distilled and devastating.

Parton's voice tears your heart in two, not because it's sad but because it's so relentlessly hopeful, through the very end. The tiny baby dies in the woman's arms, and she explains it this way in the song's final lines, ones that hit with an anvil's force and a butterfly's delicacy: The dying babe is, of course, the song's most highly melodramatic image. But its purpose is actually quite subtle: