The approaching August 29th release of pop singerSabrina Carpenter’sseventh studio album,Man’s Best Friend,has created an avalanche of discourse and attentionsincethe record’s title and cover were first announced. The LP’sthree album art styles have led to confusion about the record’s theme, and evenMan’s Best Frienddebut single “Manchild"hasn’t been free of critique.
Much of the public controversy behindMan’s Best Friendhas been related to the album’s debut cover, which features Carpenter in what could be interpreted as a suggestive pose, kneeling on all fours in front of a faceless man with her hair in his hand. Add in the titleMan’s Best Friend, and accusations have flown of cheap, sensationalist misogyny.
Sabrina Carpenter’s Dog Aesthetic Points More Towards Men Than Women
However, reading between the lines of what’s been released fromMan’s Best Friendso far, the directed message hasn’t been one meant to demean women as dogs (as has been claimed). While the overall intention still includes its fair share of spice (anot unheard-of step in female-empowered pop music),the tracklist rollout and album trailer paint a different portrait.
Carpenter has certainly been known for her sense of humor when it comes to her musical creativity, andMan’s Best Friendtakes up this mold once again, as it seems to insteadshade men as being in the subservient, canine role. Track titles like “Manchild,” “Nobody’s Son,” “House Tour,” and “Goodbye” also paint Carpenter in a superior position of strength.
The brief album trailer shown at the end of Carpenter’s Lollapalooza set seems to indicate much the same type of mood. While the unidentified album cover man (possibly) is again present in several video clips (perhaps as part of a future music video), he’s blindfolded andis never once presented as being in a position of control over Carpenter.
Carpenter’s Controversial Cover Is Merely A Play On Her Entire Concept
Whether this album cover design choice is intended to be a sleight-of-hand misdirection to the viewer, or is just being misinterpreted by a public quickly jumping to an emotional reaction instead of logic (or both),Man’s Best Friendalways has Carpenter’s hand on the leash. She’s not intendedto be the one wearing the collar in this scenario.
Perhaps this early, over-eager criticism is again due to a society that’s quickto pile on women for expressing themselves in a way they either don’t like or find to be uncomfortable. Regardless, the overreaction toMan’s Best Friendhas the wrong take on the matter, and, as a result, misses the album’s concept by a wide margin.
