Because of that, most of the arrangements work because they feel like the right fit for the song. I really enjoyed the “Up!!” album’s three different mixes, showing how she could take the same song and present it three different ways. I figure, Willie’s been re-recording and re-arranging his songs for decades now, and each time I find something new so there’s no reason Shania shouldn’t have presented three mixes of the same album.

Yes, her music videos were intended to make her a sex symbol, which seems contrary to any feminist ideals. But as with anything else, I think context is important. Shania Twain essentially made it okay for women in country music to be sexy, to have fun…and not apologize for any of it. The rest of the music world had already embraced that notion, but country women were still expected to be somewhat chaste and forlorn. Tanya Tucker broke some ground against those rules in her rebellious youth, but it wasn’t until Shania Twain that other women began to follow that trail.

Yes, this meant years of labels signing any girl they thought they could put in a music video and sell records, but it has also led to a sort of liberation of womanhood within the genre that we’re still seeing evolve.

“We” (loosely speaking) are so interested in categorizations and containments–one thing I’ve seen is that a lot of people enjoy Shania’s music and she delivers it in a unique, personable, and entertaining way. I hope whatever she does next, in terms of music is always and forever from her heart from this moment on. ;)

Personally, I’ve had many moments of being lifted by Shania especially during her Chicago concert in 2003. Whatever she’s doing works. ($300 million plus can’t be all that bad either…)Shania = success. Up! Up! Up!

Shania at least had an aura of success around her (even if she sometimes worked at “mundane” jobs). I can respect the image that Shania made for herself, but not the degraded “I’m a hick and I’m proud” image of many of today’s country men.

Shania didn’t water country down. She strengthened it. Its a shame to see country today appealing to the lowest of the low. We need more pop influence in country, not less. We need less of the redneck stuff. Less Gretchen Wilson. That stuff is detestable compared with Shania.

As for the singles from Come On Over and Up, I disliked most of them when they first came out, but now I find myself enjoying them, as well. Nostalgia? Maybe, but I sure like them better than what’s on radio now. “Forever And For Always” and “You’re Still The One” are a couple of my favorites from her crossover days.

I have seen Shania in concert, and while she put on a good show, it was nothing earth-shattering. As for Chesney, I’d rather be waterboarded than attend one of his concerts; regardless of how many stadiums he’s sold out.

I don’t discount any of Shania Twain’s success. I fully acknowledge that she did make some powerful statements and even pioneered, if not the message, but the overall tone of the delivery of the strong-woman song as Kevin pointed out.

What powerful statements did she make?

They way Kenny does now she was doing stadiums before he was, and if you have been to both artist concerts you would know that Shania’s energy and the energy she brings out in the crowd is beyond Chesney.

Before you say something about Kenny’s performaces,he has been on top for the past four years so no matter your toughts on him it is a fact, and Shania sold out just as many as he did!

Home Ain’t Where His Heart Is Anymore
You Win My Love
Love Gets Me Every Time
I’m Gonna Getcha Good

and It Only Hurts When I Breathe is pretty good too.

I’d also give you that on the heels of her major success, that sort of message has become more and more the norm, especially the youth-driven market of today, but I’m still not sold it was Shania Twain’s success and not mostly the overall shift in society in the past 15-20 years since ‘victim songs’ still dominated.

I like Jake’s assessment of Shania making it more mainstream, but not really introducing the concept. And maybe that alone can be called artistic impact, but I don’t call it that.