Carrie Underwood - “All American Girl”
“All-American Girl” is the stuff country radio hits are made of. One of the more solid vocal performances on Carnival Ride, Carrie delivers the bouncy melody of this catchy up-tempo with a perfect amount of the small-town sweetness that defines her image.
On the surface, all of that seems fine and dandy. Hey, we all love America, right? And we all love all-American girls, right? So I imagine that many folks are going to listen to this song and hear nothing more than a cute, sweet, innocent little topic, wrapped up in a colorful bow of musical production, and topped off with a Hershey-kiss of a vocal.
If only life were that simple.
Call me a feminist sympathizer. Call me a hippie. Call me a (dread!) liberal. I guess all of those monikers would be true to an extent. But I have a major problem with the way this song both assumes and forces the feminine identity. “Since the day they got married, he’d been prayin’ for a little baby boy/Someone he could take fishin’, throw the football and be his pride and joy/He could already see him holdin’ that trophy, takin’ his team to state/But when the nurse came in with a little pink blanket, all those big dreams changed,” goes the first verse, and I can’t help but wonder why this father can’t take his daughter fishing, or throw the football with her.
This lyric, through the eyes of the father, has already made the determination that this baby girl is not going to be as interested in these types of activities, or be as athletically inclined, as if she’d been born a male. And what is this determination based on? Only on social preconceptions of gender. Because there is no way–no way–this father, the mother, the nurse, or anyone else involved in the birthing process, could possibly recognize what the child’s interests would be if left to make her own choices, free of society forcing her into its accustomed gender roles.
But we see her with the pink blanket and know that within a few years she’ll be wearing ribbons in her hair, and pretty little dresses, and learning how to wear makeup, because we all know, of course, that blue is for boys and pink is for girls.
A girl who likes blue? Don’t sit at our table, tomboy. A boy who likes pink? There’s a term his classmates will use for that, which I will here leave unwritten.
Further, I have to point out how the daughter in this song plays the typical literary archetype of Eve, or the Femme fatale; she is the female character whose charms ultimately lead to the downfall of the ensnared or otherwise devoted male. When we find out, in the second verse, that sixteen years later our girl was “…Falling for the senior football star”, and that, “Before you knew it he was droppin’ passes, skippin’ classes just to spend more time with her/The coach said hey son what’s you’re problem, tell me have you lost your mind/Daddy said you’ll lose your free ride to college, boy you better tell her goodbye,” we are presented with the idea that the female is a distraction to the motivated, talented male. It is, in the eyes of the male’s father and coach, the female’s fault that his football skills have deteriorated.
So, even though the song closes with a saccharine-sweet ending (the couple having a baby girl of their own), the fact remains that this piece of poetry shamelessly reinforces stereotypical gender roles and male/female power relationships.
![]()
If you enjoyed this article, be sure to subscribe to our feed or receive updates via email.
Popular Stuff
Sponsor
Tagged In This Article
Carrie Underwood // Glenn Gorley // Kelly Lovelace // Single Review
Current Discussion
- diver: This is totally inappropriate as I am about to quote someone from USAToday online quoting someone else, but if someone ...
- Ruth: I think all of you have NO taste at all! Our local radio station had it on love it or ...
- TAYERS: There's a country station in our market that plays southern classic rock like CCR, the Eagles, and the J. Geils ...
- Rick: Although Bob Wills may still be the King in Texas (and it must be if Waylon said so), western swing ...
- Kelly: When is the Bob Wills set give-away gonna happen?
- gaby: Well I am happy that the UMG guy didn't try and say how taking Taylor international would be great exposure ...
- Rick: Mikey, the bizarre artist Unknown Hinson has already covered the realm of a love song to an inflatable doll with ...
- Nashville4U: I was actually kind of surprised that Taylor Swift sold so many albums. This looks to be another year of ...
- Bobby: Lofton Creek needs to get a consistent track record already. Maybe if they'd quit releasing 21 singles from the same ...
- Bobby: Mikeky: I lol'd at both your responses. As for this, yeah. Typical 21st Century Richie McDonald. I think only Craig Morgan ...
In this exclusive interview for The 9513, Little Big Town’s Jimi Westbrook talks about life with the band, as well as A Place to Land, the group’s current album, which has charted in the top 10 of Billboard’s Top Country Albums chart on two separate occasions
Honeyhoney isn’t country. That’s what lead singer Suzanne Santo, one half of the Venice, California, duo will tell you. But the sultry-voiced Santo and her musical partner Ben Jaffe have together created a sound that if not technically country, nonetheless boasts considerably country undertones.
In an attempt to discover and highlight the best music every month, We'll be publishing a list of the best songs released throughout that period. Here's Brady Vercher's picks for September.
Toby Keith - “God Love Her” Solid, though neither life-changing nor earth-moving; “God Love Her” fits well beside Keith’s better material, an uptempo romp that, for better or worse, has no intention of even pretending to be your grandpa’s country music.
Hank Williams III - “Six Pack of Beer” It’s hard not to love “Six Pack of Beer” for its style—Williams remains one of the most unique artists of his generation, and the musicianship and arrangements utilized on his records can elicit truly euphoric reactions.
Kenny Chesney & Mac McAnally - “Down The Road” There is a somberness in Chesney’s delivery that perfectly matches McAnally’s; this understated vocal performance is his best in years.
Jason Michael Carroll - “Where I’m From” In a format already oversaturated with songs about celebrating rural roots, “Where I’m From” begins a step behind and never catches up.
Emerson Drive - "Belongs To You" It's a song as well-constructed as could be expected (considering that it is made up almost entirely of clichés), but which nonetheless feels like an exercise in mediocrity.
Becky Schlegel - "Jenny" It's a study in interpretation and supportive arrangement that maximize the emotional significance of the lyric, reflecting artistry without becoming inaccessible.
For 23 year-old Jeannie C. Riley, the top of the mountain was reached in August 1968, when “Harper Valley PTA” jumped from No. 81 to No. 1 on the Billboard (all-genres) Singles Chart.







1 Trackbacks/Pings
Trackback URI for this postJuly 25, 2008
[...] art enforce, or merely reinforce gender roles? Don’t worry, buddy. Just check out Jim’s review of “All-American Girl” and the ensuing discussion and you’ll have that term paper written in no time. — [...]
51 Comments
RSS for comments on this post | Trackback URI for this post
December 17, 2007 at 10:56 am Permalink
I agree “thumbs down” on the song.
Though I’d disagree on your gender role rant. I had a few of those thoughts, like “well what if the girl was into softball or something? he could live vicariously through his daughter to see a trophy that way…”
Though I am probably giving the writers too much credit, the point I think they might be pushing across (in a way that might offend your typical if not annoying cliche feminist movement sympathizer that’s is just looking for something to argue about) is that a bond between father/son and father/daughter can be equally great but they are immensely different.
After I put that much thought into it I stopped myself and said “this is a Carrie Underwood song, don’t I have better things to analyze?” and moved on…
December 17, 2007 at 11:24 am Permalink
Jim,
My main problem with the song is the way the lyrics are almost secondary to the melody and the chorus. It’s as if they were just trying to find a way to get to that big chorus. I mean, we go from birth to the girl being 16 and dating pretty darn quick. Forget about her relationship with her Dad. Forget about the qualities which might make this girl interesting or unique on her own - she’s dating the football captain! And once he’s introduced the song is all about HIM and how HE feels, how HE performs. And then it’s straight from high school to havin’ babies! Our “All-American Girl” hardly makes a cameo in this song; she’s a secondary character. She’s not empowered at all.
Not sure I’m totally on board with the particular gender bias issue you raise, though the whole blue/pink dichotomy did make me feel as if we lived in an past era where no one knew the sex of their kids beforehand and “surprises” like this were both easily avoidable and able to be processed by parents wishing for a child of another sex before the child was actually born.
I like Carrie; I think she’s very talented. But this song makes think she and her team ought to listen to “She” by Shania Twain or other songs which depict the myriad of ways women impact our lives positively.
December 17, 2007 at 11:26 am Permalink
I definitely agree thumbs down on the song and lyrics. Great vocals, no surprise there. But I noticed the gender role lyrics in this song when I first heard it and was a bit annoyed by them. I’m glad you mentioned it in this review. Though the radio stations are going to love this song, just like any other Carrie song.
December 17, 2007 at 11:53 am Permalink
I’m with Ben J. Using this many words to analyze and dissect an Underwood tune is like the New England Journal of Medicine writing an article on why teenagers hate acne, or when sports illustrated has a feature on women’s athletics (I thought you’d like that Jim)….a big ol’ waste of words.
December 17, 2007 at 12:10 pm Permalink
I agree. Using flowery verbiage is sort of like a Nobel Laureate discussing the finer attributes of 50 Cent’s ‘Candy Shop’. What for? It simply doesn’t merit the serious attention. Let it be the big ol’ dumb hit, if that’s what it is. Eh.
December 17, 2007 at 12:25 pm Permalink
But isn’t Country songwriting something we ought to be critiquing as well? We know there are “big ol’ dumb hits” in every genre, but I figured The 9513 was one place where the art and craft of songwriting was taken slightly more seriously, that we are concerned with Country music as an art form as much as a form of entertainment, and there’s room enough to weigh songs based on both criteria. So Jim - keep it up!
December 17, 2007 at 12:51 pm Permalink
there isnt any question that country songwriting not only should be critiqued, but is done so very well on this site. you have read this site before, and its no secret that carrie underwood isnt exactly a “9513 Darling”. Simply pointing out all that is generic, bland and dated in her lyrics is repetetive and hardly contributing to anything. My main point is that anything above pretty, harmless, white-washed lyrics and melodies shouldnt be expected from her at this point, perhaps in the future, but for now, we’ve been there & done that.
December 17, 2007 at 1:41 pm Permalink
From that first verse, I can’t help but wondering why the daddy is disappointed he fathered a girl instead of a boy (no doubt he is). She won’t be as interesting? That’s the inference. Who wrote this damned song, anyway? Carrie, who made you record it?
December 17, 2007 at 1:57 pm Permalink
Dude, did you have a final paper due in English 101? Or just a deadline and you had nothing? There is plenty of classic country out there if you want to analyze lyrics. Or even Neo-Classic. How about taking a shot at Red Stroke?
December 17, 2007 at 2:47 pm Permalink
Ok, there are way too many heavy-handed analogies in the comments.
My eyes glaze over whenever someone starts talking about “gender roles” so I’m not really going to engage you on the particulars of the critique but I think that you’re way off base here. For one thing, this song is presenting a valid perspective, unless you’re questioning the existence of fathers who want sons and pretty high school school cheerleaders who date the quarterback. The fact that’s it’s not your perspective is not legitimate grounds for critiquing the lyric. I believe infidelity is morally wrong but I’d probably be the first on The 9513 staff to give the thumbs up to a good cheatin’ song.
December 17, 2007 at 3:11 pm Permalink
Thanks to all for the comments.
Matt–the fact that your eyes glaze over (not you in particular, of course) when someone starts talking about gender roles is exactly the reason why I brought the topic up, and it is exactly the reason why my grounds for critiquing the lyric are, in fact, valid.
Whether or not this is a “valid” perspective is irrelevant to what the lyric reinforces in it’s audience. Racism is real, but we wouldn’t support songs that speak in favor of racism. Crimes against gays are real, but we wouldn’t support songs that speak in favor of crimes against gays.
Just because something is “real” doesn’t make it beyond reproach, any more than the fact that a song is a “hit” makes it beyond criticism.
I am certain that there are fathers who want pretty all-American girls, but why do you think that is? There are many reasons, but songs like this contribute to that line of thinking.
Further, whereas cheating song and drinking songs deal with moral problems, this, I think, is something that stretches beyond the personal realm of moral code and ventures into ethics.
December 17, 2007 at 3:26 pm Permalink
Slow down there. The only CRIME here is that soccer moms all over middle america are going to eat this up like a shoneys breakfast buffet. For you to equate a new father being bummed at having a girl instead of a boy, and that girl having the realistic and understandable goal of being a supportive, doting quarterbacks girlfriend to crimes of violence, hate and racism is incredibly reckless and irresponsible. By “supporting” this song, all one is doing is being lame, not hateful or anti-feminist.One’s perspective is completely relevent, as it creates our lists of likes and dislikes, most loved and most hated. Your perspective is what made you decide that this song was sending a backwards and ignorant message.
December 17, 2007 at 3:30 pm Permalink
Kelly–
I did not mean to compare those things, and I’m sorry you took it that way. I am merely pointing out that just because something is real, as I said, does not make it above discussing.
And you’re perfectly free to disagree with the idea that girls should not be forced and pressured into being feminine, but that disagreement does not make the issue any less worth noting.
But again, sorry if you took my comment the wrong way. I certainly would not call this lyric criminal, and I don’t think I implied that anywhere.
PS. I also think you have some confusion about my use of the word “irrelevant”–I was saying, to Matt, that just because the song’s perspective is valid does not mean we should not discuss that perspective.
December 17, 2007 at 3:39 pm Permalink
Jim, I am crazy high on cough medicine, so its entirely likely that I misinterpreted your comment, so I apologize. I do not disagree with you on the idea that girls should not be forced and pressured into being feminine, but it isnt a crime was my only point.
Where’s GARTHMANFAN? We need a new list of Garth Fun Facts to bring us all together!!!
December 17, 2007 at 3:46 pm Permalink
Oh yeah, one more thing…I also think that just because you CAN note and discuss something, doesn’t mean it’s WORTHY or deserves to be noted or discussed, ala lyrics to Carrie Underwood songs…so there.
December 17, 2007 at 4:28 pm Permalink
There are some posts claiming that Carrie Underwood lyrics are not “worthy” of being analyzed or discussed. But the lyrics obviously raise important issues about gender roles. These issues arise even if the songwriters don’t see this or didn’t intend to do so, and even if the song only raises those issues in an oblique manner. It seems to me that popular culture’s representation of gender roles is worthy of analysis. Social structure is too important a matter not to think about.
A lot of posts have taken Jim Malec to task for his view about the song but I haven’t really seen a post so far that genuinely engages Malec’s argument and its assumptions and then goes on to show what is wrong (or right) with those assumptions. But it is plain as day that the father has different expectations for boys and girls and the song doesn’t challenge those views. Whether the father’s beliefs are acceptable is another matter, one worthy of serious discussion.
This is a good blog entry, and it engages in the sort of thoughtful analysis of country lyrics that should be more commonplace.
December 17, 2007 at 4:36 pm Permalink
Our pop culture, including mainstream country music, has a lot to say about our society, and there’s nothing wrong with taking it seriously. Anyone who says popular music is “just entertainment” is fooling themselves — it comes into our homes, into our cars, into ear ours, into our brains and into our lives every day, and it all says something about us and to us whether it intends to or not. I’d like to see more of this kind of analysis.
Plus I just like the idea of Carrie as a “femme fatale.” I’d certainly consider plotting a ‘Double Indemnity’-style conspiracy with her.
December 17, 2007 at 5:08 pm Permalink
Jim, I never suggested that the sociological implications of this lyric are not worth discussing. Entire books have been written about gender identity in country music and I grant that it’s a valid topic for discussion. However, I have not read any books/articles that suggest that feminist music is good and anti-feminist music is bad, and that’s why I object strongly to your review.
I would have had no problem if you had written an editorial that said exactly what you said above. However, using the fact that a song’s message does not jive with your worldview as the sole basis for giving that song a thumbs down is not good criticism.
Furthermore, I agree with Kelly. If we consider the detestable things that songs can be and have been written about, expecting your daughter to wear frilly pink dresses is barely a blip on the radar. It certainly isn’t a serious enough moral (or ethical, if you prefer) transgression to justify abandoning any attempt to evaluate a song on its merits rather than its political correctness.
December 17, 2007 at 5:17 pm Permalink
I see your point, and even as a die-hard Underwood fan, I do think it has merit.
However, there are hundreds upon hundreds of steroetypes in country music - even contemporary country music. I think if you’re going to pick on Underwood –who I am certain by no means meant to spark this debate– you would do well to pick on Toby Keith, Sara Evans, Brad Paisley, and the list goes on.
Furthermore, if you have a hard time swallowing “All-American Girl,” I can’t imagine what you think of the music some rap and pop artists put out. What’s a million times worse than Underwood’s stereotyping is when women sing songs that degrade females. I think THAT’S the stuff that needs to be addressed.
Lastly, it’s a shame to see how little respect for Underwood some of you have. In her own way, she’s chipping away at those generic boundaries you speak of, and I think she deserves credit for that. Plus, she’s more kind and humble than half the entertainment world - if nothing else, THAT deserves respect.
December 17, 2007 at 5:49 pm Permalink
Some are saying that the moral transgression in Carrie’s song is trivial compared to other things often discussed in songs. But is that so obvious? If we describe the moral transgression as “expecting your daughter to wear frilly pink dresses,” then it seems extremely trivial. But if we describe it as “expecting your daughter to conform to oppressive gender roles” then it sounds at least as bad as going out drinking too much or having an affair.
December 17, 2007 at 6:02 pm Permalink
I just think the difference is that Underwood didn’t MEAN to enforce these stereotypes; people in the rap and pop world –and sometimes even in the country music industry– often do. I know it’s just as bad either way, but it’s something to consider. Plus I think it’s sort of a stretch to interpret this song as sexist and what not, but there are blatant messages in other songs.
December 17, 2007 at 7:08 pm Permalink
Sure, the merits of gender roles are worth discussing, but it can’t be argued definitively that one particular viewpoint is right and all others are wrong, therefore, the rating shouldn’t merely be a reflection of one’s stance on the issue.
December 17, 2007 at 7:33 pm Permalink
While the lyrics are fluff to say the least; I am seriously thinking the vocal performance was less than amazing. It seems there is some “scooping” to hit the higher notes and the whole song seems like showcase of her vocal range. More of a “lets see if Carrie can hit this note” then a true attempt at blending with the lyrics.
December 17, 2007 at 8:20 pm Permalink
I didn’t think about any of the issues you raised when I heard this song. It’s a testament to how well this review is written that it made me think of the song in a new light.
December 17, 2007 at 10:00 pm Permalink
I’d like to say I should take the time to think through the song writing on Carrie Underwood’s songs but they’re not her songs and the writers of songs like that are a dime a dozen.
Plus, whenever I see Carrie on TV I stop and say “you’re pretty” to the tv and I move on.
December 17, 2007 at 11:28 pm Permalink
Actually Ben, this is her song. She co-wrote it.
December 18, 2007 at 10:02 am Permalink
Jim, I had the same thoughts when I heard this song. The song is trying to say something positive (ie fathers can have a great relationship with their daughters), but it seems stuck in the 1950s. For one thing, MOST girls play sports at some time in their life. It’s not really a radical idea.
The dumbest part about this song, in my opinion, is that it sets up this straw man: the man who only wants a son. Seriously, I think these characters only exist in songs and on TV. I can’t think of a single man I know that wouldn’t want to bond with his daughter as much as a son.
Also, the 9513 has always been a great place to read reflections on country music from many perspectives — why are people so up in arms about “over-analyzing” when it some to talking about gender? You’ve pushed some buttons with this one. Bravo.
December 18, 2007 at 12:10 pm Permalink
Inspiration for the femme fatale verse?
Doesn’t calling Trisha Yearwood Mrs. Garth Brooks reinforce the same male/female power relationships that you railed against in the review?
December 18, 2007 at 12:20 pm Permalink
Ben,
Are you saying songwriters are a dime a dozen or “songwriters getting cuts” are a dime a dozen. because, and I’m sure the authors here or readers like Chris N would agree with me when I say this, they’re two completely different things.
December 18, 2007 at 12:25 pm Permalink
I should clarify… What I meant in my above post was that the songwriters getting cuts like “All American Girl” are not a dime a dozen.
December 18, 2007 at 12:39 pm Permalink
Again, great comments and I appreciate all of the feedback.
Brady–yes and no. I think the issue at play there is very different, although rooted in the same general line of thinking.
At the same time, my use of the term was to point out how Trisha has received more press and recognition recently for her marriage to Garth than for her own music–which is absolutely ridiculous.
Still, I’ll yield that a comment like that is not completely without fault.
December 18, 2007 at 1:45 pm Permalink
There are a ton of reasons why I don’t like this song, not the least of which is the mind numbing use of recoloration (when the chorus is the same but the meaning has changed). I know this is a standard tool, but with this song it particularly annoyed me.
I’ll agree with Jim on this one in saying that a song’s message is a viable reason for giving the thumbs up or thumbs down.
Personally, I think that country songs are supposed to tell the truth about the human experience, therefore, songs that lie to us about the human experience are bad country songs and I’d put this song into that category. It lies about what it is to be a father. It lies about what it is to be a daughter. It lies about what it is to be a female. It lies about what it is to be an “All-American Girl”.
Like Jim said “this piece of poetry shamelessly reinforces stereotypical gender roles and male/female power relationships”
well done Jim.
p.s - can we call you a commie too? The communists were all about dissolving gender roles…ya commie.
December 18, 2007 at 2:48 pm Permalink
“Recoloration” — gotta remember that word.
December 18, 2007 at 6:56 pm Permalink
Wow… I have never commented before on this site, but I feel compelled to now. It is interesting to see different viewpoints on a song, but I feel that this song is being taken a bit too seriously. Carrie helped co-write this song and said she was writing from the viewpoint of being the youngest of three daughters. Her parents may have been hoping for a son since they already had 2 other daughters. I think that is quite common. I know a lot of people who have 2 boys and want a little girl or vice versa. That doesn’t mean that you aren’t happy when that new baby arrives no matter what the gender. Carrie has said that she was a tomboy and went fishing with her dad and he took her hunting. Obviously, he loved her no matter what her gender. That is what the song is trying to convey in my opinion. I really believe Carrie is going to continue to grow as a singer and songwriter as she gains more experience. You have to remember she is really still very new at all of this. Sometimes it doesn’t seem that way because of all the success and awards she has received. I am very optimistic about future albums and songs. I think in some ways she is still trying to find herself. She has a powerful voice and she will learn when less is more. I think her producer had a big influence on Carnival Ride. Carrie has said that he would push her to sing higher. She said that she realizes that just because you can doesn’t mean you should. That is an encouraging sign to me. I would like to see her branch out and use other producers in the future, but Carrie is very loyal and I am not sure she would want to do that.
December 24, 2007 at 2:45 pm Permalink
carrie obviously wasn’t thinking that when she wrote/sung the song. that is really a stretch and i don’t get that impression at all. i think it’s just a cute song and that’s all it’s intended to be
January 3, 2008 at 8:04 am Permalink
OK, so I heard this for the first time yesterday because I do not go out of my way to listen to her music….but OMG….what an awful song, what was she thinking??? But then again I question if she is ever thinking when she records a song…but that is my opinion…
January 7, 2008 at 1:33 am Permalink
Carrie Underwood is the best!
January 17, 2008 at 1:24 pm Permalink
Kenny Chesney already did this song. It’s called “There Goes My Life.” Guy doesn’t want a baby, then she’s born, he falls in love and all that.
January 17, 2008 at 1:59 pm Permalink
Alison, Thank you for your comments and welcome to the non-philnatic side of the 9513 “comment people”.
January 22, 2008 at 2:50 pm Permalink
I personally love the song and dont find a thing wrong with it
January 24, 2008 at 2:32 pm Permalink
i love love love love the song u people r all crazy it is a great song for all the dads who wanted a boy but had a girl and would do anthing for her and loves more than the world.Ilove listening to it. evrey time it comes on the radio i turn it up even though i have the cd which is also awsome.
January 26, 2008 at 11:23 am Permalink
Have any of you seen the video? It puts out your sexist argument, I think.
January 26, 2008 at 5:53 pm Permalink
Tara - I see the video as an attempt to correct a lot of the flaws in the song. But the real point of the song (as opposed to the video) is not that women can do anything. If anything, the song ties a woman’s/girl’s fate to that of her father/boyfriend/husband, not giving her a voice of her own.
I like the video just fine - I’m just wondering what song it’s for. If it was for “She” by Shania Twain, then I’d applaud it, as that’s a song which celebrates female empowerment and unlimited opportunities for women, but it’s not.
February 16, 2008 at 12:24 pm Permalink
i really disagree i love this song and i think that its a thumbs up!!
March 20, 2008 at 3:33 pm Permalink
Carrie Underwood is my IDOL
From
Shania
Harrison
May 2, 2008 at 2:48 pm Permalink
You clearly misinterpeted the song. At first it shows the father thinking that only his son could do those things but later on its supposed to be him realizing that he could do those things with her too. All american girl means that this girl could do anything she puts her mind to. Have you seen the video, with Carrie dressed as a college student, a doctor, even a astronaut. This is to show that a girl could be anything she wants to be.
May 2, 2008 at 3:23 pm Permalink
Jeanette — I see nothing in the lyrics of the song to suggest that “later on its supposed to be him realizing that he could do those things with her too.
Perhaps the video has such images, but the song alone does not give that message.
May 3, 2008 at 11:40 pm Permalink
I’m not sure how anyone could get past the first two lines as they are performed in the song to listen to the rest of the song. Possibly the worst written and/or performed song in the last year. Absolutely dreadful
May 27, 2008 at 8:48 pm Permalink
just saying Peter the song by Shania Twain isnt called “She” its called “She’s Not Just A Pretty Face” and i agree the video would go along great with the song
September 10, 2008 at 4:37 am Permalink
but she is referring to an american girl..and an ordinary american girl wont love to fish to play football..etc..and an ordinary american boy will truly like that..she is talking in general..
October 12, 2008 at 6:18 pm Permalink
I do hate this song, not so much because of the whole “gender role” aspect, but because of the image of the “perfect” all-American girl, who’s pretty and probably perky and fairly so-called normal, and dating the star quarterback.
Me, I like the storylines where the geeky shy girl wins over the star quarterback and is eternally beloved by everyone she meets. Like that’s ever going to happen.
There have been lots of variations on that twist theme, in music and movies: geeky guy gets the girl who’s out of his league; girl finds out the star guy isn’t so great after all and he’s acutally vapid and shallow; geeky girl gets a personality makeover (and usually a beauty makeover to go with it) and THEN wins the star guy; you name it, but somehow I’m still left waiting for the one where the non-”all-American girl” gets the handsome prince.
Okay, I’ve seen a few that come close.
But with all the various twists I mentioned (and so many more I didn’t) that are available, it’s a miracle that the gag-inducing cliche of all-American girl gets all-American boy ever actually made it into a song nowadays.
Leave a Comment