With rare exceptions, a song like “Tall Trees in Georgia”, about a woman’s precious few peak pulchritude years on this earth and the risks of riding the cock carousel, would not get recorded or promoted today.
Post-1990, female singers became strident, bitchy, and vengeful, rarely missing an opportunity to slip quasi-radfem and penis-resenting talking points in their lyrics. Before then, their songs’ themes were vulnerable, feminine, and filled with genuine affection for, and loving exasperation with, men.
Feminine women are unafraid to confront the realities of the sexual market. Their femininity and trust in the good of most men allows them the psychological room to be honest artists, telling it like it really is for women. Unfeminine women like we have today, full of sound and fury and marbled fat, are so enraged with their lot in life and with the men who, unsurprisingly, keep letting them down, that they have no psychological space left to explore themes and tell of experiences that might put them in an unflattering light. When you are a loser, or you feel like a loser, you struggle hard against admitting flaws in yourself and against inherent, immutable unfairness in “society” and in the human condition…
When men are denied their deepest desire — sex and romance with a cute slender young woman — they become embittered and prone to dropping out.
When women are denied their deepest desire — romance and family with a strong, charming, admired man — they become embittered and prone to lashing out.
The sexual market we have today is one that, incredibly, manages to deny men and women both of their deepest desires. Men are deplored and effeminate, withdrawing to pron and Halo 19. Women are desperate and aggressively slutty, obese, and ill-mannered, withdrawing to tumblrrea and fifty shades of sadistic billionaire cock.
