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Baby, There’s Some Whores in This House

‘Tis the season for sensitive left-wing losers to find something to complain about!


For over a decade, miserable leftists (seemingly running out of things to have contempt for) have turned their unrelenting and unabashed hatred toward legendary songwriters and their compositions.


In recent years, the most widely attacked and most fervently condemned song is none other than Frank Loesser’s massive hit “Baby, It’s Cold Outside.”


The song was written in 1944 and first became popular in 1949. Though the song never once explicitly mentions any holiday, it has been regularly regarded as a Christmas song, since it references snow and a winter storm. For over half of a century, no one questioned the ethics behind or the morality of the song. That all changed, however, when fanatical feminists and bored beta males directed their uncircumscribed anger (likely fueled by self-hatred) at Loesser’s song.


According to leftists and third-wave feminists, “Baby, It’s Cold Outside” is a song that is inherently sexist and that advocates for the drugging and raping of women. According to Rolling Stone, the song was originally written by Loesser as a “playful call-and-response duet for him and his wife to perform at their housewarming party while their guests were preparing to bid them goodnight.” The song was then used in the musical Neptune’s Daughter in 1948 and 1949. Since then, various artists have made covers of the song, leaving its original lyrics substantially unaltered.


The purported issue with the song is that the fictional male character in the song seems to suggest multiple times that the woman should remain with him for the evening since there is a storm allegedly brewing outside. At the end of the song, the woman emphatically and explicitly expresses her desire to remain with the man instead of going out in the storm.


As is often the case, left-wing journalists led the charge in seeing that the song be cancelled for its alleged misogynistic and sexist undertones. One journalist called the song “an ode to statutory rape.” Another freelance writer wrote that the song was about the “warm embrace of semi-consensual” date rape. #MeToo minions soon joined the journalists in their bid to cancel the song.


Bowing to the mob, several radio stations in both the United States and Canada decided to ban the song from their respective radio frequencies.


According to NPR, at least one radio station, KOSI Denver, had no choice but to unban the song after 15,000 listeners voted in poll to have the song returned to broadcast. Other stations around the world have kept the ban in place.


In my view, the outrage over the original lyrics is unwarranted and silly; however, even if—as it is alleged by the #MeToo freaks—the meaning of the word “consent” (or the way in which a person expresses consent) has changed since 1944, what is even more problematic is the irony that has resulted in the alleged name of female empowerment.


To leftists, a fictional song about a chivalrous male attempting to preclude a woman from falling victim to sub-freezing temperatures, brutal winds, frostbite, and knee-high snow is the antithesis of female empowerment. Instead, modern leftists see the hyper-sexualization of females as empowering.


The leftist logic can be broken down like this:

Man who offers several times to allow a woman to stay with him during a storm = BAD

Woman who dances naked and discusses having sex with multiple people = GOOD

GOOD = female empowerment.


In 2018, Belcalis Marlenis Almanzar Cephus, colloquially known as Cardi B, was featured on the T100, which is Time’s top 100 most influential persons for the year. Two years later, she and a female rapper called Megan Thee Stallion, released a song titled “WAP.”


As the chorus of the song subsequently reveals, the three seemingly innocuous letters form an acronym for the phrase “wet ass pussy.” Thankfully, I need not describe the song in too much detail because conservative podcaster and founder of The Daily Wire Ben Shapiro (whose wife is a doctor) has already thoroughly deconstructed the contents of the song on his YouTube channel.


YouTube | Ben Shapiro


I will, however, provide a few lyrics from the song “WAP” to contrast them with lyrics from “Baby, It’s Cold Outside.”


The song begins with a bass drum and a clap and a male voice repeating “there’s some whores in this house.” (Right off the bat it sounds quite empowering!)


As the song progresses, Cardi B emphatically warns her listeners and any prospective intimate partners to “bring a bucket and a mop for this wet ass pussy.”


Using the N-word to refer to the man with whom she is having sex, she encourages him to “beat it up” and “catch a charge.”


Rebuking traditional values, Cardi B without shame sings, “I don’t cook; I don’t clean. But let me tell you how I got this ring.” Indeed, the song later, in graphic detail, explains how she got said ring.


Contrariwise, “Baby, It’s Cold Outside” does not contain any vulgar lyrics. And, unlike Cardi B’s verse in “WAP,” it does not encourage anyone to engage in any activity that would necessitate a domestic violence charge. Instead, the man’s lines in “Baby, It’s Cold Outside” repeatedly suggest that the woman remain with him so that she does not suffer any physical harm from being caught in the storm that is transpiring outside. Moreover, the man repeatedly flatters the woman, calling her “beautiful” and proffering other compliments. He does not refer to her as a "bitch" or as any other derogatory name for that matter.


Instead of discussing the various positions he would like to have sex in (like Cardi B does several times), the man’s lines in “Baby, It’s Cold Outside” are much more polite and civil. He offers to hold the woman’s frozen hands to keep them warm. Cardi B, on the other hand, asks her prospective lover to “spit in [her] mouth.” (How loving!)


When it comes to the lyrical controversy, perhaps the most widely cited portion of “Baby, It’s Cold Outside” is when the female sings the line “Say, what’s in that drink?” According to leftists, this line implicates that the male placed something in the woman’s cup, perhaps a drug. The plain text of the line contradicts such a theory. The woman asks what’s in that drink. This suggests that she is not questioning what is in her own cup, but rather what is in the cup of another, i.e., the man’s. Moreover, even if the proposition that she is questioning the contents of her own cup were accepted as true, such questioning could still be innocuous. For example, she could be questioning a particular flavor or texture, or she could be questioning whether there is alcohol mixed in the drink.


There is no evidence to suggest that the lyric suggests or propagates date rape; there is, however, evidence that Cardi B, one of the left’s favorite celebrities, conceded to taking advantage of men while they were unconscious from the consumption of drugs or alcohol or both.


In 2019, during a livestream on her verified Instagram account, Cardi B discussed how she struggled as a stripper before becoming a famous rapper. In the video, she said that she would lure men back to a hotel under the pretense of having a sexual encounter. Once back at the hotel, according to the video, she said she “drugged” men and “robbed them.” (Note: In a second video uploaded later, Cardi B partially recanted her earlier admission and stated that she never put any sort of drug in a man’s drink. Instead, she insisted that the men would already be either high off of some drug they had previously consumed or intoxicated from drinking alcohol earlier in the night and that she would only rob them while they were incapacitated. To date, Cardi B denies all allegations of drugging men and of sexually assaulting men.)


Not withstanding the confession (not accusation, but confession) of robbing men while they were passed out and despite the release of several highly sexual and demeaning songs and music videos, Cardi B was named Billboard’s “Woman of the Year."


Twitter | @BradleyCongress


In a tweet, Republican Congressman James Bradley of California presciently said: “Cardi B [and] Megan Thee Stallion are what happens when children are raised without God and without a strong father figure.”


Lest you think that “WAP” was just a one-off song that happened to be sexual in nature, I direct your attention to other songs Cardi B sings or is featured on, such as “Up” (where she expresses a desire to have sexual relations with biological twins), “MotorSport” (where she raps about possibly selling a pornographic video), or “No Limit” (where she raps about having sexual relations with men in exchange for money).


Leftists do not condemn Cardi B for her horrendously vulgar lyrics; instead, they laud her and admire her candidness about her sexuality and her sexual desires. Writers at Complex, referred to "WAP" as "an empowering anthem." And a Metro headline referred to Cardi B and Megan Thee Stallion as "sexually powerful women." The irony is palpable: Objectifying women is empowering, while acting chivalrously toward them is misogynistic and worthy of immediate cancellation.


In 2019, John Legend and Kelly Clarkson released a woke cover of “Baby, It’s Cold Outside.” I do not recommend listening to it, but, if you do, you will observe that the outcome in the 1949 original and the 2019 virtue-signaling rendition is exactly the same: That is, the woman decides to remain with the male character and chooses not to expose herself to the winter weather outside. The woman’s part, performed by Clarkson, remained substantially unchanged; however, the male’s part, performed by Legend, includes superfluous and woke interjections such as “It’s your body and your choice” and “I want you to stay; it’s not up to me.”


In the song, the male character offers to order (and actually does order) the woman a ride home. The driver’s name is Murray. But the woman shouts “Murray, just go!” And she says that she does not “wanna go.”


Interestingly, the 2019 rendition is three minutes and thirty-nine seconds in duration, whereas the 1949 version is only two minutes and eighteen seconds. As previously stated, the result of both songs is the same: The fictitious female character elects to stay inside with the male, rather than brave the cold weather. The time difference in the two tracks symbolizes an inescapable truth: Being woke is simply a pointless waste of time.


The attacks on Frank Loesser and his song are uncalled for, but the attacks are also unsurprising. Leftists have a bizarre affinity for attacking the works and successful lives of white men. This affinity is even stronger when the white man whom they are attacking is no longer alive to defend himself. (Consider the people whose statues leftists most frequently vandalize and seek to destroy: E.g., Christopher Columbus, Thomas Jefferson, George Washington, and perhaps most ironically, Abraham Lincoln.)


In the eyes of left-wing thugs, the deader their target, the better of a target he is. Loesser is no exception. Loesser suffered an untimely death in 1969 at the age of 59 and, therefore, cannot defend himself against the left’s accusations of sexism, misogyny, bigotry, or even date rape.


Unlike Cardi B and her jezebel friends in the rap industry, Loesser truly was an influential person. After the death of his father, Loesser had to begin working to support his family. Notably, Loesser did not support himself or his family by drugging or robbing men or by becoming a stripper. Instead, Loesser, according to his website, worked as a restaurant reviewer, a process server, and a newspaper editor.


During the Second World War, Loesser voluntarily enlisted in the United States Air Force. While in the military, he continued to write songs that would be sung by and for soldiers who were stationed overseas.


I urge you, before jumping on the cancellation bandwagon, to consider with care the person whom the left is attempting to cancel. Frequently, and nonsensically, the left’s victim is merely someone who committed the egregious and unforgivable sins of (a) being born a male, (b) being born white, or (c) some ghastly combination of (a) and (b). As is often the case, Mr. Loesser falls into category (c).


Though certainly not foolproof advice, it is generally wise to steer clear from anything and anyone that leftists idolize.


But above all else, if there are whores in the house, you should, in fact, go outside—no matter how cold it may be.


Reject modernity and embrace tradition.


(I would be remiss not to add: If any portion of your body is excessively and constantly wet to the point where you feel the need to verbally warn others about it, please consider seeking medical assistance.)


Note: This is an opinion piece, and the views of the author do not necessarily reflect the views of Red Liberty Media as an organization.

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