I'm pissed. Not at
Anthony -- he's entitled to his opinion, and I think he's more misconstruing and minimalizing the danger than avoid ing. Not at
Chuck Eddy -- he's free to run
whatever he wants. I do wish someone at the
Voice had thought about this a bit more, though. Do we really need writing on why something like "Wait" could be defensible? Other than stirring up the inevitable controversy, does such a thesis contribute anything to the public minds?
I'm just pissed at the world in general.
Pitchfork got it right on this
one, and I'm especially glad to see a guy stepping up on it. The main responders (
Hopper and
Shepard) have been women, which is awesome, but this is NOT a woman's issue. It's a fucking human issue, and until more men are willing to call a prick a prick (so to speak), it's only going to slowly get better. Thanks to
Ian for speaking up, too, even if we don't
exactly agree.
Comments like this
one: "Accusations of phallocentrism and misogyny are usually accompanied by humorless disinclination to debate that's instinctively, um, autocratic." by very good writer
Alfred Soto are every bit as offensive (and more insidious) than the original pussy-beatin' stuff. If the YYT can get away with "oh, I'm only joking" and every girl grows up knowing that "I'm only joking" means it's time to shut the fuck up, then what does it mean when a male critic says, "Hey, you're humorless"? It means, "Shut the fuck up because you're not entertaining me and you're being self-righteous and that's so uncool." The thing is, I like Alfred. It's an
issue, and not a personal thing.
But where's all the debate, and why is this shit (the music) being produced, and why are people buying it? A week or two ago, I asked in an
incoherent ramble why people were afraid of the label feminist. I never thought it would become such an immediate issue, though.
I look forward to hearing from (hopefully)
Mark Anthony Neal and filmmaker
Byron Hurt.