Smokyiiis
Well-known member
It was brought up in the Denim & Rhinestones Tour that if the CMAs choose Nov 9th as their date to air, then there is a large enough "break" in Carrie's tour schedule to attend and to perform this year. I was reflecting on the EOTY award and happened upon a post by Ivey when Carrie really deserved the award she's constantly being skipped on and instead Garth Brooks won THAT year. I love this post:
iveychilders
It’s hard to sum up what it felt like sitting in my seat at the CMA awards show. Watching this magical night unfold before my eyes. All of the beautiful moments in celebration of women in country music. Carrie performed “Drinking Alone”, which was in my opinion one of the best tv performances in her career. I had even more hope that change in the country music genre was truly coming. If there was a year to prove it, this was it! Then the last award was announced, entertainer of the year, and I was and still am stunned and at a loss for words. So I’ll borrow an excerpt from an article written by Kay west in Esquire magazine to sum up some truth. “The 2019 Country Music Awards might have touted a line up of strong, female performers, but its 7,300-member voting body didn't support women where it really matters—with actual trophies. Even with an incredible all-women opening act, and a trio of hosts made up of three generations of country queens, the real truth about the genre's gender-bias problem came out during the final envelope. Garth Brooks won Entertainer of the Year—the show's top award—instead of Carrie Underwood, who was believed to be the frontrunner coming into the night. Even in a year with a well-received album, a world tour, and ubiquitous superstardom wasn't enough to earn her the award. Instead, it went to Brooks, who didn't release an album this year and played five shows in 2019. ...Was it unfortunate? Absolutely. Is it surprising? No. As country music continues to rectify its dicey past with women—be it lack of airplay for female artists or the degrading nature of stadium country—the genre can’t figure out how to nail the execution of country-fried feminism.”
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