So argues Arizona State’s Desiree Pharias in her State Press op-ed:
[Cole] Swindell sings to a girl and proposes a “little late-night pick me up.” He then openly tells her if she is lonely, and quite frankly, vulnerable enough tonight, she can go ahead and give him a call. He goes far enough to say if she’s “in the mood for a little regret” his offer stands evermore. Truthfully, when this song comes on, I instantly change the station, as I don’t appreciate his allusion to a one-night stand by saying, “We ain’t gotta make up, just kiss me, we could straight up blame it on the whiskey.” Bravo, Mr. Swindell! You disguised a proposition for a one-night stand in such a way that it almost sounds romantic.
While rap can be disregarded by those who are uncomfortable with its blatant misogyny, country music has a more subtle approach towards disrespecting women. It is precisely because of this that it is a more powerful vehicle of sexism. The singers of these songs are wholesome, respectful, country boys that your mom would want you to marry. In fact, she might be listening to them in her Toyota minivan right now.
Gosh, subtle (suggestive) messages in popular country music? And even more powerful than rap where demeaning, misogynist vulgarities fly out every few seconds? Who knew?
Unlike Ms. Pharias, I can’t stomach country music. I frequently playfully mock my fiancée — a big country music fan — about how you’re guaranteed to hear the following in every country song’s lyrics: truck, dog, beer, and whiskey.
About the most suggestive thing I’ve heard in a country song is when David Nail (yes, I had to look it up) sings “She’s got the blue jeans painted on tight …” Wha … how dare he objectify women like that!
Read the full article here.
IMAGE: Jeremy Roberts/Flickr