Friday, April 21, 2017

What I mean when I talk about "privilege" criticism

So. I have been a fan of Eliot Glazer for even longer than I've been one of his sister, Ilana Glazer. Which is to say, I was binge-watching "It Gets Betterish" prior to "Broad City." I am deeply pro-Glazer. However.

The A.V. Club HateSong interview with Eliot Glazer, about a Meghan Trainor pop song, but really Trainor more generally, put me off, and I'm trying to put my finger on why. With interviewer Marah Eakin's encouragement, Glazer explains, at length, why the 23-year-old singer is not just not to his tastes musically, but is - in her embrace of content-free "empowerment" - an anti-feminist villain of sorts:
[I]n a world where feminism needs to be taken seriously, in the wake of the election and how we felt such a blow to the cause when everything shifted, at that point, it does more harm than good to have a singer who I’m pretty sure also doesn’t like the word “feminism” tell little girls how to act.
Oh, and she's kinda-sorta to blame, apparently, for Trump:
Meghan Trainor is just terrible. She really is a reminder that it’s still possible for the patriarchy to take control of the White House, the way that her brand of watered-down feminism can still be equally as powerful as it was when the Spice Girls called it “girl power.”
I should say that I come at this with zero feelings about Trainor or her music. My brief stint as a car-having person means I'm familiar with her butt-positivity song, and I remember it falling very much into that category of songs where I'd neither be pleased nor feel compelled to change the station. I have no interest in coming to Trainor's defense musically or politically. And yet the interview left me feeling weirdly - and with important caveats - pro-Trainor. Why?

As is so often the case with cultural criticism these days (yes, there's a chapter on just this), an essentially aesthetic objection is phrased in political terms. Sure, the starting point is Glazer's assessment that Trainor is "such a lowbrow dum-dum." But that has the whiff of a punch down. Snobbish, maybe even... classist. So the rest of the interview becomes this painstaking attempt at explaining the social justice necessity of hating this random pop singer.

The problem with Trainor is that she's "a 23-year-old from Nantucket." (A Google suggests Glazer's background is at least as posh.) That she appropriates black culture in her use of language. More than the typical white pop star or, for that matter, comedian? More than Glazer himself? Unclear, but Glazer is not the first to raise this issue where Trainor's concerned. If this had been his central political complaint, we could have a discussion of whether criticism along those lines, and from that source, falls more into the helpful or virtue-signaling category (and I'd be persuadable that it's the former), but alas, that is not the main point of the rant.

The main gist is that according to Glazer - note, a man - Trainor's doing feminism wrong:
Her version of feminism is just a party favor. It’s a thing to rhyme words about. It feels like she’s never read a book about feminism in her life. And maybe that’s being 23, but also: Stop. Stop and write songs about jelly beans or something.
That's but one passage of a long-form complaint that Trainor is bad for feminism, bad at feminism, maybe not even a feminist at all. And why? Because her boy-centric, body-positivity-focused concerns are so last season. According to a critic who is, again, a man. (If he were a straight man, I guess it would be a notch worse, but, as Miss Tibbs remarked on "Fawlty Towers," in a totally different context, "a man is a man.")

This is peak "privilege" criticism. We have a man who's managed to frame a gratuitous takedown of a woman performer with particular appeal to girls as the true feminist act. It can't be that Glazer thinks a performer sucks because she "writes terrible basic bitch sock hop stuff," both because that would be purely aesthetic and because it would hint at unsavory (that is, sexist and classist) politics. It has to be that he came to his anti-Trainor stance for only the most impeccable political reasons.

I now feel about Trainor approximately the way I've felt for a while now about Chelsea Clinton, which is to say, anti-anti. Even if the individual criticisms add up, the thing where white men present ugh-that-gross-woman-I-don't-like-ism as a social justice project is just, well, ugh.

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