Sheroes was a monthly limited-run art party series that brought together on and offline works that playfully and performatively explore the iconography and cultures of fandom surrounding the "League of Legendary Ladies": 
These boots aren’t made for walking
Style, fetishism and the ‘will to adorn’
Adele Patrick
Bowling Green State University, Ohio July 25-28, 1997:
| 1 note | tags:Melissa Jane Hardie’s, “Camp quality: Dolly Parton’s Country Style” interrogated the ‘colonial’ ideology of country and Parton’s varied simulation, throughout her career, of the country way of life. The theme of transformation (e.g. in Parton’s use of fetishised prosthetics) was identified as critical to her practice and was usefully contextualised (according to Hardie, Trump and Dallas changed the valance of big hair from low to high class ‘from Jacqueline Suzanne to Onassis’). Importantly, Hardie demonstrated that ‘Kitsch is always class contingent’. In her paper “Dolly-izin’: Dolly Parton, singing as a woman” Jeannie Ludlow utilised Luce Iragaray’s theories of disruptive laughter, irruption and disruption of femininity and Mary Russo’s ‘Female Grotesque’, to assert that Parton is never merely subjected by her performance of feminine excess but manages to ‘recover the place of her exploitation’ through making sounds from underneath her encrusted femininity. ‘The dumb blonde has a drag voice’.
