When you moved to Nashville from New York in 2011, did you foresee becoming known primarily as a country music journalist?
To jump right back into that kind of story… Artists of both genders know the fear of being Dixie Chick-ed if they upset the apple cart anger part of the fan base. But you suggest in the book that women make more vulnerable targets than men when a controversy arises. You bring up how LeAnn Rimes was scandalized by having an affair with a man she would later go on to marry — and that when the same thing happened with Jason Aldean, similar circumstances who does not face the same penalties.
You establish early on in the book what probably anyone who follows country intuits to be true: that there were these golden eras where women were well-represented among the country superstars of the day — like the late ‘90s and early 2000s, when we had the Dixie Chicks, Shania Twain, Faith Hill and Reba — and that we seem to be about two decades past being able to even imagine that kind of equity.
I’ve heard that too, and I definitely think that’s a load of bullshit. I mean, if only because they still have rules that you can’t play women back to back. So what if you get five great songs from women but you still can’t play them back to back? And you’re still putting an unfair amount of promotional energy and dollars towards men. You know, these things don’t happen just organically for the most part. Every once in a while you have something like Luke Combs’ first single, where it does.
The subtitle of your book is a hopeful-sounding one, though. Even since you had to turn it in, there have been some small, positive-seeming developments. Recently Miranda Lambert and Elle King had the first duet between two women to go No. 1 since 1993. Do we celebrate that? Or does the exception just prove how terrible the rule has been?
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