The Long & Short Reviews prompt I missed this week was "Song Lyrics that Make Me Cringe."
Well, actually, some leading contenders in that field are so explicit they violate this web site's rules. Consider a lot of rap songs about how the b's ain't s't and the rappers' male buddies are even worse. Consider a lot of pop songs in which people who used to be able to do their caterwauling about walking under the moon, in the month of June, with yoo-oo-oo-ou, are now expected to simulate sexual acts while singing.
The way some people sing makes me cringe, actually. The most off-putting quality in pop singers' voices is not nasality or "vocal fry," but a way of enunciating words that screams louder than the music, "I'm too drunk to pronounce words normally, actually, but I'll pretend you think my trying to sing while keeping my tongue hanging out is sexy." Shut up and rent a room, singers.
There are, however, some good old traditional songs that induce cringes by having idiotic lyrics.
My family, being four generations of Jim Reeves fans, know a lot of 1950s pop songs by heart from singing along with Gentleman Jim's records. One that I used to like, because it has a cheerful-sounding tune, was recorded in a few different versions; I don't think any single recording includes all four verses, but they all go something like
"Each night as I wait here in the darkness,
I watch your window so high above.
I'm longing for a look at my old sweetheart,
Just a glimpse of the one that I still love...."
I think it was the 1990s before my mother paused, after we'd sung along with that one, and said "Isn't that what's called stalking now?"
In a more intentionally off-putting tone, Ray Stevens used to sing a song about a creepy stalker:
"It's me again, Margaret.
Hello? Is this Margaret?
You don't know me, Margaret,
But I know you-u-u!"
I had a short-term romance with a man who used to sing that song by way of a phone greeting. I think the whole family were glad when he went back to his ex-girlfriend. I was sort of miffed, but not exactly broken-hearted, myself.
But most pop singers were persuaded to sing worse lyrics. One that Dave Barry said a lot of people recommended to him as the worst of the worst sounds like the national anthem of pedophiles:
"YOUNG girl, get out of my mind!
My love for you is way out of line!
You're too YOUNG, girl..."
I've heard quite a few thirty-something men say that kind of thing about their twenty-something exes, but did Gary Puckett intend for the song to sound as if it were about a 15-year-old trying to pass for 18?
And there's been a lot of political controversy about "Baby, It's Cold Outside," to which I will add that, as a general rule, if a man calls a woman "Baby" nothing else he has to say is worth listening to in any case.
I never heard of any unusual pressure that could have explained either Elvis Presley's or Dwain Reed's singing a once popular song that went,
"Break my mind, break my mind!
If you leave, yer gonna leave a babblin' fool behind!"
To which many people said that the song sounded like a valid reason for leaving the person, but then somebody calling himself Napoleon the Fourteenth recorded a sort of sequel in which "They're coming to take me away, ha ha, ha ha!"
I'm not aware of any pressure having been applied to Billy Ray Cyrus, either, to get him to sing that "You can tell my lips, or tell my finger tips...but don't tell my heart, my achy breaky heart! He might blow up and kill this man!"
The song writer thought a man who talked like that would be missed?
It never really bothered me that the speaker in an oldie called "I Am I Said" sounds schizophrenic...
"I am, I said, to no one there,
And no one heard at all, not even the chair..."
Oh, but the bed, his old faithful bed...what was it saying? But all those love songs had already taught me that, when men try to write songs, it doesn't seem to make any difference what kind of drugs they're on. They all sound stoned. Or if they're not, they wish they were.
"On a sleepy Sunday morning,
Wishing, Lord, that I was stoned..."
Some say that, once a relationship reaches a certain point, it's appropriate to be conscious of your own sex appeal--for one other person, when you're alone with that person--but I maintain that an opposite effect is produced by anyone pretending to think person is attractive to the whole audience. Elvis Presley and Dolly Parton got away with trying to act sexy on stage because they were clowning and having a good time. Arguably laughing was what audiences were supposed to do when we heard an early 1990s song that was popular, all right, as in a good song to pop into your tape deck when you wanted your roommate to run out, screaming "I hate you" and planning to spill paint on one of every pair of your shoes, but anyway leaving you alone for a few hours:
"I'm too sexy for my shirt!
So sexy it hurts! I'm too sexy!"
In an amusing parody video the song ended, "I'm too sexy for my life!" and the screen went black.
Then there are all those songs about adultery.
"I know it's wrong for us to steal a kiss,
But when you hold me in your arms you know I can't resist.
I have a home and someone kind and true.
I know I'd lose it all if I was seen with you."
Do these people ever listen to themselves and notice how blatantly they're saying that they do not love the people they sing these songs to? If you love someone who is already married, or even divorced with a possibility of reconciliation, you want person to be a good wife or husband, to have a happy home, to be able to respect perself.
Romantic love is probably the emotion it's easiest to make ridiculous, unintentionally, in song lyrics, but that doesn't mean there aren't other possibilities. Religious songs are another genre that has seen some epic badness. Secular, "modern" Christmas songs also have a tendency to reek.
Songs that express anger can easily go too far, as when Randy Newman went from the reasonable assertion, with which many people could agree at least for some people we knew who were shorter than we were, "They've got little bitty hands, and little beady eyes, and they walk around telling great big lies, and I don't want those short people around here," to what many of us thought was excessive: "Short people have no reason to live." Some tall people are just as bad, Newman.
School songs tend to go two ways: written by women, and smarmy; written by guys, and...a local deejay used to perform a real gem, riffing on the local high school teams being called the Blue Devils: "No, they don't have no angels there! They'd prob'ly kick them out!" Satanism in the schools!
Patriotic songs...I've never had a problem with the old slave supposedly wailing "Carry me back to old Virginie." In historical fact slaves put up for auction did have opportunities, and encouragement, to tell prospective buyers where they wanted to be and what kind of work they could do. If they could sing and be entertaining, that was another asset that might get them into a better or less-bad position. The whole idea of slaves having to treat an auction like a job fair is cringeworthy, but real. But I used to find the seldom sung verse, "Carry me back to old Virginie; there let me live till I wither and decay," too cringeworthy to sing with a straight face. "Till the day I die" is a cliche in traditional songs, but additional gross-out details beyond that....
I don't think "Our Great Virginia" is the greatest song, either, but I am glad that people at least wrote a new one. We needed a new song.