The recent decision by many radio stations to remove the song “Baby, It’s Cold Outside” from their rotation this holiday season provides lessons on culture, time, perspective, and ethics beyond the musical score for those interested in evaluation. The implications of these lessons extend far beyond any wintery musical playlist.
As the holiday season approaches, the airwaves, content streams, and in-store music playlists get filled with their annual turn toward songs of Christmas, the New Year, Hanukkah, and the romance of cozy nights inside and snowfall. One of those songs has recently been given the ‘bah humbug’ treatment and voluntarily removed from playlists, initiating a fresh round of debates (which have been around for years) about the song and its place within pop culture art. The song, “Baby, It’s Cold Outside” was written in 1944 and has been performed and recorded by dozens of duets ever since.
It’s not hard for anyone sensitive to gender relations to find some problematic issues with the song and the defense of it on the surface, but it’s once we get beneath that surface that the arguments become more interesting and complicated.
One Song, Many Meanings
One of these arguments has come from jazz vocalist Sophie Millman, whose take on the song on the CBC morning radio show Metro Morning was that the lyrics are actually about competing desires within the times, not a work about predatory advances.
Others, like feminist author Cammila Collar, have gone so far to describe the opposition to the song as ‘slut shaming‘.
Despite those points (and acknowledging some of them), others suggest that the manipulative nature of the dialogue attributed to the male singer is a problem no matter what year the song was written. For some, the idea that this was just harmless banter overlooks the enormous power imbalance between genders then and now when men could impose demands on women with fewer implications.
Lacking a certain Delorean to go back in time to fully understand the intent and context of the song when it was written and released, I came to appreciate that this is a great example of some of the many challenges that evaluators encounter in their work. Is “Baby, It’s Cold Outside” good or bad for us? Like with many situations evaluators encounter: it depends (and depends on what questions we ask).
Take (and Use) the Fork
Yogi Berra famously suggested (or didn’t) that “when you come across a fork in the road, take it.” For evaluators, we often have to take the fork in our work and the case of this song provides us with a means to consider why.
A close read of the lyrics and a cursory knowledge of the social context of the 1940s suggests that the arguments put forth by Sophie Millman and Cammila Collar have some merit and at least warrant plausible consideration. This might just be a period piece highlighting playful, slightly romantic banter between a man and woman on a cold winter night.
At the same time, what we can say with much more certainty is that the song agitates many people now. Lydia Liza and Josiah Lemanski revised the lyrics to create a modern, consensual take on the song, which has a feel that is far more in keeping with the times. This doesn’t negate the original intent and interpretation of the lyrics, rather it places the song in the current context (not a historical one) and that is important from an evaluative standpoint.
If the intent of the song is to delight and entertain then what once worked well now might not. In evaluation terms, we might say the original merit of the song may hold based on historical context, its worth has changed considerably within the current context.
We may, as Berra might have said, have to take the fork and accept two very different understandings within the same context. We can do this by asking some specific questions.
Evaluators typically ask of programs (at least) three questions: What is going on? What’s new? and What does it mean? In the case of Baby, It’s Cold Outside, we can see that the context has shifted over the years, meaning that no matter how benign the original intent, the potential for misinterpretation or re-visioning of the intent in light of current times is worth considering.
What is going on is that we are seeing a lot of discussion about the subject matter of a song and what it means in our modern society. This issue is an attractor for a bigger discussion of historical treatment, inequalities, and the language and lived experience of gender.
The fact that the song is still being re-recorded and re-imagined by artists illustrates the tension between a historical version and a modern interpretation. It hasn’t disappeared and it may be more known now than ever given the press it receives.
What’s new is that society is far more aware of the scope and implications of gender-based discrimination, violence, and misogyny in our world than before. It’s hard to look at many historical works of art or expression without referencing the current situation in the world.
When we ask about what it means, that’s a different story. The myriad versions of the song are out there on records, CD’s, and through a variety of streaming sources. While it might not be included in a few major outlets, it is still available. It is also possible to be a feminist and challenge gender-based violence and discrimination and love or leave the song.
The two perspectives may not be aligned explicitly, but they can be with a larger, higher-level purpose of seeking empowerment and respect for women. It is this context of tension that we can best understand where works like this live.
This is the tension in which many evaluations live when dealing with human services and systems. There are many contexts and we can see competing visions and accept them both, yet still work to create a greater understanding of a program, service, or product. Like technology, evaluations aren’t good or bad, but nor are they neutral.
Image credit MGM/YouTube via CBC.ca
Note: The writing article happened to coincide with the anniversary of the horrific murder of 14 women at L’Ecole Polytechnique de Montreal. It shows that, no matter how we interpret works of art, we all need to be concerned with misogyny and gender-based violence. It’s not going away.