The Truth About Baby It’s Cold Outside

Image Credit: http://www.greatamericanthings.net/

Image Credit: http://www.greatamericanthings.net/

I don’t want to ignite a firestorm of comments about the secularization of Christmas. I know the reason for the season, but one of my favorite Christmas songs, Baby It’s Cold Outside, is being attacked by a bunch of misguided whining feminist harpies and I feel the need to defend it.

It’s not a religious song, I know, but I love the call and response cadence and clever word play. If you think this makes me a creeper, you obviously have been hanging around social media sites more than you should this holiday season and have fallen prey to the radical feminist hashtag du juor – #nomeansno – as in no means no because… OMG if you really listen to the lyrics it’s a date rape song!

NEWSFLASH: No. It’s. Not.

Baby It’s Cold Outside is not a terrifying song about an attempted rape of a woman on a date with a misogynistic wolf in sheep’s clothing. No criminal activity here thank-you-very-much. It’s about flirting. And seduction. But then, no gentleman in his right mind is going to flirt with (let alone attempt to seduce) a whining feminist harpy so I suppose we can’t blame them for misinterpreting the lyrics. Still, before manufacturing outrage, it’s important to get the truth about Baby It’s Cold Outside.

Frank Henry Leosser wrote Baby It’s Cold Outside in 1944. The iconic American songwriter created the lyrics to to be heard as a conversation between a man and a woman, but he did not design the duet roles to be gender specific. In fact, in the original printed score, the parts are identified as call and response, not male and female.

Leosser himself referred to the roles as mouse and wolf and in Neptune’s Daughter, the film for which the song was originally recorded and won Leosser an Academy Award, Baby It’s Cold Outside was performed both ways; first by Esther Williams and Ricardo Montalban followed by Betty Garrett and Red Skelton. Watch.

What is perhaps most brilliant about the construction of this duet is that regardless of which set of lyrics is sung by the female, Leosser presents us with a liberated woman. As the mouse, she is attempting to talk herself out of wanting what she ultimately chooses to do: stay with her beau in spite of societal dictates (i.e. what the neighbors might think). As the wolf, she is the predator aggressor in the relationship.

Ironically, there’s nothing whining feminist harpies love more than gender neutrality and powerful, liberated women. You see where I’m going with this… Then why protest a song that’s about female empowerment? Why replace it with a “feminist-approved” version? Watch.

Puh-leeze.

Today’s radical feminist agenda is not about empowering women. It’s about hating and emasculating men – all men – including those who ever lived and are yet to be born. This pisses me off to no end because 1. I have sons (WARNING:don’t mess with my kids) and yes, because 2. Baby Jesus.

Baby It’s Cold Outside is not a date rape song. No. It’s. Not.

 

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