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Culture War Roundup for the week of October 23, 2023

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The underlying phenomenon driving the More than my Hometown/23 vibe (that rural-to-urban migration is now a mostly-female phenomenon except where strong patriarchy prevents this, and that one of the drivers is that women do not want to end up as farmers' wives) is global - Fred Pearce's Peoplequake is where I read about it, but is now probably out of date. But that ground truth hasn't changed over the timescale you are looking at with the change in the vibes of Country lyrics, so the vibe shift you are looking at is probably driven by something else. Someone more familiar than I am with fine-grained US economic data could probably confirm if it is the same rise in economic anxiety in rural and small-town America that drove the rise of Trump - the dates superficially match up.

  • Ladies Love Country Boys strongly implies that the male lead got off the farm and met the Yankee chick while they were both undergraduates at one of the SEC party schools.
  • In Save a Horse, Ride a Cowboy the male lead is mostly attractive because he is rich, with the source of funds never specified.
  • Cowboy and the Lady is about a "cowboy" so far from the ranch that he is wearing a rhinestone-studded suit and cowboy boots in an airport business class lounge (and is also wearing a hat indoors, which would be a faux pas for an actual cowboy-with-a-hint-of-class).
  • If I were a Carpenter shouldn't really be on the list - the Carpenter is asking the question to the Lady with no particular expectation of getting the answer "Yes".

That leaves Thinks my Tractor's Sexy and Pickup Man as songs that portray rural lower-middle class men as sexy. And Thinks my Tractor's Sexy is very definitely about a country boy attracting the attention of a country girl - it isn't claiming that a "lady" would find the tractor sexy.

So the Country-is-sexy vibe was about the aesthetic of Country being the sexy icing on a cake which consists of money and status. All the Pretty Girls is getting at something similar, but without the cake - the pretty girls find the country boys superficially attractive and want to have some illicit sex with them before heading off to pursue lives elsewhere, and the country boys know that illicit sex is the only kind on offer so they sneak past the cops to get it. And of course this is in the general context of a genre which disdains outlawry and has lots of songs about people and their families ruined by breaking the law and ignoring basic sexual morality - so by the rules of Country music this is an account of systemic failure, not a "we cucked the white-shoe boys" brag.

FWIW (my exposure to Country is limited to what I hear at the house of a relative whose gateway drug was Dolly Parton), I think Hlynka is right and it was the swagger that was aberrational, not the maudlin.

It's fascinating how different our interpretations of the same song lyrics are. I always thought of the male lead in Ladies Love Country Boys as a townie from around Charlottesville or Durham or Chapel Hill, who the female law student ends up dating. Many such cases. Meanwhile, Rich is attractive because he's rich, Big is attractive because...and I always kind of pictured them as Texas ranchers or something.

so by the rules of Country music this is an account of systemic failure, not a "we cucked the white-shoe boys" brag.

That's a weird perception of country music. Even the old guys of country are Outlaw Country types these days, long gone are the Louvin Brothers who were playing genuine gospel music. Country music's average morality is closer to Toby Keith for the past decade or so. I'm counting at least two dozen songs on the top 100 that are about premarital or extramarital sex. Certainly country makes room for marital love and family in a way that other popular genres don't, but it hardly frowns on premarital sex anymore.