Pour yourself a cup of ambition and let’s get to it

I’ll start with what the reader should take away from this article: Dolly Parton is iconic. Dolly Parton is the queen of country music. And I say this with the confidence of a relatively new fan — I only really began to dive into her music and familiarize myself with her canon beyond “Jolene” and “9 to 5” during Fall Quarter of 2019. Her songs now frequently appear on my quarterly-made playlists, and they seem to play on repeat. Her songs instantly perk my mood, and even her heart-wrenching love songs have the ability to make a sad situation feel, at the very least, warm. 

The key to Dolly is the passion evident in each of her songs. There is power rooted in her vocals, which is able to expand on the simplicity of concepts characteristic of country music and instill the emotions of pure joy, deep heartbreak and nostalgia for simple moments. 

Dolly deserves modern recognition for her pioneering as a female country singer and her continued success since the 1960s. Indeed, my love for Dolly partially stems from her often unacknowledged feminist content. It’s essential to note that Dolly does not consider herself a feminist, as she admitted in the WNYC podcast “Dolly Parton’s America.” Yet, even if she doesn’t consider her music to hold such a sentiment, that’s not to say that one could not still find such appeal. 

She is a force to be reckoned with within a music genre dominated by machismo; she demands respect in a variety of ways. She calls out mistreatment from men, and she calls out inequality. She celebrates her womanhood. While there are plenty of other female country musicians with much more explicit calls for gender equity — like Loretta Lynn’s “The Pill” — the popularity of a female singer who can embed discreet notions of female power is worthy of praise.

There is something to be said for an artist who is able to appeal to an audience intertwined in mid-20th Century gender ideals while presenting them a new perspective to consider. It’s important to recognize and contextualize her music within both the social norms in which she was singing as well as her own musical intentions. Ultimately, Dolly is not a freedom fighter. I would not equate her to the ranks of figures like Gloria Steinem, for example. Nonetheless, she should be praised for her effort to raise a new point of view and acknowledged and respected for the contributions that hold a feminist twang: love for others and reflection. 

I can understand the intimidation of attempting to familiarize oneself with such a long-standing artist with dozens of albums. And I must admit, I have only begun to scratch the surface of her discography. My taste in country music gravitates toward folk, a consequence of my old-fashioned cowboy familial roots. I was taught to appreciate musicians like Marty Robbins, Johnny Cash and Hank Williams. Therefore, I have gravitated less toward Dolly’s modern tracks and more toward her earlier ones. Two of her albums, “Hello, I’m Dolly” and “Jolene,” serve as both a foundational introduction to Dolly Parton as well as my favorite albums of her to date. 

Let’s start with “Hello, I’m Dolly,” her 1967 pilot album. The album is goofy and endearing. In “I Don’t Want to Throw Rice,” she describes wanting to throw rocks instead of rice on the wedding day of the woman who stole her man. In “Something Fishy,” she sings of concern that her boyfriend is cheating on her during his so-called fishing trips. I can’t help but giggle at some of the absurdity of a young Dolly’s expressions of fear and jealousy. A similar sense of adolencence is illustrated in the album’s opening track “Dumb Blonde.” She rails at an ex-lover who calls her a dumb blonde upon confronting his infidelity. She responds with the ultimate comeback: “And you know if there’s one thing this blonde has learned, blondes have more fun.” Go get ‘em, Dolly. 

While still a little silly, the undeniably catchy track sets an early precedent for the type of confidence and individuality Dolly exudes in her music. Yes, much of Dolly’s image of fame has centered on her appearance — an oversexualization created for and by the male gaze. What differentiates Dolly, and what makes me respect her as an artist, is the control she embraces from the attention she receives. It’s her blonde hair, it’s her body. She sources a sense of independence and outspokenness from her physique. She even claims this power more directly in the ballad “I Wasted My Tears.” Indeed, in her hypnotic vocals of the second verse, she claims “I wasted my time when I spent it with you.” The beauty of this album stems from knowing the maturity that is soon to come in her budding career. 

By 1974’s “Jolene,” Dolly had grown up: her music was even more raw, her song writing more complex. Musically, it’s more somber. The innocence of her first album had departed, replaced with clear evidence of significant heartbreak. Of course, arguably her most popular song, “Jolene,” is a perfect example of such: expressing fear her husband will leave her for a woman with “ivory skin and eyes of emerald green.” Yet the album reaches deeper in songs like “When Someone Wants To Leave,” “Living on Memories of You” and “Lonely Comin’ Down.” 

One of her best songs is also in this album: “I Will Always Love You.” In fact, Whitney Houston’s famous rendition was a cover of this Parton original. In each song, Dolly describes the dramatically painful moments of relationships ending with digestible simplicity. The pain of an unreciprocated love, the physical pain one experiences during heartbreak, nostalgia for when times were good. She doesn’t overcomplicate her emotions or describe them as lofty. Dolly is so appealing because she doesn’t try to be more than what she is, she doesn’t seem to take her song writing so seriously to the point where it misses the connection and intimacy she hopes to establish with her listener. Her impressive vocals and accurate lyrics do the work.  

There is a sense of nostalgia in the album as well. In “River of Happiness” and “Early Morning Breeze,” she uses imagery of serene moments in nature as points of reflection. She views these experiences of scenic isolation as meditative  — finding the beauty that is rooted in heartbreak, the deep connection one must find within themselves as they experience the increasing complexity of love that comes with age. I find this album to be a coming-of-age album for the artist, displaying her own maturation and guiding us through ours. Dolly doesn’t let us forget that she too shares the same emotions we feel.

I urge you to take the dive into Dolly Parton. She has been the artist who taught me the value of learning to love dancing by yourself while you get ready in the morning. 

Written by: Caroline Rutten — arts@theaggie.org

The ascent of Anthony “Top Dawg” Tiffith and his generational group of artists

Anthony “Top Dawg” Tiffith is a familiar face in the Watts neighborhood of Los Angeles. He seemed to be everywhere in the community, from swap-meets to block parties to funerals. To many kids in the neighborhood, he was a paternal figure doling out advice and reprimanding kids when they slipped up. Tiffith comes from a background shaped by the Los Angeles gang scene. In 2004, at the age of 30, he decided his life was destined for change. Drawn to the artistry and business side of music, Tiffith founded a neighborhood record label — a space to cultivate budding talent and shepherd artists away from trouble.

In order to grow his label, Tiffith added Terrence “Punch” Henderson — part-time IKEA supply manager and part-time record producer — to the project. The nascent label’s first target was Johnny Reed Mckinzie Jr. a.k.a Jay Rock, a talented but unrefined twenty-year-old emcee with a rugged baritone from Tiffith’s Watts neighborhood. Tiffith surprised McKinzie at the barbershop, offering to pull him off the streets and put him in the studio. Mckinzie obliged and Top Dawg Entertainment was born. During the early days, TDE was built on ensuring the success of Jay Rock, eventually signing a co-deal with “Warner Brothers Music” to produce Jay Rock’s debut album “Follow Me Home.” Around this time, Tiffith also stumbled upon a once in a generation talent. 

Dave Free — a teenage disc jockey from the local high school — knew that Tiffith was the key to the music industry. In a brash and bold act that would end up changing not only the DNA of T.D.E. but of hip-hop forever, Free posed as a tech repairman to fix Tiffith’s computer to show off a mixtape from one of his close friends — a shy, but unabashedly confident 16-year-old going by the moniker “K.Dot.” Free slipped on the tape and began mindlessly tinkering with the computer to stall. Tiffith was struck by the tape and sensed the kid on the tape was cut from a different cloth. Tiffith added Free as a co-founder and struck a deal with Kendrick Lamar Duckworth — now the T.D.E. poster boy, and debatably greatest MC alive.

From a notoriety standpoint, T.D.E. didn’t truly take off until the formation of the Black Hippy group. The supergroup became the first to have all four members featured on the hip-hop publication XXL’s Top 10 Freshman Class and catapulted T.D.E. into the big leagues. Black Hippy, all in their early 20s and from Los Angeles County, is composed of Jay Rock from Watts, Kendrick Lamar from Compton, Schoolboy Q from South Central LA and Ab-Soul from Carson. Although Black Hippy never released a collective project, they frequently feature on each other’s albums and tour together. Combining heads gave them an opportunity to build off of each other musically and develop a lasting brotherhood. Their kinship has served them well, keeping them grounded and focused amid showbiz’s blinding limelight. 

As of recent, T.D.E. has taken a distinctive shift into rhythm and blues, signing talented up-and-coming artists like SZA and SiR. SZA’s album 2017 “Ctrl” made a name for her in the mainstream as the best young R&B artist. SiR, on the other hand, has flown under the industry’s radar but has nevertheless produced some of the more soothing, down-to-earth, groovy albums of the past two years with the 2018 record “November” and the 2019 composition “Chasing Summer.” These new artists take the pressure for the label off of Kendrick and Black Hippy and add to the palette of sound the label can deliver. These new influences work wonders for all involved as the hip-hop/rap side of the label collaborates and feeds off of the R&B side. This is evident in the more fluid, multi-dimensional tracks produced by the label like SiR’s “Hair Down” featuring Lamar as well as the critically acclaimed “Black Panther” soundtrack, whose creation was led by Lamar and Tiffith and features 7 T.D.E. artists. 

Top Dawg Entertainment has risen from relative obscurity in the early 2000s to one of the most dominant labels in the industry — often being referred to as the new Death Row Records, Suge Knight’s infamous record label that produced Tupac’s “All Eyez on Me” and Dr. Dre’s “The Chronic.” When discussing the work T.D.E. has done to cultivate such a list of artists, those close to the record label refer to it as a family. T.D.E. always locally sourced artists — eight of the 10 are from Los Angeles County. T.D.E. puts its artists in the driving seat; giving them space to become inspired.  While speaking with Complex magazine, T.D.E. co-founder Terence Henderson discussed letting the music shape the business process, not the other way around. 

“The goal was to always touch people, so whatever came out of that was cool,” Henderson said. “We were going against the grain of what was popular. We did that every time.”

After 22 studio albums, two compilation albums, six extended plays, 17 mixtapes and more than 10 million records sold in the U.S. alone, T.D.E. and Tiffith are still bound deeply to their roots. In the wake of the devastation of the coronavirus pandemic, Tiffith paid for the rent of over 300 Los Angeles families from the Watts neighborhoods Imperial Courts, Jordan Downs and Nickerson Gardens.

At the Legacy Leaders Spring Gala in Watts honoring the work of Tiffith, his son Brandon spoke on behalf of his father, reflecting on his father’s journey, his ambitions and his community.

“As a kid growing up in Watts, I always wanted to be a leader in this community,” Tiffith said. “Being able to reach out to community members in this area and being able to show kids what’s past these projects has always been my goal.”

T.D.E. is currently home to the pioneers of the hip-hop industry — bringing home Watt’s first Grammy Award winner under Jay Rock as well as the hip-hop world’s first Pulitzer Prize for literary excellence to Kendrick Lamar. Under the guidance of Tiffith, T.D.E. has brought honor and pride to the Watts community, and it’s safe to say he’s accomplished and exceeded his goal.

Written by: Andrew Williams — arts@theaggie.org

How “19,” “21” and “25”  compare 

Adele has the ability to make the world stop and listen. She has a grasp on her own voice that is unheard of in contemporary pop. Over the course of her incredibly successful career, she has released only three albums, each titled by the age she was when she wrote them. In honor of her rumored upcoming release, let’s see how well the albums hold up when they’re compared to each other.

3) “25”

Adele’s most recent album is not bad by any means, it just falls short compared to its predecessors (Adele, if you’re reading this, I love you and I’m sorry). “25” follows her established themes of heartbreak and youth with a new added element of growth. Its lead single “Hello” won three Grammys and was on the radio for months. Unlike its sister singles, it simply does not have the longevity. After hearing it on the radio three times a day and in every store I set foot into, those ominous piano chords cause my brain to immediately shut down. The following singles, “When We Were Young,” “Send My Love (to Your New Lover)” and “Water Under the Bridge” are all incredible additions to the Adele songbook, but this album’s real gems are hidden between its singles. 

The tenth track, “All I Ask,” feels like this album’s “Make You Feel My Love.” The ballad, co-written with Bruno Mars, showcases her vocals like we’ve never heard before. Surprisingly, it is one of her catchiest songs (it makes for really great belting material). Her vocals are accompanied solely by sweeping piano melodies. You can tell that when she was in the studio she was thinking, “Yeah this one’s gonna make ‘em sob, innit?”

The lightly-produced folk track “Million Years Ago” communicates a yearning for her old self. It fits perfectly in the album and showcases an intense fear of fame that wasn’t apparent in any of her previous songs. It is also extremely painful and relatable for a college freshman (“Miss my friends, I miss my mother”).

“River Lea” is like no other Adele song. It’s hard to communicate the way the track makes you feel; I would equate it to going all the way around on a swing or whatever Ophelia was feeling in the painting “Ophelia.” It has a supernatural element emphasized by the backing gospel vocals. The haunting lyrics paired with the build of the production culminate into the best song on “25” and one of the best she’s ever released.

Though its singles don’t match up to her previous work, “25” holds some of Adele’s best tracks. More than anything else, it proves that she is an artist with incredible introspective ability and the capability to keep making hits in the face of change.

2) “19”

You can hear her accent on this album, and it’s funny to hear her say “fink,” so we’re already off to a great start. The fact that Adele wrote “19” at 19-years-old is both impressive and terrifying — both because of the lyrical quality and because she sings with the soul of someone who has definitely lived more than two complete decades. Overall, it is experimental in ways that “25” failed to be and includes some of her best, most underrated singles.

Unlike “25,” “19” is carried by its singles. One of her funkier songs, “Cold Shoulder,” propelled her to fame when she performed it on “Saturday Night Live” in 2008. The track is produced by Mark Ronson, and you can tell. Taking into account the quick beat and belting vocals, I honestly believe that, with a little work, it could be the new cup song.

If you are ranking Adele songs in how fun they are to sing along to, “Chasing Pavements” may take the top spot. I cannot understand anything she says in the first 30 seconds, but it only adds to the wonderful mystery of the song. It is soulful and balances her powerful building vocals with an orchestra-like production. Perhaps no song better illustrates the feeling of looking out the window of a car when it’s raining.

“Make You Feel My Love” establishes itself as the strongest track on the album. 

Only backed by piano and light violin, her voice is out in the open. There is a rawness that she froze in time — it lets the listener apply the lyrics to their own heartbreak. Until recently, I did not know the song was a cover (apologies to Bob Dylan and his fans, but his version is way worse). She truly makes the song her own. I listened to her version while writing this, and the only word that came to mind was “pain.” 

With solid singles and unique production, “19” set the foundation for the career of one of the greatest vocalists we have ever seen.

1) “21”

“21”…where do we even start? I feel like I don’t even have to explain how iconic this album is. Adele strayed from the hopelessness that guided “19” and opted for an upbeat take. This was perhaps her greatest career decision. “21” is the best-selling album of its decade and three of its singles peaked at number one on the Billboard Hot 100. The entire album is well produced, and no track feels out of place.

“21” had five singles released over the course of one year: “Rolling in the Deep,”  genuinely one of the greatest songs of all time; “Someone Like You,” the iconic, emotion-drenched ballad; “Set Fire to the Rain,” which has the overwhelming ability to make me feel like I’m in The Hunger Games; “Rumor Has It,” featuring mesmerizing pounding drums and undeniable catchiness; and, finally, the unforgettable vocal masterpiece that is “Turning Tables.” My hands are shaking from typing the song names… I cannot comprehend this much power being on one album. They create the greatest combination of singles ever.

Even the lesser-known songs have the ability to be singles. “He Won’t Go,” “Take It All” and “Don’t You Remember” all have the magnetic quality the songs listed above have, but are less popular only because they were never prompted to single status.

In addition to having the best singles and side tracks, “21” includes the best song Adele has ever released: “One and Only.” The feeling that the six minutes of “One and Only” instills in listeners is unlike any of her other songs. This could be attributed to its stellar melody and vocals or its larger-than-normal production, but it really boils down to her intention. In a behind-the-scenes interview about “21,” Adele described the track as “the first happy song I had ever written.” It’s addicting, intoxicating and fun. With the overall quality of each and every song, It is undeniable that “21” is her strongest piece of work

Adele has made headlines recently for her divorce, with rumors swirling about her having to pay her ex-husband massive amounts of money. This obviously stressful and painful situation is not an opportunity for our own gain. That being said, I am incredibly excited for how much emotion this upcoming album will hold. (Once again, Adele, if you are reading this, we have built up three years of emotions and will eat up whatever you put out). In the end, every song she has released is incredible, just put her discography on shuffle. Here’s to 30!

Written by: Livvy Mullen — arts@theaggie.org

An easy addition to a summertime meal

There are three things that get me excited about summer: watermelon, grilled zucchini and corn on the cob. As the days get longer and the sun shines a little stronger, evenings seem endless. People gather on the front porch and munch on buttered corn. Everyone gets to put their elbows on the table and just chomp down. Suddenly they are comfortable and laughing, and the barriers to conversation are easily brought down by the light-hearted nature of the food. 

When I was in fourth grade, I went on a school trip to a gold rush camp. At this camp, all of us pouty 10-year-olds had to pretend we were back in 1849 and make dinner. We worked with our instructor to make cornbread, and after waiting what seemed like decades, it was ready. Almost 10 years later, I still remember that cornbread, the sliver of butter that sat atop it and how amazing it tasted. 

That cornbread was just one example of how corn creates classics that I think are as enjoyable now as they were for miners during the gold rush. For this week’s recipe, I imagine that a rustic Matthew McConaughey cowboy-type would enjoy it in the middle of the desert after riding on horseback all day. Tired and sore, he would set up camp and begin to make this recipe. Somehow, he would have all the ingredients on this list (as well as an open fire and a pot) and would make cornbread to pair as a side. As it cooked, he would look at the fading sky and feel exactly how I did when I ate that piece of cornbread in fourth grade: absolute bliss. 

Melissa Thayer, a third-year environmental science and political science double major, found this corn chowder recipe to be an easy addition to a summertime meal. Filled with potatoes, carrots and corn, it fills you up with warmth and happiness. It can also easily be made vegan with a substitution of plant-based milk and vegan butter. When remaking this recipe, I found that I had no milk in the fridge and no immersion blender. Surprisingly, almond milk worked well and the blender ended up not being that important in the end. By just mashing the softened carrots and potatoes, the chunks were still present in the end result. Enjoy!

Cowboy Corn Chowder

4–5 large yukon gold potatoes, cubed

2–3 white carrots, chopped

1 medium onion, chopped

1 green pepper, chopped 

3 garlic cloves, minced

4 cups vegetable broth

4 tablespoons butter

½ teaspoon dried thyme

1 teaspoon paprika

1 teaspoon cayenne pepper for additional heat 

1 teaspoon dried parsley

1 ¼ teaspoon salt, or to taste

2 cans of corn

1 cup of milk 

To thicken further: 3 teaspoons all-purpose flour. 

Sauté the onion, pepper and garlic in butter at medium heat until everything is nice and soft in a large pot. Add in the carrots and the potatoes as well as the spices. After a couple of minutes, add in the broth and leave it at a slow boil until the carrots and potatoes are soft, about 10 minutes. Once soft, lower to a simmer and use an immersion blender to blend about ¼ of the soup. 

Once it begins to thicken, add 3 teaspoons of flour to ¼ of the milk, whisking it separately into a smooth mixture. Once smooth, add the mixture and the remaining ¾ milk to the pot. And of course, add the corn. 

Written by: Athena Aghighi — features@theaggie.org