It has become an unfortunate part of reality that liberal social justice warriors will take great offense to virtually anything and everything these days, including clever and harmless Christmas-themed songs. The latest target of SJW ire is the song “Baby, It’s Cold Outside,” written in 1944 by Frank Loessner but made famous in 1959 as a duet between singers Dean Martin and Marilyn Maxwell.
SJW’s have taken issue with the song — which features a woman playing coy to a man attempting to convince her to stay the night with him — and alleged that it promotes “rape culture” in that the man should accept the woman’s repeated yet half-hearted “noes” and allow her to leave, rather than continue to request that she stay.
In keeping with the progressive tendency to rewrite history, a couple of SJWs — Lydia Liza and Josiah Lemanski — took it upon themselves in 2016 to rewrite the lyrics to the classic wintertime tune to “emphasize the importance of consent in sexual relationships.” Unfortunately, the redone song they produced is nothing short of cringe-worthy and nearly unwatchable.
Indeed, their song has received more than twice as many “down” votes than “up” votes and thousands of negative comments. It is also a safe assumption that a majority of the nearly 750,000 views the video received — including this one right here — were done by people subjecting themselves to the madness to see the awful absurdity for themselves, rather than watching out of any sense of agreement or enjoyment.
It appears that the woman’s part of the duet in the first verse largely stayed the same, with only a couple of lines changed, as she struggles with making her decision of whether to stay or go home.
However, virtually every line for the man was changed in that he was now 100 percent in agreement that the woman should leave, as she “reserves the right to say no.”
There were significant changes to both parts of the duet in the second verse, though, as nearly half of it was simply cut out.
Here is just a little sampling of the ridiculous rewrite: “I really can’t stay (baby, I’m fine with that), I’ve got to go away (baby, I’m cool with that). This evening has been (I’m hoping you get home safe), so very nice (I’m glad you had a real good time).”
“My mother will start to worry (call her so she knows that you’re fine), my father will be pacing the floor (better get your car and go home), so really I’d better scurry (take your time), should I use the front or back door (which one are you pulling doors for)?”
“The neighbors might think (that you’re a real nice girl), Say, what is this drink (pomegranate LaCroix), I wish I knew how (baby, I’ll help you out), to break this spell (I don’t know what you’re talking about).”
“I ought to say no, no, no sir (you reserve the right to say no), at least I’m gonna say that I tried (you reserve the right to say no), I really can’t stay (baby, you don’t have to), ah, but it’s cold outside.”
The rest of the song is really more of the same, with the woman prevaricating over whether to stay or go while the man makes it abundantly clear that she can leave any time she wants.
In the end, though this was most likely not intentional, the woman came across as being indecisive and making excuses for why she should maybe stay — which was the role of the man in the original tune.
On the other hand, the man in this current iteration seems almost determined to shoo the woman away, as if he’d rather be alone to play video games or something, rather than continue to be bothered by an indecisive woman who can’t take the hint that it is time to get lost.
These progressive leftist SJWs think that they are “woke” and have done a great service for society by re-writing the timeless classic song, but in reality they just ruined it with their laughably absurd SJW-inspired, over-the-top beta-male submissiveness.
There was nothing “rapey” about the original song, which was nothing more than a clever take on a woman playing hard to get and a man taking her up on that game to win her over and convince her to stay, which she obviously wanted to do, but needed an excuse.
This song, however, is an assault on all of our eardrums and sanity. It should be mocked incessantly until SJWs get the message that we don’t care if their precious sensibilities are offended by jokes and double entendres and playful flirting, and they really need to stop ruining everything for everybody who doesn’t think like them.
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