Alarming News: I like Morgan Freeberg. A lot.
Anti-Idiotarian Rottweiler: We were following a trackback and thinking "hmmm... this is a bloody excellent post!", and then we realized that it was just part III of, well, three...Damn. I wish I'd written those.
Anti-Idiotarian Rottweiler: ...I just remembered that I found a new blog a short while ago, House of Eratosthenes, that I really like. I like his common sense approach and his curiosity when it comes to why people believe what they believe rather than just what they believe.
Brutally Honest: Morgan Freeberg is an intriguing guy...[he] asks great questions and answers others with style, flair, reason and wit. On the blogroll he goes. Make him a part of your regular blogospheric reading. I certainly will.
Brutally Honest: Morgan Freeberg is brilliant.
Common Sense Junction: Misha @ Anti-Idiotarian never ceases to amaze me. He keeps finding other good blogs. I went over to A.I. this morning for my daily Misha fix and he had found this guy named Morgan Freeberg in Fair Oaks, California, that has a blog, House of Eratosthenes. Freeberg says its "The Blog That Nobody Reads" but it may now become the blog that everybody reads.
Jaded Haven: Good God, Morgan, you cover a topic from front to back with a screwy thoroughness I find mind boggling. I'm in awe of your thought proccesses, my friend, you're an exceptional talent. You start by throwing in the kitchen sink, tie in someone's syphilitic uncle, bend around a rip tide of brilliance and bring it all home in a neat, diamond dripping package of an exceptionally readable moment of damn fine wordsmithing. I love reading you.
Mein Blogovault: Make "the Blog that No One Reads" one of your daily reads.
Philmon: When Morgan meanders, stick with him - he's got a point and it'll be worth it in the end. He's not a hit-and-run snarky quip kind of guy. The pieces all fall into place like tumblers in a lock and bang! He's opened a cognative door for you.
Rightlinx: Morgan at House of Eratosthenes is one of the best writers out there. I read him nearly every day because he manages to provide an interesting perspective, even though I don't always agree.
Poetic Justice: Cletus! Ah gots a laiv one fer yew...
My wife sent this to me, with a perceptible undertone of concern. A classic Christmas song got an update earlier this month and the story has gone, as they say, “viral”…
A couple of snowflakes came up with some new lyrics to “Baby, It’s Cold Outside.”
The ditzy types think this is oh so wonderful, so you can find mentions of these “new lyrics” all over the Internet. Over at Huffington Post, however, they made a dreadful mistake…of allowing comments…like these for example.
When sung properly (by a duo like Ella Fitzgerald and Louis Jordan), it’s clear that nobody’s doing anything to anybody against their will. It’s a young couple observing the niceties of what they obviously see as antiquated patriarchal norms.
She doesn’t want to go outside any more than he wants her to, but society is telling her she must.
This song ain’t about staying against her will. She wants to stay but in that time it was Taboo. So she’s making “excuses” to stay. Including the “what’s in this drink” line meaning liquor. Guys do your research first before judging[.]
It’s a song that is entirely about the inherent ambuguity of the human mating ritual and what people do with it, for better or worse. It should be learned from and contemplated, not “fixed”.
It’s also an old song that very few people hear anymore. Perhaps “fixers” like these should focus on the much larger and more culture-impacting array of objectifying, dehumanizing music that fills radio these days. There’s far more appalling to be found in the present day, and it would take more bravery to take it on.
It goes on and on like that. Seems people who are capable of participating in an actual dialog, overwhelmingly, are failing to see the necessity of the “new lyrics” exercise. This is something evident, overall, only to those with the luxury of throwing things to the Internet in monologue-form, without any ensuing discussion possible. Even the NPR article linked above was unexpectedly cool-headed and reserved about this new effort, devoting its final three paragraphs to explaining the other side:
When that song first came out in the 1940s, it was actually seen as empowering for women. Music historian Thomas Riis says the now-controversial lyric, “Say, what’s in this drink?” came across differently in its original context. “Nowadays we see that and we go, ‘Oh, my gosh, this is date rape! He’s putting something in the drink!’ ” he says. But Riis adds that at the time, the phrase was simply about having a drink.
In the 1940s, it could be seen as scandalous for an unmarried woman to be alone, drinking with a man — much less staying the night. So it’s not that the woman in the song doesn’t want to stay — it’s that she doesn’t want to be judged for it. Riis says the song shows a woman debating her options, wondering whether she should risk ruining her reputation by staying the night.
In the end, Riis says, the woman makes a strong statement by making the decision for herself. “In a sense, it’s, ‘I can do what I doggone please. I’m a modern woman,’ ” he says. So, as different as the old and new versions might seem, it might be that they were both about choice all along.
Well, if we’re going to be completely fair about it, we should acknowledge the new songwriters are 22 and 25 years old, and thus missed the point of this 1940’s classic about as much as they should’ve been expected to miss it. Which is all-the-way. But I see two more problems, each closely related to the other.
The first is a problem we see with political correctness often: It exists in a sheltered sphere, free of epistemology or any need of it. There was that incident in Washington, DC awhile ago about the aid who was fired for using the word “niggardly” in a meeting. I’m also reminded of the Fraggle Rock controversy in which a muppet character was thought to have used the word “Jigaboo” when the script says his line is “Gee Gobo, we’re sorry.” Which contains this priceless line from the offended Dad:
My reaction was to keep replaying to see if that’s what I really heard, and that’s what I heard, and that’s what I hear.
The arrogance-on-steroids…just mind-blowing. It doesn’t matter what the character said, it matters what the person heard. This is exactly what they say in sexual harassment classes, right? The intent of the accused is entirely irrelevant, what matters is the perception of the person offended. You know. Right after they say “These new rules are put in place to foster a work environment that is non-threatening and comfortable for everyone.”
This is wrong. The right way to do it is the exact opposite: The perception of the offended Dad rewinding & playing the clip over & over again, is immaterial. What the character said, determines everything, because that’s what was said. Ye gods, it makes me embarrassed even having to type that in someplace where others can read it. So fucking obvious. Well…the young airheads rewriting the lyrics are making the same mistake. The thinking is that the original lyrics could be construed as rapey or something…well…who gives a rat’s ass? Anything & everything can be construed to be anything & everything. Doesn’t mean the person construing is in the right.
The other problem is that granting the early-twenties songwriter lyric-reformers the benefit of any & all doubt about the song as it was originally written — after listening to all of the lyrics, there’s no issue with “consent.” None at all. The chick says “I really should go,” the dude starts plying her with reasons she should stick around, and after listening to him and evaluating it logically, she decides to stay. She decides. See, feminism has been getting away with something here, with this idea that any & all influence a man might have on a woman’s decision, is undue influence. Again: Wrong. Women are people, and people are more intelligent, more wise, make better decisions, when it’s easy to tell them things. Just because he’s saying something and she’s listening, doesn’t mean he’s making the decision for her.
But that’s granting them the benefit of every doubt. Which is wrong, because they misunderstood what the original lyrics meant.
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