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A month ago, we lost Dolly Parton, a treasured global icon who held an especially tender place in the hearts of the LGBTQ community.
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Today is September 25th, and I could think of no better way to honor her than to make this from now on nine to five day.
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So we're celebrating Dolly with this special bonus episode of The Secret Is Out.
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Her music, her wit, her contradictions, and the enormous heart beneath all that rhinestone.
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I hope you enjoyed the heard Dolly Parton before I knew who Dolly Parton was.
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When I was little, we'd listened to country music in the car on the way to kindergarten.
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Whenever Here You Come Again came on, I wanted to hear it again.
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I wanted the volume turned up.
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I didn't know her name, I just knew I liked that voice.
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Then when I was eight, 9 to 5 came out, and this time I knew exactly who she was.
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I memorized the opening verse.
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Then I stood in front of the mirror and lip-synced it like I was Dolly.
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I was eight, so workplace inequality wasn't a major concern of mine.
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I just thought it was a great song.
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And yes, the eight-year-old boy performing Dolly Parton songs Into a Mirror probably should have told me something.
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She was there before I knew I was gay.
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Before I knew there was anything about me I might someday feel required to hide, which is probably why her death hurt me more than I expected.
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Somewhere between that little boy in the car and the man I am now, Dolly became something besides a singer.
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There was something safe about her, something almost maternal.
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She felt like a mom.
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My own mother and I have been estranged for a while.
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I love her and I'm not interested in making her a villain.
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She's deeply Christian.
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She comes from a rural conservative world where faith shapes how you understand nearly everything.
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Dolly came from that world too.
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She grew up poor in rural Tennessee.
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Church was part of her life.
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God was part of her life.
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But when it came to people like me, Dolly seemed to arrive at a very different place.
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In 1984, during the AIDS crisis, Andy Warhol asked her about her gay following.
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Dolly talked about her gay friends and said very simply, to me, people are people.
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No sermon, no carefully worded qualification, just people are people.
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She carried that ease into one of my favorite Dolly stories.
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She once entered a Dolly Parton look-alike contest at a gay bar surrounded by drag queens and lost.
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Not nearly either.
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Dolly said she got the least applause.
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She exaggerated the hair, the eyes, the beauty mark, all of it.
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And nobody recognized her.
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Apparently, the room thought she was some short gay man who wasn't especially good at being Dolly Parton.
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Somewhere, a drag queen got to spend the rest of her life knowing she did Dolly better than Dolly.
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But I think those performers understood her.
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Dolly knew that appearance could be an act of imagination.
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People had told her the woman who inspired her look was trashy.
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Little Dolly thought she was beautiful.
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So when she got to decide what Dolly Parton would look like, she chose the hair, the heels, the rhinestones.
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Then she added a few more rhinestones.
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And gay people know the other message pretty well.
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Don't act like that.
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Don't wear that.
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Could you tone it down?
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Dolly did not tone it down.
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In 2005, she wrote Traveling Through for Trans America, a film about a transgender woman.
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The song was nominated for an Academy Award.
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When Larry King later asked her about gay and transgender people, she talked about everyone being God's children and having the right to be who they are.
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Dolly never behaved as though she had to choose between her faith and loving LGBTQ people.
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She prayed.
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She sang gospel music.
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She believed her gift came from God.
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She simply didn't seem to believe God needed her to reject anybody.
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For those of us raised around Christianity, that can be enormous.
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We know the sentence, I love you, but there's always a but.
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Dolly seemed to have very little use for it.
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She even put that welcome into a song.
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Family was released in 1991.
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And it isn't about relatives behaving beautifully.
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It is about the people you inherit with all their differences, trouble, tenderness, and history.
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Dolly explicitly included gay family members among the people who still belonged.
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Because when you come out to the people closest to you, the question underneath all the other questions is painfully simple.
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When you know the truth about me, will I still belong here?
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Dolly's answer was yes.
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My mom and I were already estranged when Troy and I got married.
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Afterward, I reached out and told her, and her response was, Well, I'll pray for him too.
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That hurt.
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And I understand that her faith is real, and I understand the world she comes from.
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I wasn't asking permission, and I wasn't asking for her to rebuild her beliefs in one conversation.
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I just wanted my mom to hear that her son had gotten married and say, I'm happy for you, or simply I love you.
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Maybe that's why Dolly reached me in such a personal place.
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She spoke with the accent of the world that had wounded me, but without the wound attached.
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You could show up as yourself, and she wasn't gonna ask you to explain yourself first.
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I've learned that permission and acceptance are different things.
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I don't need permission to be gay, to love Troy, or to call our life a marriage.
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That part is settled.
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Acceptance is quieter.
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It says, I know who you are.
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We're good.
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That's what I heard in Dolly's voice, even though she never knew me.
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When she died, people tried to describe what had gone out of the world.
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Casey Musgraves wrote, The world feels a lot less sparkly all of a sudden.
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And she said she was glad Dolly was with Carl again.
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Sally Field, who worked with her in Steel Magnolias, called her genuine, humble, supportive, and blisteringly funny.
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Reba McIntyre sang Appalachian memories for her at the Emerys, then said through tears, I love you, Dolly, so much.
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Dolly's family wrote that her warmth and kindness made people feel like family.
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That was it.
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That was the thing.
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She made people feel like family.
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Miley Cyrus, Dolly's goddaughter, wrote something that felt especially true.
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She said Dolly would want her to feel the lost, write a song about it, and then keep going.
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One of their last conversations had been about music and metamorphosis.
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Of course it had.
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A butterfly doesn't deny what it used to be, it carries that history into whatever comes next.
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I don't know what happens between my mother and me from here.
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I still hope something changes, but I can't wait for somebody else to tell me my life is acceptable before I live it.
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Dolly never knew there was a gay man in Atlanta listening to her talk about God and family and thinking, I wish more Christians could sound like her.
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She never knew that the little boy singing into the mirror would grow up, finally tell the truth about himself, and marry a man he loved.
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And maybe that's why Dolly's hope never felt flimsy to me.
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She knew poverty, she knew ridicule, she knew grief.
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Her hope did not depend on pretending those things were painless.
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It came from believing that pain was not the only thing waiting for us.
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But somehow, across all those years, she made this boy and a lot of boys and a lot of girls feel safe.
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And she made a lot of us feel loved.
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So thank you, Dolly, for the music, for the laughter, for losing your own look-alike contest to a room full of drag queens, and for reminding those of us who were told to become somebody else that we were already somebody worth loving.
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The world may feel less sparkly without her, but she left us the rhinestones.
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I'm Stan Statigan.
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Ideally, I wanted to play a song here that was one of my favorite dollars.