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An Even Dumber Take on “Baby, It’s Cold Outside”

Some dingbat at Medium is saying the problem with “Baby, It’s Cold Outside” isn’t because “it’s about date rape” (as deranged feminists claim), but because it’s about “slut-shaming.” 

What’s happening here isn’t all that hard to figure out, especially if you remember that the song was written in 1944. The woman wants to spend the night with her date. She just knows that if she does, she’ll be scarlet-lettered by her community for having the audacity to make her own premarital sexual choices. She’s not consternating over letting this guy down; she’s consternating over being publicly and privately maligned for doing what she wants. And clearly this is normal for her, as well as for listeners at the time, who were expected to understand all of this and relate. The problem with this song doesn’t have to do with consent. The problem has to do with slut-shaming.

Imagine getting that worked up over a seventy year old pop song. OK, the dingbat is not a million miles from the truth here. There is a lyrical subtext to the song about the social pressures used to discourage promiscuous sex, or, what feminists call “slut-shaming.” (Last week, Senator Fauxcahontas Warren called one of her Democrat colleagues a slut, which was hilarious.) My take on this is, what’s wrong with discouraging people from having promiscuous sex? Especially when there are  gay men who fetishize exposing other gay men to HIV.



  1. Fun used to be fun.

    Comment by apple betty — December 18, 2017 @ 8:06 am - December 18, 2017

  2. How about bizarre take on the New Wave/synth music of the late 70s & early 80s. Some Alt Right writer wrote about this:

    Now apropos the accusations of right-wing or fashy politics. First let’s consider the historical milieu from which they emerged—the New Romantic, New wave and Electro Revolution. In the late 70s/early 80s, fashy right-wing signalling was surprisingly common. It was even very hip to do so. Bands like Joy Division, Kraftwerk, NON, Death In June, Current 93, and Throbbing Gristle, to name just a few, openly embraced fascist and right-wing aesthetics—probably taking after Bowie and his Thin White Duke period. And the lyrics in many songs and publicity shots reflected the same.

    Even more commercial bands like Ultravox, Human League, Gary Numan, Japan, Devo, Furniture, Visage, and Talk Talk embraced some fashy style imagery, as well as conservative ideas and lyrics. It was sort of a New Romantic and New Wave counter revolution against the destructive anarchy of punk and it’s aftermath.


    Comment by James — December 18, 2017 @ 9:41 pm - December 18, 2017

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