https://quadrant.org.au/opinion/qed/2018/12/deconstructing-and-de-composing-the-politically-correct-songbook/
In a world where Baby, It’s Cold Outside is banned from the PC airwaves, the decidely un-woke Cole Porter’s lyrics need and get a radical update:
You’re the top,
You’re tidal power
You’re the top,
A trans-sex bridal shower …
The recent furore surrounding the lyrics of Baby, It’s Cold Outside caused me to revisit some classics from the Great American Songbook and I realised just how offensive and traumatising they might be to sensitive and coddled millennials … and that was before I even got to the lyrics.
Concern over Irving Berlin’s White Christmas needs no explaining. So too, George and Ira Gershwin’s Someone to Watch Over Me and the Rodgers and Hammerstein favourite You’ll Never Walk Alone have ‘stalker!’ written all over them. Cole Porter’s I Get a Kick Out of You surely evokes domestic violence while Rodgers and Hart contributed disturbing titles like The Lady Is a Tramp (slut shaming) and Slaughter on Tenth Avenue (gun violence). Jerome Kern and Oscar Hammerstein’s Ol’ Man River smacks of cultural appropriation , while Harold Arlen and Yip Harburg were clearly insulting the intelligence-challenged with If I Only Had a Brain. Perhaps most distressing of all is the gender-enforcing I Enjoy Being a Girl – Rodgers and Hammerstein again!
But, as in the case of Baby, It’s Cold Outside, it’s the lyrics that will have some listeners retreating to their nearest safe space. Who knew that what has long been revered as the canon of influential popular American songs of the first half of the 20th century is nothing more than sexist, racist, patriarchal propaganda? Consider these shocking sexist examples: