Filming a documentary about myself was pretty surreal and even more so during a pandemic! We started this whole thing in 2020 and did a lot of interviews and prep stuff over zoom...While trying to film as much as we could during the moments when the world opened up a little more and people were able to travel. All of that has resulted in Not Just A Girl… I hope you enjoy watching it 😘 Available on @Netflix now. Thanks to the whole team who put this together... there's a lot of us!! But especially to Joss Crowley, Quest | @Maverick Management, @mercurystudios & of course Fred ❤️
Shania Twain talks feminism, sexism and breaking barriers: 'I was always fighting my feminine curves in order to be taken seriously'
By Lyndsey Parker | Yahoo! Entertainment | July 28, 2022
“I've heard so many things, you know, like I ‘ruined country’ or ‘country will never be the same since Shania,’” Shania Twain recalls, as she chats with Yahoo Entertainment about her new career-spanning documentary, Shania Twain:Not Just a Girl. It’s almost impossible to believe that the artist responsible for the biggest country album of all time — 1997’s Come on Over, which sold 40 million copies worldwide — would ever be accused of ruining anything. But back in the ‘90s, Twain was seen as a “disruption” in Nashville, due to her unapologetically flashy image and pop-crossover appeal.
“I wasn't intentionally being disruptive. … I wasn't trying to bring everybody else with me, or change the [country] genre, or anything like that. I was just being me,” the singer-songwriter says with a shrug. “The documentary does set some records straight as far as, ‘Oh yeah, you guys remember how sexist certainly the industry was at the time, when I came out in country music?’ It was less [sexist] in pop, actually — which confused me very much. I'm like, ‘OK, why is there such a gap here? Why is there such a barrier?’ That probably made me a little more determined in the moments.”
Twain’s documentary, out this week on Netflix, dives deep into “the blood, sweat and tears” of her three-decade career, and she notes, “That in itself took some courage to revisit. I don't sit around thinking about the past every day, otherwise I might get a bit depressed! I'm somebody that likes to look to the future. I like to move forward. I like to look up, not down, and not behind. So, there was some emotional moments just looking back at all of that stuff.” The film covers her personal struggles — the death of her parents in a car accident, a battle with Lyme disease that nearly rendered her unable to sing, her divorce from producer Robert John “Mutt” Lange — but through it all, it makes a strong case for her artistry, which was once often overlooked.
In fact, the doc’s glimpse into Twain’s pre-fame days, when she aspired to be a Pat Benatar-esque rock diva, not only further illustrates her cross-genre appeal (“The way I think biologically is very country, but the punch and the dynamics and the unlimited expressions, that's all rock ‘n’ roll,” she tells Yahoo), but also shows why she clicked artistically with Mutt Lange. Lange was best known for working with AC/DC and Def Leppard before he produced Twain’s The Woman in Me, Come on Over, and Up! albums, and many doubters assumed that he was Twain’s Svengali — but that was far from the case.
“It was very natural,” says Twain of their professional partnership. “The documentary has been very important in that sense for me, to be able to explain a little bit of how most people thought, ‘This is really like the mismatch of the century!’ But really, we were very, very much in line, and the documentary explains that, I think, very well — how musically connected we were. It was a no-brainer for us. It just didn't seem that way to everybody else.”
When the media wasn’t harping on Lange’s contributions to Twain’s success, most of her press was hyper-focused on her (admittedly stunning) appearance. One particularly resonant segment of Not Just a Girl is a late-‘90s montage of reporters fawning over Twain’s beauty — while failing to discuss her music entirely. This irked Twain at the time, but those interviews were among the many incidents when she felt she needed to “bite her lip” and just play nice.
“As a young child, I took myself very seriously as a songwriter, as a thinker, as somebody who enjoyed a play on words, on chord progressions. At 8, I wasn't thinking about how beautiful I could be — I was thinking music,” Twain stresses. “So, when I look at those interviews… I see my facial language or expressions and my eyes, and I know exactly what I was thinking in that moment. It takes me right back. I felt like rolling my eyes in the moment. Even in the moment I'm thinking, ‘Things have to change. Is this really what I'm dealing with here, and what I'm going to have to deal with?’ But it was the reality at the time.
“For me, it's always been about visual art as well,” Twain continues, reflecting on such iconic music videos as the leopard-tastic “That Don’t Impress Me Much” or the “Addicted to Love”-inverting “Man! I Feel Like a Woman!” She explains: “It was all a very complete picture from beginning to end. I was always visualizing what the songs would look like. From the beginning of making the songs, from writing the lyrics, I was already projecting myself and visualizing it. So, to be sort of shut down or not taken as seriously for the other part of the art that I did, yeah, it was awkward and sad for me in a way. … I mean, they got it eventually, but this is all about having tough skin and letting things roll off and just carry on, proving yourself.”
Twain recalls, with an incredulous laugh, one baffling instance when her record label really didn’t “get” her intentions behind one of her visuals. “In the video for ‘Any Man of Mine,’ I'm in the bathtub with bubbles, and there's a horse peeking in through the window and he hands me a towel. And I'm just thinking, ‘This is the coolest thing ever. I love horses. This is unique. Nobody else has this in their video. I want unique. I want original.’ I'm braless for a lot of that video as well. You know, just things like that, which I thought were just being very free and enjoying myself. So, I go back to the video department with the label, and they're like, ‘I think people are going to think bestiality when they see this video.’ I'm like, ‘Are you kidding? Where is this thinking coming from? I mean, this is, this is a pet!’ That's like saying, ‘OK, when you take a shower, make sure that your dog is not in the room.’ Come on now!
“So, I was frustrated in those moments,” Twain continues. “I was like, ‘If I have to overthink everything this much, I'm never going to be creative. I'm going to be so stifled.’ And those were things that were recurring in those early years. I remember thinking, ‘I'm going to go braless while I can, because I know that someday I'm going to be down to my knees and I just want to enjoy some of this natural buoyancy. This is just me enjoying being a woman.’ You are either burdened with your breasts or you feel good about your breasts, so which one do you want to be? I don't want to be burdened by my breasts! I want to enjoy them and wear things that make me feel like I'm happy I have them, instead of like, ‘Oh, bummer, I've got these.’ There were a lot of moments like that, where I just refused to resent being a woman.”
The word “feminism” comes up a lot in Not Just a Girl, with various famous fans, from queer country trailblazer Orville Peck to modern-day pop/country star and logical Twain successor Kelsea Ballerini, heralding Twain as a feminist role model. Twain, who spent years fighting a misogynist industry and so many hurtful preconceptions about her image and talent, has her own thoughts on the matter.
“I think it's all in the perception of whoever is making their conclusions about me,” Twain muses. “I'm not, like, a self-proclaimed feminist. I'm just myself. I'm just me. I'm making my own rules as I go. I myself feel like I had a huge shell to break out of, coming out of my teens. I was strapping my breasts down just to play football with the guys, because they were focusing on the wrong bounce! … I was always fighting my feminine curves in order to be taken seriously. And when I started to get creative freedom and these creative platforms as a recording artist, I'm like, ‘Wow, I'm going to play with this now. This is my playground. I am breaking free from this nonsense of pretending I'm not a girl, that I'm not a woman, or trying to hide behind something else to be taken seriously.’ So, that's probably feminism, in its own way. It's to me a very personal rejection of these stigmas that we are as women often branded with.”
While Twain stresses that she didn’t make Shania Twain:Not Just a Girl to settle any scores or right any perceived wrongs, she admits that her current renaissance feels “very celebratory.” It seems like everybody finally “gets it” now. In recent years, Twain, age 56, has recorded a duet with Orville Peck, made a surprise appearance with Harry Styles at Coachella, and closed out the American Music Awards while Post Malone fanboyed in the audience and belted along to every word. “I feel flattered by all of these young artists wanting to hang out with me and make music with me,” she chuckles. She’s particularly excited to release new music (her sixth studio album will come out next year), and she gushes about her documentary’s newly recorded title track, which sums up the self-declared “rebel’s” mindset 30 years into her unparalleled career.
“‘Not Just a Girl,’ that song says it all… which is why I chose that song for the documentary,” Twain declares. “Where I am and where I'm going, and where I hope everyone is going. Not just a girl — that is not just a four-letter word.”
Shania did an interview the other day saying that the reason she didn't work with Prince is because he didn't want her to swear around him. She felt like she couldn't be her true self and so she declined. At least that's the reason she gave in the interview.
Soundtracks of Cinema: ‘Shania Twain: Not Just a Girl’
By Q.V. Hough | Vague Visages | July 26, 2022
Shania Twain: Not Just a Girl chronicles the life of a pop culture icon. As Shania Twain reflects about her music career, she discusses the inspirations for several songs and why she almost stopped singing after being diagnosed with Lyme disease. Music supervisor Ross Sellwood assisted with the featured needle-drops for the 88-minute Netflix documentary. Here’s every song in Shania Twain: Not Just a Girl.
“Man! I Feel Like a Woman!” by Shania Twain (00:01:00): The Shania Twain: Not Just a Girlsoundtrack song plays during the opening credits sequence. Interviewees discuss the subject’s legacy. The track can also be heard at 00:53:00, 01:00:00 and 01:26:00.
“To Daddy” by Shania Twain (00:08:00): Shania performs the Dolly Parton song on television at age 11. She begins a professional relationship with country singer Mary Bailey.
“Just Walk on By” by Shania Twain (00:10:00): Fifteen-year-old Shania appears on The Tommy Hunter Show. She performs a Jim Reeves classic. Shania talks about her parents in the present
“Hit Me with Your Best Shot” by Shania Twain (00:11:00): Shania performs in 1981. She remembers her rock aspirations during a present day interview. The Shania Twain: Not Just a Girlsoundtrack song continues as the subject talks about developing her own style.
“Wing Beneath My Wings” by Shania Twain (00:14:00): Shania begins performing at Deerhurst Resort in Huntsville, Ontario. She talks about the “decent” pay that allowed her to take care of siblings after a familial tragedy. Shania learns how to entertain with “Vegas-style” shows.
“Dance with the One That Brought You” by Shania Twain (00:18:00): Mary Bailey remembers Shania not being taken seriously in Nashville. The subject appears on a television show during the 90s.
“What Made You Say That?” by Shania Twain (00:19:00): Shania talks about being “relentless” at the beginning of her music career. She appears in a performance clip. The Shania Twain: Not Just a Girlsoundtrack song fades as Orville Peck talks about women in country music.
“Animal” by Def Leppard (00:22:00): Mary Bailey talks about Mutt Lange seeing Shania’s first music video. The 80s track sets in during a transition sequence. Shania recalls meeting her future producer and husband.
“(If You’re Not in It for Love) I’m Outta Here!” by Shania Twain (00:25:00): Shania begins working with Mutt. She sings the song in a recording booth. Shania reflects about living her “dream.”
“Whose Bed Have Your Boots Been Under?” by Shania Twain (00:27:00): Shania releases her second album in February 1995. She talks about wanting to release “Any Man of Mine” as the lead single. The Shania Twain: Not Just a Girlsoundtrack song plays as the subject remembers a safe marketing approach.
“Any Man of Mine” by Shania Twain (00:28:00): Shania performs on television. She sings a new single with a rock edge. Shania enlists John Derek to direct a music video.
“The Woman in Me” by Shania Twain (00:33:00): Shania films a music video in Cairo. In the present, she remembers her chance to be “truly competitive on a global scale.” Mary Bailey talks about Shania changing the face of country music.
“You Win My Love” by Shania Twain (00:35:00): The Shania Twain: Not Just a Girlsoundtrack song scores a 90s sequence. The subject receives accolades for her second album. Shania celebrates her success.
“Don’t Be Stupid (You Know I Love You)” by Shania Twain (00:40:00): Shania begins working on her third album with Mutt. She wears a black jacket and red turtleneck while recording. The track plays again at 00:56:00.
“I’m Holdin’ on to Love (to Save My Life)” by Shania Twain (00:41:00): Shania remembers an “energy stirring.” She records music during a 90s sequence. Shania recalls a “tag team thing.”
“From This Moment On” by Shania Twain (00:43:00): Jon Landau talks about hearing Come On Over for the first time. Mutt sings the Shania Twain: Not Just a Girlsoundtrack song during a previously unheard demo. Shania harmonizes with her producer/partner.
“Love Gets Me Every Time” by Shania Twain (00:44:00):Come On Over debuts in November 1997. Twelve tracks are released as singles. Shania appears in flashback interview clips.
“You’re Still the One” by Shania Twain (00:45:00): Shania remembers graduating from a “domestic success” to a “global success.” She talks in the present about switching to a “poppier” sound. Shania performs on television during the late 90s.
“That Don’t Impress Me Much” by Shania Twain (00:49:00): Jon Landau talks about Shania’s “dynamite” music videos. The track plays during a late-90s sequence. The Shania Twain: Not Just a Girlsoundtrack song can be heard again at 01:16:00 and 01:22:00.
“Honey, I’m Home” by Shania Twain (00:54:00): Shania plays football in a Dallas Cowboys jersey. A series of graphics detail the success of Come On Over. Shania remembers her pop culture momentum.
“Rock This Country!” by Shania Twain (00:58:00): The track scores a montage sequence. Jon Landau describes a tour as “monstrous and worldwide.” Shania recalls her “non-stop” schedule.
“I’m Gonna Getcha Good” by Shania Twain (01:04:00):Up! releases in November 2002. A music video sequence begins. The Shania Twain: Not Just a Girlsoundtrack song continues as the documentary subject discusses her fourth album.
“Up!” by Shania Twain (01:06:00): Shania performs during her Up! Tour. She remembers a “big rock band’ influence during a present-day interview. Shania says, “It was great for me to now get more epic.”
“Endless Love” by Lionel Richie feat. Shania Twain (01:15:00): Lionel Richie talks about recording with Shania. The documentary subject remembers being nervous about recording the duet.
“I’m Alright” by Shania Twain (01:18:00): Shania splits from Mutt. She begins work on a new album. The Shania Twain: Not Just a Girlsoundtrack song plays during an interview scene.
“Because of You” by Shania Twain (01:19:00): Producer Jake Gosling talks about musical therapy. Shania sings on camera during a home video scene. Jake speaks about the subject gaining creative confidence.
“Poor Me” by Shania Twain (01:20:00): Shania records new music. She says, “That was so beautiful.” Shania recalls a “great” recording experience.
“Life’s About to Get Good” by Shania Twain (01:20:00): Shania performs during a concert sequence. The track continues during a montage.
“Legends Never Die” by Orville Peck feat. Shania Twain (01:22:00): Orville Peck talks about Shania’s legacy. He performs with the subject during a transition scene. The Shania Twain: Not Just a Girlsoundtrack song plays during a guest interview montage.
“TBA” by Shania Twain (01:23:00): Shania sings new music on a boat. She talks about her point of view as a woman.
“TBA” by Shania Twain (01:25:00): Shania records new music. She talks about working with a producer named Mark Ralph.
One thing I learned during the filming of the Not Just A Girl documentary is... There's so much stuff that doesn't make the final cut!! I want to share some of those unseen moments with you because it would be a shame to waste them! This one is pretty fun - Here's me harmonising with... me!! 😂 #notjustagirl #letsgogirls
Rose d'Or @RosedOr have announced their 2022 Awards Shortlist and I am honoured to say that Not Just A Girl is being considered in the Arts category. The awards were started in Montreux so this feels extra special. Congratulations to the whole team!rosedor.com/2022-shortlist
The nominees for Rose d’Or 2022 will be announced at the start of November, ahead of the Awards which will be presented on November 28th.
The prestigious Rose d’Or Awards define the gold standard for excellence and achievement in International TV and Audio programme making. The Rose d’Or began in 1961, when it was created by Swiss Television in the lakeside city of Montreux and has been a flagship event for the European Broadcasting Union and the international TV industry ever since.
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Tommy's #1 SHANIA TWAIN SuperSite shaniasupersite.com Our eyes are closed, but we're not asleep, We're wide awake beneath the sheets
The nominees for Rose d’Or 2022 will be announced at the start of November, ahead of the Awards which will be presented on November 28th.
The prestigious Rose d’Or Awards define the gold standard for excellence and achievement in International TV and Audio programme making. The Rose d’Or began in 1961, when it was created by Swiss Television in the lakeside city of Montreux and has been a flagship event for the European Broadcasting Union and the international TV industry ever since.
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Tommy's #1 SHANIA TWAIN SuperSite shaniasupersite.com Our eyes are closed, but we're not asleep, We're wide awake beneath the sheets
AXS TV is pleased to announce the broadcast premiere of "Shania Twain: Not Just a Girl," airing Wednesday, January 11th at 9PM/8c. Take an intimate look at the incredible life and celebrated career of Country music trailblazer @ShaniaTwain.
AXS TV is pleased to announce the broadcast premiere of "Shania Twain: Not Just a Girl," airing Wednesday, January 11th at 9PM/8c. Take an intimate look at the incredible life and celebrated career of Country music trailblazer @ShaniaTwain.
One year ago today, Not Just A Girl was released to the world via @netflix ! I was so nervous (and excited) for your reaction!! Working on the documentary allowed me to reflect and appreciate the successes in my career and with each album, particularly Come On Over... That moment in my career was such a whirlwind, a total blur of memories! The great thing about releasing Come On Over: Diamond Edition is that I get to enjoy it again, as a total celebration with you all! ❤️🔥shania.lnk.to/ComeOnOverDiamond
With Come On Over, it was important for me to give what I thought was the best record of my life - no holding back! Especially as a follow-up to the certified Diamond ‘The Woman In Me’. I knew I had more in me than one Diamond album 😉 And with that, I’m happy to announce ‘Come On Over: Diamond Edition’ 💎 will be released on August 25th and you can pre-order it now: shania.lnk.to/ComeOnOverDiamond