The Recoup

SINCE 2013: Books and books and books and books and occasionally other things

Book Review: White Limozeen (33 1/3)

Dolly Parton is a social construct. She exists in a world that is entirely her own, and from that world she created an appealing persona that transcends mere stardom. Consider: how many artists do you know can straddle the insurmountable gap between conservative and liberal?  She’s seen as a good Christian woman and devoted wife among more staid country listeners while being a beloved gay icon. It’s this dichotomy that runs through Steacy Easton’s entry in the 33 1/3 series, White Limozeen

At the time, White Limozeen was seen to be a comeback record. But was it a comeback to the country music world, or was it Dolly rediscovering the Dolly persona? Dolly’s previous album, Rainbow, was a big budget pop record that bombed, much to Parton’s surprise. Thus, it was felt that her next record be a back-to-roots affair, with bluegrass master Ricky Skaggs producing. While it was a modestly successful album—other records had performed better—it did have a hit single and it sold well, and it got Parton back on track as an artist.

Easton chose the album not because of its artistic merit or importance, but because it served as an entree into larger issues that involve the artist known as Dolly Parton. And examine them White Limozeen most certainly does. Big issues involving authenticity are addressed ranging from what Dolly means when she says she’s from Appalachia to how does she reconcile being a down-to-earth country girl who happens to be a multimillionaire. These questions are thoroughly examined here and give the reader much to consider—perhaps more than one would expect to consider about Dolly Parton. 

Dolly Parton hasn’t changed in fifty years; she’s still the same old Dolly. White Limozeen offers up a thoughtful and easy to digest cultural criticism of her, one that leaves the reader thinking and possibly reevaluating what they believe Dolly Parton means. 

Purchase: Amazon

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