Jolene: A Queer Perspective

This morning my Facebook feed contained a song link with this comment from Simon, an old friend of mine:

"A classic C&W song slowed down 25%. You might almost call it "The Revenge Of The Altos"... It's soulful, it's thoughtful, and for me it cuts through the sickly syrup of a modern Christmas. Enjoy."

Original deleted: here's a similar version - https://youtu.be/CMrfM711vXI

I responded:

"Simon, thank you so much for sharing this. I love the Dolly original. Slowing down the track, alters her voice to a more manly version which totally shatters the sexual dynamic of the tale; a fresh take on the eternal triangle"

Both my parents were into Country & Western music across the spectrum; although I do not recall either being particular fans of Dolly, with the exception of "Love is Like a Butterfly". Somehow or other, presumably from some show or other I heard "Jolene" and even as a boy was struck by the singer's terrifying  potential loss. No-one wants to lose someone they love.

This masculine-sounding rendering had me pondering whether any men had actually produced a version of Dolly Parton's "Jolene".

Regrettably, I am of an age where I am no longer musically literate nor up-to-date with much of popular culture, so all the versions I shall post below are by musicians, of whom I personally have never heard. In other words, I have not selected these versions for any ulterior motive. They are the takes that took me for some reason or other.

To whittle down the numerous versions of "Jolene" to the few listed here, I had to wade through some dire productions, dreadful line-dancing videos and shocking karaokes.

This first cover has an emotional delivery and a guitar-playing that had Simon filled with lust - not that kind:

"*converts self into electron stream, sneaks onto YouTube and Tunes. His. Damn. Guitar.* "

https://youtu.be/zX8piT5lOsM?list=LLLwW4URJ5QNeofCbyooBTKg

The White Stripes were a Detroit husband & wife duo. As far as I know, Jim White is straight. Nonetheless, he conveys the universality of the sentiment contained within Dolly Parton's lyric: the fear of losing a loved one to another suitor.

The lead in this next clip is a woman, but the duet is with a hirsute, bearded bloke, with the addition of three other menfolk, so I have included it within my remit. I have to admit the bands name, The Little Willies, also had something to do with me selecting it!

https://youtu.be/M3d8KobWVwk?list=LLLwW4URJ5QNeofCbyooBTKg

Can just imagine being in a night-club, sipping a whisky sour & enjoying this live. Ahhh, daydreams…

In contrast the next example is from an all-male quartet. This version makes me feel all eighties and brooding teenage angsty again - those were the days! Here goes, seat-belts on for Sisters of Mercy from 1983.

https://youtu.be/AdUHxFKCQBs

Original deleted: here’s the same track - https://youtu.be/pOlPDvuI8SU

Men singing this track switches the sexual dynamic from purely heterosexual to queer,  depending on the character: (bisexual or) homosexual - singer; bisexual - man; or, heterosexual (or bisexual) - Jolene. In 1983, at the height of the AIDS panic, this sensibility would have been subversive.

Similarly, in current homophobic Poland, the song sung solo by a young man on a music television programme (program), Mam Talent III, can be perceived as a public declaration of homosexual love and a potentially seditious act. Here Piotr Lisiecki sings live and at a galloping pace:

Original video now deleted; but a similar version can be found here: https://youtu.be/7XF-oS9Dak4?list=PL1D802CC2B00383E1

Piotr eventually went on to produce an album which contained by far the most intimate version I have come across: it's almost unsettling, as if one is overhearing a private discussion. Well worth a listen!

http://www.youtube.com/watch?v=4kTBv5uuUP4&feature=share

This next one definitely had me laughing. West Coast meets hill-billy with a punk twist - ha, ha, ha! Ladies and gentlemen, I give you Me first and the gimme gimmes singing "Jolene":

https://youtu.be/fBoTwOTKw0I?list=LLLwW4URJ5QNeofCbyooBTKg

And whilst talking of laughter, every time I watch this clip or the actual episode from American Dad, Steve's expression cracks me up! Go Roger!

https://youtu.be/rRFNEm17kn4

On to another TV version. I am not impressed with the final Samuel Larsen version that made the GLEE album; on the other hand this audition is perfectly well executed, if a tad soulless perhaps?

https://youtu.be/sis51Q3axOc?list=LLLwW4URJ5QNeofCbyooBTKg

Surprise, surprise: the audition has been deleted. Have a GLEE-fan version: https://youtu.be/BajdA5QuYFo.

Certainly Samuel's androgynous appearance, in clothing, hair and his epicene features adds a gender-bending hue.

It really seems that "Jolene" is now a worldwide staple of talent shows whether in Poland or in the USA (and later in this post even the UK). The following had me horripilating: the power, the gusto, the emotion of Dolly and re-interpreted as his own. Cody Belew performed this for The Voice in the States. Fabbo!

http://www.youtube.com/watch?v=aTJbYZQqK_U&feature=share

And yet again never heard of this guy: this final male version by Matt Cardle (apparently of X-Factor fame) had me sobbing and rapidly soggying tissues. Really powerful version. What a voice & totally live!

https://youtu.be/63SUFIqHxas

Matt "is known for his falsetto and being able to reach notes typically unusual for a male singer" according to Wikipedia. A voice that takes us full circle from Dolly with her delightful, slowed-down manly voice to Matt with his awesome, womanly voice.

Of course, this blog-post would be incomplete without the original Dolly version. However, here it is with a twist…

https://youtu.be/Cuhh-HCe2Zw?list=LLLwW4URJ5QNeofCbyooBTKg

The clever juxtapositioning of Sherlock characters, Watson (singer), Holmes (man) and Moriarty (Jolene) with Dolly's version along with some very judicious editing of shots from season 2 finale The Reichenbach Fall are perfectly combined to create a purely queer melodrama.

It is quite clear that the song has resonance across the musical spectrum from rock to lullaby amongst both professional and amateur singers. A testament to Dolly Parton's word-smithing.


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I have had to update as of 28th March 2015 as so many links had broken or videos had been deleted. Any problems with the links in future, do let me know and I can then try to rectify. Cheers, "Jolene" lovers! %)


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Update: 30th January 2019. Today, I have been made aware of a couple of other videos that have a bearing on our queer perspective: Jolene actually sung by Dolly with Pentatonix and, below, additionally with Miley Cyrus.

I have to say that last - live - version had me goose-bumping for days! %O

Enjoy, y’all! ;)

Jolene / Sherlock

Some of you may have read my review, Jolene: A Queer Perspective, of versions of Dolly Parton's classic back in December last year.

In this post I shall be taking a closer look at the video I referenced by April Simons which she created using images taken from the BBC's Sherlock.

Here is what I originally wrote about the work:

The clever juxtapositioning of Sherlock characters, Watson (singer), Holmes (man) and Moriarty (Jolene) with Dolly's version along with some very judicious editing of shots from season 2 finale The Reichenbach Fall are perfectly combined to create a purely queer melodrama.

Now I am going to expand a little on why I personally like this mini film noir.

One obviously realises I am queer and am quite partial to men. I have to admit to fantasising about a troilistic affinity with Watson and Holmes. I am certain I am not the only person who has imagined a romp abed with the two detectives. Partly this can be put down to the show actually playing on the "Are they queer?" flirtations, malentendus, interactions and so forth. No doubt this is down to openly gay Mark Gatiss, a co-creator & writer for the series as well as the actor playing Sherlock's brother Mycroft. Additionally, the British good-looks of the protagonists also have to be factored in. Furthermore, I have been a fan of Martin Freeman. who plays Watson, for quite some time - just a cuddly teddy-bear to my fantasy. Benedict Cumberbatch I only became aware of in 2009 after Marple: Murder Is Easy was broadcast by ITV; but he has charisma -  a definite turn-on.

[Image description: John & Sherlock leaning heads together & holding hands when drunk,

in Series 3:  Episode 2, The Sign of Three; © BBC]

In the series, we get used to seeing Holmes & Watson in various states of attire and undress: a sense of domesticity pervades. As I recall: we are never shown Watson's bedroom, though we are given a glimpse into Sherlock's in one episode when Watson complains of some woman being there. Does John actually use another bedroom or does he share with Holmes? (This recalls to my mind the bedroom scene in Gilda - I admit my most favourite film ever - between Johnny & Ballin which hints heavily at their sharing the bed.) Of course, sharing a bed does not mean anything sexual occurs; John & Sherlock might simply lie side by side without any tactile contact - recalling respectively army and boarding-school conditions.

In April's drama we see John fresh from cleansing answering the telephone for Sherlock. The re-use of this by April from being about consternation of involvement with an arch-enemy to a potential dalliance with another suitor is clever, Watson's expression being appropriate for either scenario.

Jim Moriarty, as played by Andrew Scott, has a more conventionally US handsome look (not my type; though in a foursome with the other two…!). As such, he is perfectly cast as the better-looking guy who might steal Holmes from Watson, or as Jolene filching "my man" from the singer. The idea that it appears to be a game to Moriarty is also one possible interpretation of Jolene being capable of having any who she so desires.

The courtroom dynamic of glances, miens and gestures highlights John's/that of the singer's status being undermined.

I love all the parallels and the manner in which April has interwoven them, whether deliberately or sub-consciously is immaterial.

Oh, and one final comment, that does not really fit in with the narrative above. The running scene where Holmes & Watson are hand in hand, are they running just for fun or for a purpose?

April's mini drama deserves to be seen by more folk: I hope you will view & enjoy it!