The battle for women’s equality in America has yet again been hindered, this time by the music we listen to. While women are constantly fighting for equal pay, respect in the workplace, an end to domestic violence and more, one country singer has poked a gaping hole in the progress.

RaeLynn’s “God Made Girls” song is everything that is wrong with the misogynistic culture that still lingers in the veins of America today. To point out only a few flaws, the name itself, God Made Girls is derogatory to begin with. Instead of calling them women, she demeans them by using the word girls. The song also begins with the line, “Somebody’s got to wear the pretty skirt, somebody’s got to be the one to flirt,” implying immediately that women are here to look pretty and give men attention.

The song continues to talk about how God has made women to help men through hard times, look good for him — literally, “To walk downstairs and blow his mind” — and comfort him. All of the things RaeLynn talks about solidifies gender roles of the 1950s, not the 2000s. Although a simple song may seem harmless, its message represents a larger issue with views of women in our culture. Its negative message, especially sang by a women, only perpetuates stereotypes that women are not as important as men or somehow subordinate to men. The message of songs like this can be particularly harmful to music’s youngest listeners.

However, not all country music obviously portrays this negative view of women. A pair of country singers combated the “God Made Girls’” message before RaeLynn’s song arrived.

Country singers Maddie and Tae released a song late last year called “Girl in a Country Song.” It goes on to talk about how in older country songs, there was never a “To climb up in your truck, keep our mouth shut, ride along” line. Overall, the song talks about how women in country songs are not there to look good for the guy, but they can wear whatever they want and do as they please, which goes against the grain of what many country songs imply.

The issue that is indirectly argued between these two songs runs much deeper than a couple of hit radio singles. The feminist movement for the advance and equality of women is hindered each time another woman releases a message like RaeLynn’s “God Made Girls.” As evidenced by RaeLynn’s song, there are clearly women who wish to remain in the mold that their culture and society as placed them in.

The issue, however, is that the struggle of women attempting to advance their societal standing and be seen as more than just accessories for men can rarely coexist with arguments that women should stay where the dominant male culture has placed them.

The two ideas are constantly at war because as long as males can point to examples of women who are content with accepting their “natural” place alongside — or in the shadow of — a man, the males who hold those ignorant beliefs will feel justified in dismissing the plight of women who are working to assert their position as independent equals.

It is a shame that music with this message is still being created in a time of such major political importance to the female gender. At a time when issues of equal pay, domestic violence and general social welfare are receiving heightened focus across the nation, a song like “God Makes Girls” pollutes the message and does nearly irreparable damage to what is already an uphill battle.