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A man, enraged, stares anon into the camera, his face angled in a grimace. He alcove forward, both calmly ample acquisitive for an off-screen throat — or he raises one fist, with the added duke aloof out of appearance captivation his ambition in place. The ambitious victim, at atomic for a breach second, is the viewer.

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That attempt appears in music videos for both the Dixie Chicks’ darkly funny animus canticle “Goodbye Earl” and Eve’s atramentous annihilation carol “Love Is Blind,” two songs that were both in abundant radio circling in aboriginal 2000. Accountable bulk aside, the beforehand could hardly accept existed in added disparate corners of the pop music scene. The Dixie Chicks were already animating a crumbling country music bazaar about single-handedly, by affairs added annal than any country accumulation in history to that point. Eve was alpha to accomplish a name for herself in hip-hop’s boilerplate via appearance alongside high-profile artists like Missy Elliott, The Roots and her crew, the Ruff Ryders, but “Love Is Blind” was aloof her third distinct as a beforehand artist.

Both songs tackled the same, still-taboo topic: calm violence. Both offered the aforementioned band-aid to a bearings that too generally seems hopeless: murder. Admitting one is adverse and the added absolutely comic, they acknowledgment anniversary added lyrically and aural their corresponding videos. “I ain’t alpha your life, but n—a I’mma accompany it to an end/ And I did, bright shots and no regrets,” Eve raps in “Love Is Blind.” “And they don’t lose any beddy-bye at night, ’cause Earl had to die,” sing the Chicks. Abreast from actually putting the eyewitness in the victim’s shoes for a brief, arrant moment, both videos appearance brutalized women in hospital beds, with alone their abutting accompany — not their ally — anxious about their condition.

Those similarities, though, didn’t extend to the way the songs were received: while both were popular, alone “Earl” prompted accessible alarm — which accepted acceptable for the song, from a sales and publicity perspective. In retrospect, it’s a acknowledgment that appears to accept beneath to do with its agreeable and added to do with who was singing it. 

Eve’s single, the additional off her admission Let There Be Eve…Ruff Ryders’ Aboriginal Lady, was initially appear in mid-1999, but accustomed a abounding promotional beforehand afterwards the anthology entered the Billboard 200 at no. 1 in aboriginal October with 213,000 copies awash in its aboriginal anniversary (coincidentally, animadversion the Dixie Chicks’ Fly out of the top spot). The dark, chaste distinct wasn’t necessarily the accessible best to chase the success of  “Gotta Man,” a agreeable adulation song, but it did adjust with what Eve said she was aiming to do with the project.

“This is activity to be a changeable canticle record, because I accept so abundant account for myself and I appetite added females to accept that aforementioned account for themselves,” she told the Philadelphia Inquirer of the anthology as a whole. “I appetite bodies to apperceive that I’m a able Atramentous female.” “Love Is Blind” was aggressive by the acquaintance of Eve’s abutting acquaintance Andrea, who (thankfully) came out of an calumniating accord with an earlier man animate — clashing the victim declared in the song, who dies afterwards actuality baffled by her partner. Andrea and Eve appeared on The Queen Latifah Appearance in January 2000 to allotment the adventure abaft the song, aloof a few canicule afterwards Eve and featured choir accompanist Faith Evans had performed the distinct at the American Music Awards. 

“One night she alleged my abode and was like, aloof appear over,” Eve recalled on the show. “She opened the aperture and her face…I’d never, anytime apparent somebody’s face…her face was black, blue, red, puffy…She had to get 20 stitches, appropriate afterwards she had had her baby. I was so aching to watch her go through that. I had to address that song.” While Eve performed “Love Is Blind” on the show, the camera cut to Andrea wiping abroad a tear. The admirers animated aback she rapped, “You heard my gun cock,” and Eve smiled as she aggregate the curve about actuality befuddled in bastille for accepting revenge. “You could never bulk out alike if I let you live/ What our adulation was all about/ I advised her my claret and it don’t appear no thicker,” she concluded.

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Eve had done her best to construe that raw affect into the song via its explicit, afflicted lyrics, as able-bodied as its Dave Meyers-directed music video — which depicts a man advancing a woman again in advanced of their children, and the closing deaths of both parents. On her album, the clue is preceded by the brave “BM” (Baby Mama) skit, in which hitting and agreeable and arrant sounds are reproduced to alarming effect. 

Yet critics were mostly absolute about “Love Is Blind,” and didn’t accession any red flags about the song’s brutality. The Washington Post alleged it “the album’s best clue by far,” and Greg Tate accepted it as “bold” and “smart” in the pages of Rolling Stone. Others acclaimed it for actuality “conscious” — now semi-controversial autograph amid rap admirers for art that absolutely addresses political issues. The distinct spent 16 weeks on the Hot 100, peaking at no. 34 in March, acknowledgment in ample allotment to able airplay and video spins on BET and MTV.

The alone absolute apropos about the song’s blood-soaked end came in the ambience of broader, about racist questions about the appulse of real-life and fabulous abandon in rap music. “For example, the Eve almanac ‘Love Is Blind’ had a absolutely absolute bulletin — until the end,” a Dayton radio programmer told Billboard for a allotment on that topic. “She shoots the guy. I mean, what is that adage to kids? That animus is the answer?”

Only a few critics compared the clue with “Earl.” “[‘Love Is Blind’ and ‘Goodbye Earl’] aloft acclaim from women who acquainted empowered by them,” wrote Ann Powers in the New York Times as allotment of a absorption on abandon in accepted music prompted in ample allotment by the ballyhoo of Eminem’s “Kim,” in which the rapper describes killing his then-wife. “Yet they, too, catholic to addled gray areas of the psyche, area the action of the sexes becomes a blood-soaked mess.”

“Goodbye Earl” was absolutely accustomed as a war cry, alike if it wasn’t necessarily advised that way. “It’s an anti wife-beater song, not an anti-man song,” Natalie Maines insisted a few months afore the clue was appear as a single. “We adulation men.” 

The Dixie Chicks were about active country music in 1999, acknowledgment to the record-setting sales of their above characterization admission Wide Open Spaces. The accumulation acceptable accolades — Grammys, gold and platinum annal and added — that they started chronicling with analogous craven brand tattoos (by abatement 1999, they had six). They were touring with George Strait, Tim McGraw — and the Lilith Fair, area they were assuming “Goodbye Earl” months afore Fly was released, proving their absolute country and crossover cred simultaneously. 

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Fly was amid the year’s best advancing albums, and its beforehand single, the Celtic antic “Ready To Run,” had gotten a advantageous addition on the soundtrack for Julia Roberts agent Runaway Bride (get it?). Garth Brooks (the biggest-selling artisan of the absolute SoundScan era) was aggravating to barrage his Chris Gaines activity simultaneously, which anguish up actuality a fool’s errand. “There isn’t the affection one usually sees for a new Garth Brooks record,” said Dallas/Fort Worth promo administrator Paul Williams. “It’s been, ‘OK, that’s the new Garth Brooks — can you comedy the new Dixie Chicks now?’”

“The new Dixie Chicks,” by the time Fly was appear in September 1999, apparently meant not “Ready To Run” or “Cowboy Take Me Away” (the additional single) but “Goodbye Earl,” which began accumulation amoebic airplay the additional radio programmers had the abounding anthology in hand. The jaunty, impossible-not-to-sing-along-to clue (complete with accomplishments “na-na-nas”) deploys kitsch to about-face what could calmly be a “Love Is Blind”-style tragedy into a happily-ever-after tale, complete with two constant accompany active a acreage stand. No one goes to jail, and anybody dances about and eats pickled vegetables. 

The bandage had been assuming the song alive for some time (“Wife-beaters, be abashed of the Dixie Chicks,” Maines would acquaint the audience), so some admirers took action and started calling stations with the anthology beforehand to appeal the song. “I took buzz calls for three and bisected hours afterward,” said a Pittsburgh affairs administrator who played the “Goodbye Earl” absolutely once. “I talked to abused women, badge officers, amusing workers. I’ve never had a acknowledgment like that.”

Those tasked with reviewing the anthology additionally begin “Earl” polarizing: it was “unredeemable” (Stereo Review) or “a gem” (Billboard) or “the alone misstep” (The Chicago-Tribune) or its best track, depending on who you ability ask. One broadly amalgamated analysis wrote derisively of its “spunky semi-feminism” (“Love Is Blind,” too, was accounting off by macho reviewers as “quasi-feminist”) but acclaimed absolutely that the song was “imbued with brawny enthusiasm.” 

Both beforehand accepted an absorbing litmus analysis as a apple of about all-male critics attempted to accredit credo to matricide, while never declining to agenda how adult they begin both the Dixie Chicks and Eve via captious absorption to their albino hair, their apparel and their “feistiness,” as Newsweek put it in a affection on the Chicks (the annual declared “Goodbye Earl” as the bandage in “cutesy grrrl ability mode”). The actuality that “Earl” was accounting by a man — broadly admired songwriter Dennis Linde (Elvis Presley’s “Burning Love”) — was sometimes acclaimed by way of accessible redemption. (The song was additionally originally recorded by the all-male Sons of the Desert in the backward ’90s, admitting their adaptation was never clearly released.) 

If “Earl” served critics (and their ability of country music’s continued history of songs about both annihilation and calm violence) a challenge, it accepted appreciably accepted with admirers — blockage on the Hot Country Songs blueprint for 20 weeks afore the characterization alike clearly appear it as a distinct in January 2000. The Dixie Chicks performed “Earl” at the 2000 Grammys, area they won best country anthology for Fly, and debuted the video as their accomplishments — reportedly the aboriginal time a bandage premiered a video on the telecast. 

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Then, the buzz calls and editorials absolutely ramped up — as did the requests. Some radio stations banned to comedy it, while others would air advice about calm abandon hotlines afterwards arena the song. Others aired it with disclaimers that their stations “do not advance abandon of any kind.” Callers tended to either admonishment the song for its violence, or abutment it on the area that those abashed were case studies in P.C. ability run amok. 

“I anticipate it’s a abundant song,” country brilliant Trisha Yearwood said of the clue in the St. Louis Post-Dispatch. “I don’t absolutely accept why bodies are so politically correct. Nobody’s singing about annihilation anymore that may be article at all controversial. Aloof because you’re singing about accomplishing abroad with a wife beater doesn’t beggarly we’re all at home contagion our husbands. It’s accepting out of hand.” 

“Clearly the NCADV and the Dixie Chicks do not disregard violence,” agreed National Coalition Adjoin Calm Abandon controlling administrator Rita Smith at the time. “However, the accountable bulk of ‘Goodbye Earl’ is far too generally a absoluteness for aged women. The accent of educating the accessible about this affair is analytical to catastrophe calm violence.” (The Dixie Chicks had included a admonition in the liner notes: “The Dixie Chicks do not apostle advised murder, but adulation accepting even.”) 

Nevertheless, the clue still aggressive a fair bulk of ire, including an acknowledgment song alleged “My Name Is Earl” by the (all-male) Dixie Dicks centered on the less-than-convincing burden “I never affected that woman, I alone threatened to.” (As the songwriter explained in the track’s YouTube comments, it was from “back aback Nashville was activity through their man-hating appearance and killing off all the men in their songs”).

“Earl” anguish up extensive no. 19 on the Hot 100 and no. 13 on Hot Country Songs — and acceptable one the genre’s best constant anthems. Why it initially sparked so abundant added altercation than “Love Is Blind” isn’t a catechism with a acceptable answer. Yes, the Dixie Chicks were far bigger than Eve at that point, and “Love Is Blind” treats its accountable with applicable force rather than annoying irreverence. But there’s a abashing atmosphere of article far added sinister: Women’s Wear Daily, for example, cited curve from “Love Is Blind” with no acknowledgment of the song’s calm abandon ambience as affirmation of Eve’s “thug” credentials. In autograph on the song, abandon both adjoin women and in accepted was taken for accepted by mostly white critics — suggesting, perhaps, that they saw it as assured aural the genre.

“The Dixie Chicks singing about murdering addition did account a assertive bulk of controversy, but I ain’t abashed of the Dixie Chicks, and I agnosticism best bodies are,” said analyzer Christopher John Farley in an account with the Boston Globe. “But it’s altered aback it’s DMX [notably, a adolescent affiliate of Eve’s Ruff Ryders] aloof because he’s a man with atramentous bark instead of three beautiful albino white girls — although DMX is a abbreviate guy who absolutely isn’t abundant added alarming than the Dixie Chicks.” 

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Amid the altercation about “Earl,” the Dixie Chicks had approved to get bodies on their ancillary by suggesting the song was their “ode to O.J. Simpson,” whose balloon — and the ancestral curve forth which it was actually disconnected — still loomed ample aback they aboriginal appear the song in 1999. One radio programmer appear that her archetype of the distinct came with a columnist absolution suggesting DJs “imagine Earl as O.J. Simpson” because it ability accomplish them added acceptable to comedy the song. It should be absurd to avoid that while the fabulous villain in their music video was white, abstract and unrealistic, the absolute one absorbed to the clue was a Atramentous man. Eve, conceivably unsurprisingly, fabricated no such acknowledgment of Simpson during her junkets. 

In retrospect, these two similar, ancillary songs wind up proving abundant added about society’s capacity — and how those divisions, decidedly forth ancestral curve — get reflected in pop music than they do about an acquaintance that ability contrarily be about as accepted they come. While both abide amid the best agitating and memorable depictions of calm abandon in accepted culture, alone “Earl” has been followed by a actual attitude of massive songs anecdotic bloodthirsty animus adjoin abusers (“Gunpowder and Lead” by Miranda Lambert, “Church Bells” by Carrie Underwood). Looking back, what should be a redemptive adventure about what happens aback women action aback — on the airwaves and on their own agreement — seems like aloof added black affirmation that association has historically accounted alone abandon adjoin white women as corruption aces of its attention. 

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