Kira Isabella Tackles Date Rape in “Quarterback”
“Quarterback” is a song by female Canadian country star Kira Isabella; the first single from her upcoming Sony Music Canada release Caffeine & Big Dreams. It was released to the Canadian market on March 25th, and has performed fairly well, cresting Canada’s Hot Country Billboard songs chart at #10. Written by Rivers Rutherford, Bobby Hamrick, and Marti Dodson, the song tells the story of a young girl from the high school freshman class who is seduced by the star quarterback of the football team. After being disarmed by some sips of alcohol, the freshman girl ends up having unwanted sex with the quarterback in the back of a truck, complete with embarrassing photos being posted on the internet the following day.
The song was released to the American country market on May 19th, but did not fare well for a number of reasons, principally that Kira Isabella’s US radio promo company HitShop Records recently realigned to focus more on satellite and streaming options because the American radio climate is so difficult to promote singles in these days. But recent headlines and current events have created a resurgence of interest in the single. With its strong female voice and perspective, “Quarterback” could very much be considered another anti “Bro-Country” addition to the country music song landscape—a precursor to Maddie & Tae’s “Girl In A Country Song” if you will. Similarly, with a slew of high-profile rape events at country concerts, including one where many concert patrons apparently stood idly by and watched and took video and photos during a rape, and another where a woman was allegedly raped by multiple men, the merging of rape and country music has become a hot topic.
“Quarterback” was not written to tackle either Bro-Country, or country music’s recent rape problem though; it was meant to tackle the rape issue plaguing the scholastic sports environment in both high school and college, and the propensity for athletic programs and universities to institutionally look the other way when allegations are levied, especially when it comes to star players. The song was originally pitched to the American market and Carrie Underwood who almost cut it, but Carrie did not want her previous relationship with Dallas Cowboys’ star quarterback Tony Romo to lead to speculation that the song was about him.
“Quarterback” has a very Carrie Underwood feel it it—solidly pop country, but still substantive, with an very emotional quotient that allows the message to resonate deep in the listener. Kira Isabella does not have the voice of Carrie Underwood, but she fits herself into the song quite nicely, and the strings and other sonic accoutrements compliment the weighty drama of the story.
The video for “Quarterback” is also an asset. It includes just enough abstraction, and just enough realism to convey the story without coming off as too dramatic or objectionably preachy or sentimental, while still giving a strong illustration to the storyline. An interesting note, there are many elements of “Quarterback” that mirror those of Taylor Swift’s “You Belong With Me”, including the leading lady being in the marching band, the leading male being the star of the football team, and the video showing shots of the marching band girl in her bedroom. Obviously, the circumstances in “Quarterback” are a little different.
Some are touting “Quarterback” as if it could be revolutionary to country music. But if the song is going to pull off a revolution, it first must be heard. And the idea of “Quarterback” making a late game rally on US country radio at this point seems slim. And it’s not necessarily because stodgy radio programmers refuse to play a song denouncing date rape, it’s because the song really doesn’t have the push behind it at the moment from a major radio promotional outfit.
Charles Aaron of Wondering Sound wrote a great piece about “Quarterback”, asking, “Is Country Radio Ready for a Song about Date Rape?”, though he also seemed to let a personal agenda pepper the article, starting off by observing, “One of the most threatening things that a woman can do these days, it seems, is report a sexual assault, or to assert that there is a pervasive sexual-assault problem, or to push for schools to address the issue of sexual assault on campus, or to start a hashtag where women can tweet about being assaulted.”
I’m not sure if that’s really the case, even in the traditionally-conservative country music world. And I’m not sure that two high-profile rape incidents at country concerts recently constitute an epidemic just yet. Of course Charles Aaron was probably using at least part hyperbole, but it seems that country music is commonly painted with a closed-minded brush when the reality of things is a much different picture. Johnny Cash had a #1 hit with “Sunday Morning Coming Down” in 1970. Loretta Lynn released “The Pill” in 1975. And Kacey Musgraves has seen a couple of songs do quite well in country music despite controversial themes, principally “Merry Go ‘Round” and “Follow Your Arrow”. Sometimes people on the outside looking into country seem surprised country fans have the mental competency to even tie their own shoes.
In fact one of the most remarkable things about “Quarterback” is how it comes across as simply a story that is resonant and in many ways universal in its ability to be recognized as an eternal theme of American society. It is about date rape specifically, but generally it is about the doors that are opened by power and fame, and the doors that are closed by obscurity, illustrated on a yearly basis by the casting of American society by high school royal court popularity contests. The controversy in Musgraves’ “Merry Go ‘Round” and “Follow Your Arrow” was much more overt. “Quarterback” conveys its message with feeling in a narrative that is hard to not feel compassion for.
The primary problem with “Quarterback” is the same problem with many modern-day country songs written by committee, which is they create non-linear scenarios for the performers of these songs to dwell in. One of the reasons the Outlaws of country music resonated so deeply back in the mid 70’s is because they understood that the songs they sung became extensions of the persona, whether that persona was true to themselves, or not.
Kira Isabella’s previous single before “Quarterback” was a song called “Blame It On Your Truck”. Released a full year before Maggie Rose’s very submissive “Girl In Your Truck Song” (another single beset with the shuttering radio promotions department), “Blame It On Your Truck” takes a very similar subservient female position, and ironically, in the back of a guy’s truck—the same setting where the “Quarterback” date rape scene occurs.
“I know you like the jeans I’m wearing, ’cause I can tell by the way you keep staring. There’s a place we like to go way back in the woods, everybody think’s we’re up to no good… Don’t wanna think about it now, but my mama will be freaking out when I don’t make it home before 2 AM. I’ll say it wouldn’t start or maybe we got stuck, I know my daddy he’ll be waiting up. Let’s blame it on your truck.”You get the sense that Kira Isabella is just singing the song put in front of her instead of drawing on inspiration to tell a heartfelt story. There’s nothing about her performance that would allude to this; it’s more a symptom of the country music system churning out songs through committee instead of doing their best to take a truly original human expression forged from inspiration and convey it to the wide masses. It would be a fair accusation against “Quarterback” to say that the song is simply pandering to the emotional vulnerability of the audience.
The unfortunate fact is “Quarterback” has little to no chance of being heard en masse, or even receiving any sizable radio play unless Sony somehow calls a cross-border audible and puts some promotion behind it. And who knows, with Kira’s new album coming out in a week, stranger things could happen. The story of “Quarterback” is a good one, and let’s hope it gets heard by more people. But let’s also hope that its moral doesn’t become even more poignant as this summer of seediness at mainstream country music concerts continues.
August 11, 2014 @ 8:24 am
At the end, it appears that the school takes the girl’s side. That’s not how it works. Most of the guys would be high-fiving the d-bag quarterback and many of the girls would wish it was them, until it actually happened to them. My experience in high school was that most of the good-looking girls had older boyfriends and were far more experienced than the guys. There was just as much, if not more, mature girls taking advantage of guys as the other way around.
That being said, my biggest concern is the uber rockabilly pompadour that Kal Penn is sporting in the video. With the amount of hair spray that would take, his head must be a Superfund site….
August 11, 2014 @ 8:50 am
That’s interesting. Every time I watched the video, my eyes kept drifting to the pompadour as well. All little overdone I must say. Guitar players always try to figure out how to steal the attention.
August 11, 2014 @ 9:38 am
Been hearing this song almost every day for near 3 months on the HD2 channel of WUSN in Chicago, but of course it isn’t being played on the mother station.
But I disagree about the school taking her side, and that’s the point of the song:
Monday morning when the word got out
Everybody picked a side
He had the school and the whole town too
And she had nothing but the truth inside
Who you gonna blame the star of the game
Or the no name girl in the freshman class
August 11, 2014 @ 9:46 am
In the video, at the end of the song, all of the kids clearly stand behind her and scowl disapprovingly at him. This is after one of the boys gets a hold of the phone and the kids are shocked at what they see…
Terrible casting on the part of the directors, too. He’s not tall enough to be a blue chip quarterback unless he’s Johnny Manziel…
August 11, 2014 @ 9:58 am
The acting in that last part is pretty cringe-worthy, just because of how overt the looks on the faces are, almost like the over-the-top reactions of cartoon characters so that young children don’t have to guess at the emotions trying to be conveyed. But this is a music video, not a movie looking for Oscar contention. This was the one moment the video took liberties with the story instead of complimenting it.
August 11, 2014 @ 10:30 am
Ah. Haven’t watched the video.
Jeez, why give a dour song a happy ending?
Sigh.
August 11, 2014 @ 9:55 am
Yeah, I think that is a symptom of the video, not the song itself. One of the things I like about the song is that it has enough ambiguity to let the listener draw some of their own conclusions and write their own ending.
August 11, 2014 @ 8:33 am
It’s really a shame. Because I think “Quarterback” is a decent song.
We definitely need a few more songs like this to mix up the male dominated “Dear Penthouse” letters the radio is inundated with.
Unfortunately a song like this has no place among our “Sports worshiping audience”. There’s a reason why the jocks get away with murder. They win games. That’s all anyone cares about. Winning games and filling those bleachers. If a few girls get raped or a few nerds get pummeled along the way, oh well.
A local college in my area has a coach that was convicted in a major car insurance scam. He got a slap on the wrist, and is still employed as the coach. I’m not the only one wondering if things would have been different if his team didn’t go to state this past year.
Of course, i’m a tad biased being a theatre kid and all.
August 11, 2014 @ 8:49 am
This song is a line-by-line retelling of the 2012 Steubenville (Ohio) High School rape case. The only difference between the song and real life is two high school football players were charged and neither was a quarterback. Otherwise, the party, drugging, pictures on the internet, and town division all were ripped from real live events. So, in my opinion, it’s no better than an overly sentimental Lifetime made for TV drama. I’m not even sure what’s song-like about “Quarterback.” Its orgins are not original, its emotion borrowed.
I was trying to think of other country songs ripped from the headlines. Obviously, Alan Jackson’s “Where Were You (When the World Stopped Turning)” comes to mind. However, I think Jackson’s intent was so sincere and personal, where the writers of this song seem so obvious and contrived. Reba McEntire’s “She Thinks His Name Was John” was awful, but at least the song was a bit more abstract and didn’t use the word “AIDS,” where the blatant use of “Quarterback” just smacks you up-side the head.
August 11, 2014 @ 10:35 am
This reminds of that Hunter Hayes anti-bullying song in that they may as well just scream out ‘very important song’ at the beginning. I honestly don’t know who the market for these kinds of songs are right now. I think everyone can agree about the sentiment but that doesn’t make it a good song and this is pretty bad all around in my opinion.
August 11, 2014 @ 4:08 pm
I have no idea who this song targets – The View/ Oprah audience, maybe. I swear if I was a station programer, I wouldn’t play it. I’d be like “No, here’s some ‘Chattahoochee.’ Call your therapist in the morning.”
I know that brings up the freedom of speech argument, but I find it so tasteless and offensive to the 16 year old girl in Stuebenville, Ohio who was sexually assaulted by members of the HS football team (I wonder if that is why artists passed on this in the US – fear of litigation)
When I was in Detroit, I heard them use the term “ruin porn’ – the voyeuristic pleasure of ruined grandiosity. The decay or ruin of the city has caused an epidemic or fetish for decay in pictures and film.
There’s an element of that kind of rubber-knecking, voyeuristic appeal to this song that boarders ‘smut.’
August 11, 2014 @ 9:42 am
I think the unique word count in the lyrics of that song is greater than the total unique word count in Luke Bryan and Florida Georgia Line’s last albums combined.
It’s just way too much thinking and story telling for the average modern country music fan to deal with.
August 11, 2014 @ 9:58 am
The reason the song didn’t work is that sucks musically. The melody sucks. The vocals suck. It just isn’t a good song.
The lyrics, while touching on a great subject, are also really poorly formed.
I know people think that they have to love this song in order to prove they are standing up for women, but they can give that a rest. Stand up for country music by saying no to bad songs on the radio.
August 11, 2014 @ 9:59 am
an important subject*
August 11, 2014 @ 7:30 pm
I have to concur, Daw. The kind of song that I would like to like but just can’t. It just feels like it lacks a certain sincerity. Musically and lyrically it seems so disparate to fit a Carrie Underwood formula, though with a bit more risky subject matter.
August 11, 2014 @ 11:14 am
I think that if the average listener would stop and really pay attention to what most of the Luke Bryan et al tunes are really about they would all feel a little dirty for liking them.
The record companies can’t risk letting them happen, so this tune will have no chance in the American market.
August 11, 2014 @ 12:20 pm
The song isn’t bad and I do appreciate actual real life subject matter in country. Up until recently, I’ve always found country to have some of the more substantive lyrics in music. What is country music, if not music that talks about “real” things? Date rape is certainly not a commercial subject, so I do feel this song is coming from the right place.
However, I had the same response to her delivery as stated here: “You get the sense that Kira Isabella is just singing the song put in front of her instead of drawing on inspiration to tell a heartfelt story.” Somehow it just falls flat to me, maybe that’s cause her vocals are pretty average, but I think it’s part of the bigger picture of country now. And maybe it wouldn’t hit me like that if I hadn’t grown up listening to female artists like Patty Loveless, The Judds, Trisha Yearwood, Pam Tillis, and Mary Chapin Carpenter, who all put a unique and heartfelt stamp on their music. (Some of today’s artists, like Sunny Sweeney and Kacey Musgraves, are actually carrying on that tradition.)
And that was my reaction before I even heard that horrific “Blame it on Your truck,” which just cemented what I was feeling. It’s like Maggie Rose, who in fairness has a better voice, but I get no real sense of cohesion in her music. It’s all over the place, like sure, I’ll just sing whatever you want! (And it’s not just the females today, Jason Aldean is pretty much the king of the uneven career.)
I certainly won’t be unhappy if this song gets traction, god knows it’s better than all the bro crap.It’s just not great. It’s kinda generic. I want to like her since she’s Canadian, but honestly I’d rather listen to Shania. Say what you will but at least she had her own sound and didn’t feel generic ;).
August 13, 2014 @ 2:19 pm
“Date rape is certainly not a commercial subject, ”
I respectfully disagree. Luke Bryan has made a fortune singing songs that glorify date rape.
August 11, 2014 @ 1:29 pm
I love this song, I think it’s great. However there were 2 videos produced for this song,one having a more mature tone and the more happier one you posted.
The other video can be found on the top of this page:
http://theboot.com/kira-isabella-date-rape-quarterback-video/
August 11, 2014 @ 3:54 pm
I just watched both videos and they appear to be the same. Am I missing something? Maybe a different video for Canadian viewers?
August 11, 2014 @ 4:11 pm
i think the difference is in the “happier ending video” friends come to her aid and stand by her in the hallway. In the more mature ending, she collapses on the bed all alone (suicide, maybe).
August 11, 2014 @ 4:43 pm
The ending is the difference. I for one like the mature one better.
August 11, 2014 @ 9:00 pm
Ah, now I see.
Us Americans need our happy endings.
August 11, 2014 @ 2:06 pm
You should also consider the effect of CanCon laws on the song’s popularity. 30-40% of all music played on the radio must fulfill 2 of several requirements: be composed, written, or performed by a Canadian; or recorded/performed in Canada.
The song has been heard up North, there’s no doubt about that, but the revolution you present has not begun. I don’t think it struck up the slightest bit of discussion to be honest. Also,assuming this was supposed to be aimed at the Canadian demographic, your entire premise is off. The sports culture of America doesn’t share very many similarities to the one in Canada. High school athletics doesn’t have the same prestige here, and the scholastic sports programs here don’t have a rampant rape issue (as far as the national news covers). Though we have our own problems, see Rehtaeh Parsons…
August 11, 2014 @ 2:28 pm
Don’t know about date rape in Canada but there have been a few child molester hockey coaches that I remember involving future NHL players. Junior hockey is pretty damn huge in Canada probably bigger than high school sports anywhere in the US outside of maybe Texas HS football.
August 11, 2014 @ 5:47 pm
That’s a good point. Minor hockey is sort of the farm for Junior D (B? C? I don’t know) and collegiate teams across the country, whereas in the States those kids would likely be recruited out of school. Having said that, minor soccer is the largest sport in Canada.
August 11, 2014 @ 3:36 pm
Anon,
I don’t think I presented this song as starting a “revolution” in Canada by any stretch. In fact I think I went out of my way to present that it had been a moderate hit in Canada, and a dud so far in the States.
As far the sports angle, as I presented in the article, this song was originally slated for the United States market and was to be recorded by Carrie Underwood. I also didn’t make any assumptions about the sports culture in Canada. I cover a lot of Canadian country music, and try to do by best to be respectful and understanding of that culture as I can from the outside looking in.
As I’m writing my response here I’m wondering if you are responding more to the article in Wondering Sound that I linked to above and not this one.
August 11, 2014 @ 6:11 pm
My point is more so that being heard will not allow this song to pull of a revolution. With the help of CanCon, the song was/is heard hourly by literally every single country radio listener in the country. It’s been utterly ineffective at sparking any discussion, and this is after years of public discourse resulting from 2 depressing teen suicides as a result of rape and subsequent harassment.
August 11, 2014 @ 8:56 pm
But I think that is one of the best parts about this song, that it doesn’t comes across as broaching some deep subject. It makes its point sensibly and through story.
And just try and clarify again, I never thought this song would or could be revolutionary. As I said in the article, there have been many other songs in country that tackle more difficult subjects in a more direct manner.
August 11, 2014 @ 2:42 pm
Just read the lyrics for “Blame It On Your Truck”. I don’t see how it represents a subservient role for the girl. The narrator is simply celebrating a night out with a guy.
As for “Quarterback”, the lyrics are concisely written and pack a real emotional punch. It’s a true shame that this song will not likely get much radio play.
August 11, 2014 @ 3:23 pm
I think a few lines in there are quite objectifying. Maybe “subservient” is a strong word, but the point is her two major singles don’t present a consistent voice that I think erodes both of them. Compare this to Kacey Musgraves (not that she is the end all, be all of females artists), and there is a cohesiveness in message across her music.
August 11, 2014 @ 3:50 pm
There is no inconsistency. One song is about a consensual relationship, and the other is about rape.
August 11, 2014 @ 3:25 pm
The only thing i’m wondering is why did this website become so obsessed with female singers in the last few months? I get it, bro country isn’t good music, but this website has basically devolved into Trigger’s take on women’s issues in 21st century pop country music.
What’s worse is all the comments act like they think these songs are great simply because a female sings them and they want more balance on the radio. Most of these songs by the mainstream girls are equally as bad as any FGL or Aldean songs.
August 11, 2014 @ 4:09 pm
John,
First off, I’m not recommending this song, or many of the other female songs that I may talk about. Most of them are getting barely passing grades from me with hearty criticism attached. But this girl country vs. bro country fight is the big flash point in the battle to save country music right now and I’m going to do my part to cover it no matter how unpopular it is with some segments. Eventually it will pass like all current events do and we’ll be on to something else.
Second, I would disagree that I am obsessed with female singers. I posted two album reviews in the last week, and one was for Billy Joe Shaver, and the other was for The Ben Miller Band. The week before my album reviews were for Bradford Lee Folk and New Country Rehab. The week before that it was Petunia & The Vipers and Blackberry Smoke. The week before that it was Old Crow Medicine Show. In fact you have to go all the way to July 14th nearly a month ago when I reviewed Raelyn Nelson to find a proper album review for a female.
The problem with these current events topics is they can dominate social network feeds and such and make it look like that is all the site is covering when it truth the coverage is much more diverse. At the same time, I’m not ashamed to say that I go out of my way to find cool female artists to tout because someone has to take up the slack for the mainstream. I always encourage readers to come to savingcountrymusic.com directly, and click on the home page if you come here from a social network link. There’s a lot more music coverage going on here than I tend to get credit for because my reviews and features receive the least amount of traffic and reposts.
August 12, 2014 @ 12:25 pm
I guess we just disagree on whether there is a “bro country vs. the girls” battle going on. You have written yourself that a lot of these anti-bro country songs are from people on the same major labels. To me it just seems like you have the bros singing about girls and trucks and beer, and then you have the girls singing about how sassy they are and how they don’t need no man. It’s just the other side of the same coin, targeting the same people. Cowboy Casanova, Hey Bartender, Before He Cheats, etc. are all the same song, just like Dirt Road Anthem , Cruise, and Chillin It are.
I like the site and your reviews trashing terrible songs are always funny to me, but the more political stuff just seems forced. I don’t think there is a battle raging in country music. The fans aren’t getting worse, etc. Radio country has been low quality for many decades now and concerts have been excuses to get drunk at least since I was a kid in the early 90s.
August 12, 2014 @ 12:41 pm
“Cowboy Casanova” and “Before He Cheats” were both from a far better era in country music. Back when I originally started listening to country radio around early 2010, I used to think that “Cowboy Casanova” was one of the most annoying songs on the station. Man, how times have changed…
August 12, 2014 @ 12:54 pm
You have lower standards than me. I remember thinking back around the turn from 80s to 90s that country on the radio was really dumb. In my opinion the only thing that has changed in the last 25 years is the trends. It wasn’t about tailgates and the moon back then, but it was still vapid and meaningless pop music.
But, that;s what radio is for. No one wants to listen to Good Year For the Roses or You Never Even Called Me By My Name when they are driving to work at 6:30 am. They want FGL or Luke Bryan, and when these guys were running around in diapers people wanted catchy songs from Dolly Parton or Alan Jackson. I remember when Chatahoochee and Mercury Blues were big and how much we hated Alan Jackson and his garbage.
August 12, 2014 @ 1:13 pm
So you pick two Jackson songs that are more on the novelty side and characterize his songs as ‘garbage’ but yet you harken back to ‘You Never Even Called Me By My Name’ as the good old days when that song is just as much of a novelty song. I get the impression that you or this ‘we’ you refer to are part of the group that thinks that George Strait and Alan Jackson were the beginning of the end of country music. Can’t say I agree with that level of purity.
August 12, 2014 @ 2:29 pm
So you pick two Jackson songs that are more on the novelty side and characterize his songs as ”˜garbage”™ but yet you harken back to ”˜You Never Even Called Me By My Name”™ as the good old days when that song is just as much of a novelty song.
Yep, as I said elsewhere re: John Conlee and “Domestic Life,” thinking that the above-mentioned Alan Jackson songs were representative of his oeuvre is akin to thinking “I”™m A People” was representative of the oeuvre of George Jones.
August 12, 2014 @ 2:39 pm
That’s the one downside to having a long and successful career. No matter how great your catalog of songs are there is bound to be a couple that are silly or from the perch of years later sound politically incorrect and those are the ones that people always jump on. Every single huge star has those songs and there were reasons why they recorded them that may have made sense at the time not knowing that this would be some albatross around their necks.
August 12, 2014 @ 12:51 pm
“Radio country has been low quality for many decades now”
Come on! Many decades? Country radio has only been around really since the mid 40s so that is seven decades. Was the days when Merle, Willie and Waylon were dominating country radio low quality? How about when Strait, Jackson and Gill were dominating country radio like fifteen years ago?
Ridiculous exaggerations don’t help your argument.
August 12, 2014 @ 1:04 pm
In my opinion, the greatest period in country music was in the late 80’s and early 90’s. The nature of the smooth music and the deep emotions contained in the lyrics were unparalleled.
What are the chances of a song like this making the top 10 today?
https://www.youtube.com/watch?v=Z_s-Qk07KxA
August 12, 2014 @ 1:17 pm
These things are obviously so subjective but I think if you were to say when country music was at it’s most diverse with quality acts from traditional to the more pop country sounding then the 1970s would have to be the era. There really is something for everybody in that era if you really dig into it.
August 12, 2014 @ 1:20 pm
If you ask me fellas, country music was at its best in the early ’20s when artists like Fiddlin’ John Carson and Vernon Dalhart ruled the roost. That was real, pure country. Then along came pop-country artists like The Carter Family and Jimmie Rodgers and things have been downhill ever since.
August 12, 2014 @ 1:28 pm
Ha! I blame Ernest Tubb and his smooth pop country he ruined it for everybody!
August 12, 2014 @ 2:06 pm
“I guess we just disagree on whether there is a “bro country vs. the girls” battle going on.”
I think it is undeniable it is going on, and I think it is the biggest topic amongst country music fans of all stripes, artists, industry professionals, DJ, journalists, and anyone else involved intimately in country music. There is no bigger issue than Bro-Country and the growing backlash. It may not register on your radar, but that doesn’t mean it isn’t an important topic.
I also wouldn’t take date rape as a political issue.
August 12, 2014 @ 4:08 am
John,
I agree with your first paragraph slightly more than the second, but yeah, I’ve been thinking the same things lately. And when it’s not that, it feels like Sturgill Simpson’s Official Fan Club website.
But it’s still the only music site that I care to read.
August 12, 2014 @ 4:06 pm
this is one of the worst songs i’ve heard in a long time”¦ the video is even worse than the song.
important topic, but so poorly written, it feels like it was just to get publicity. reminds me of waynes world academy award winning scene”¦
“I NEVER LEARNED TO READ!”
August 13, 2014 @ 3:43 am
By the way, Trigger, how would you rate this song?
Personally, I would give the lyrics “two guns up” and the melody “1 gun up/1 gun down”. However, for a song with this powerful and relevant a message, the lyrics should definitely override the melody.
August 13, 2014 @ 7:43 am
I didn’t rate this song, even though it is a review, because I didn’t want the attention to be on my rating, but on the song itself. If I would have rated it, I probably would have given it either 1 1/4 or 1 1/2 guns up.