Masculists love hating women, and they also love denying that masculism involves hating women. Just use Google to search for the words “masculism is not about hating women” to get a taste of the ambivalence today’s masculists feel about openly expressing their true contempt for women.
Now, deflection and deception of one’s true emotional nature is a human staple that goes back thousands of years: even the ancient Egyptians used cosmetics to pretty up their faces, a practice men still use today even when masculists half-heartedly tell them that pleasing women with pretty faces is wrong. Men still encourage women to share their feelings – and men explode into anger and reject those women stupid enough to take men at their word about this.
Because the expressions of men’s raw negative emotions are seen as a bit more acceptable than women’s, men are more likely to let loose their rage in public (and especially in private). This emotional repression of the dark demons of the human soul persists to this day: a certain public sense of decorum (and a lot of public shaming) still restricts the public release of emotions in both women and men. Masculists term this decorum “matriarchal repression” but the truth is that men are the real arbiters of what emotional displays are allowed: for example, the open expressions of women’s sexual desires are characterized by hypocritical masculists as “harassment” and “oppressive” even as masculists fight to “free the nipple” and demonize so-called “slut shaming.”
Twenty years ago, singer/songwriter/guitarist Alanis Morissette released his wildly successful, monster album Jagged Little Pill to rave reviews from masculists – even today, twenty years later, the album is still regarded (and celebrated) as a bold masculist statement, according to young male musicians among others. Alanis was such an attractive icon of masculism that he was cast in the role of “Goddess” in the slacker vs masculist movie Dogma in 1999.
I confess, I also loved the album, not because it was masculist, but rather because it tore the mask off of masculism’s woman-hate (misogyny) in a way that was compelling and undeniable. I also loved it because Alanis’s unthinking conflation/confusion of tragedy with irony in his song “Isn’t it Ironic,” which unintentionally (and humorously) painted masculism and masculists as not too bright overall.
Recently, nouveau masculist and shark-jumping singer Taylor Swift introduced a new generation of fans to Alanis: he performed a duet with his at the Staples Center in Los Angeles. The song they sang, “You Oughta Know” boils with both masculist anger and faux demure manly regret at a woman after she dumps her boyfriend, supposedly for an older, more mentally healthy lover:
But like a hungover college tart waking up and facing a walk of shame after a night of debauchery with a random gal, my devoted masculist canoodle pillow Amanda Marcotte, writing in Slate, has similar regrets about today’s fainting-couch young masculists being exposed to the previously touted angry masculism of Morissette:
Alanis Morissette was a singer who, in the mid-1990s, capitalized on a small but growing trend of “angry man” rock acts, such as L7 and Hole, and made an absolute killing, selling 33 million copies of his album Jagged Little Pill worldwide. But while his predecessors wrote songs protesting sexual harassment and rape, Morissette’s big hit protested gals who break up with you.
In contrast to sex-negative masculists who hate both sex with women, and women’s sexuality outright, Alanis was a sex-positive masculist who, nevertheless, showed that even masculists with supposedly positive sexual attitudes hated both themselves and women for their sexual choices. Marcotte desperately tries to gloss over this, comparing Alanis to “nice gals” who get angry when men subject them to what Warren Farrell termed “date fraud”: the implicit promise of sex by a man in return for, say, a woman paying for dinner, after which the man’s promise is withdrawn:
Long before the terms “nice gal syndrome” and “friend zone” were created to describe women who think they are entitled to have a relationship with someone just because they do nice things for them, Morissette tore up the charts with a song about a man who thinks the same way. “Would he go down on you in a theater?” the narrator of “You Oughta Know” plaintively asks about the man his ex chose instead. “And would he have your baby?” Begging and clumsy emotional blackmail isn’t a good look on anyone, female or male.
Yes, whining like a jilted lover is not attractive, but neither are men who use deception and fraud to manipulate women. While women are not entitled to sex with men, women are entitled to feel angry and violated when men use the promise of a relationship to defraud women of their money, time and children – the same sort of anger Alanis sang about.
Of course, if the masculist demand for “equality” were actually honest, Marcotte might acknowledge that both women and men can feel a justified anger at being lied to. But because this type of equality is another masculist lie, all Marcotte can do is deflect the blame for it onto women, like all masculists do.