What initially was a song about Congressman “Sarah” McBide eventually morphed into a diss track about Dylan Mulvaney.
That’s how these things sometimes go in my head. I sat down intending to tackle the absurdity of a biological male — born Timothy — walking into the U.S. House of Representatives every day in a dress, being officially addressed as “Congresswoman Sarah McBride,” and the whole political-media complex treating it as not only normal but somehow sacred and untouchable.
I helmed the vocals on this one, delivering the lines raw and unfiltered exactly the way I wanted them to land.
The core of the track, “The Ballad of ‘Sarah’ McBride,” is built around that provocation. As the public snippet lays out plainly: a man with male biology (including intact male genitalia) is strutting into Congress in women’s clothing, and we’re all supposed to pretend this is just another “congresswoman” doing the people’s business. I grew up in the ‘80s — plenty of gender-bending fashion and rebellion back then — but this isn’t about personal style or rockstar flair. This is a legislative body of the United States government rewriting biological reality in official language and norms.
Sojourner Truth reference
The title “Ain’t I A Woman?” deliberately invokes Sojourner Truth’s powerful 1851 speech. That speech was rooted in the lived reality of Black women’s strength, labor, and endurance under slavery and sexism — a direct challenge to the idea that “woman” could be separated from the female body and its experiences. I use it here with biting irony: if we can call a man a woman and a congresswoman simply because he identifies as one and presents femininely, what exactly does “woman” mean anymore? The question echoes: Ain’t I a woman? — asked not in solidarity this time, but as a stark reminder of what’s being erased.
Dylan Mulvaney
As the song developed, Dylan Mulvaney became impossible to ignore. The performative, TikTok-style “girlhood” brand, the endless sponsorships, the corporate celebrations of what looks to many like a fetishistic parody of womanhood — it all fed into the same cultural moment. McBride represents the institutional capture (government, titles, policy), while Mulvaney represents the cultural one (media, brands, viral influence). The track evolved into calling out both: the serious political rewriting of sex-based rights and language, and the more theatrical, commercialized version playing out in the culture.
This isn’t about cruelty toward individuals struggling with dysphoria. It’s about truth versus compelled speech, about protecting sex-based categories that matter for safety, fairness, and reality itself — in sports, spaces, medicine, and yes, even in the halls of Congress. When institutions demand we affirm that a man is a woman (or else), they’re not being kind or progressive. They’re asking the rest of society to lie.
If you’re new here, welcome to the no-BS corner of the gender conversation. If you’ve been riding along, thanks for listening and sharing. Drop your thoughts below — especially if the song hits (or misses) for you.
What do you think — should Congress officially recognize biological sex for its members and facilities, or keep leaning into identity over reality?
Listen, share, and I’ll catch you in the next one.
