I mention A/I not just because it’s the ideal misogynistic hip-hop record in how it’s real, but not really (Lou would never lay his hands where they’re not invited). Nor am I propping the disc because its delicious despicability relates to my college experience much better than does anything by Asher Roth or Mickey Factz. Abstractly speaking, the Odd Couple represents the middle ground between flagrant chauvinism that’s justified by hyperbolic license, and the shit I’m hearing from kids who grew up on Blink 182, Eminem, and Jenna Jameson. I asked Lou about this, and he has a message for any Warped Tour-y artists who – much like the porn stars they get herpes from – believe they can ride gutters to the top and eventually blend into the A-list.
“You don’t think that people are going are going to take [hyper-misogynistic lyrics] seriously,” says Lou, whose new Spork Kills project is an aggressive departure from his past notoriety. “But if people only know one of your songs, and it’s the one where you say “bitch” or “tit” or “pussy,” they’ll follow you around with burning torches. It’s happened to me before; one time I had a show in a small town where the local paper literally told people not to come. It just sucks because that’s not really me; I’m the guy who everybody else calls a pussy and a faggot because I play the piano and occasionally wear women’s clothes. But what can you do? It was funny at the time.”
THAT’S HO BUSINESS
Given my reputation for assailing hipsters, I’m sure this rant will be considered a strike against the likes ofSpank Rock, whose “Backyard Betty” and subsequent post-innuendo cuts helped rattle the misogynistic fault line that shook the rap and electro underworlds and after-shocked the mainstream. But that’s not the case; booty, shake, and a half-million other sub-genres of similarly sweaty dancehall grooves are as American as hair pie, and I respect our national folk traditions. What I’m asking you to consider is this: what do you think of a future in which kids think that Lady Gaga and Mickey Avalon are as filthy as filth gets? Or worse yet: imagine a day when MTV audiences embrace lunatics like Necro, but for the wrong reasons (like white college kids with their affection for Dave Chappelle, for example).
Pop music has co-opted pretty much every facet of hip-hop: does it have to take gratuitous misogyny, too? It was bad enough to see my aunt grinding to “Baby Got Back” at my cousin’s wedding last year; the last thing I need is her embracing the morally bankrupt underground vibes that I’ve kept as my little secret up until now. This junk is for me and my unemployed homeboys -- not the Casey Kasem set.
When 2 Live Crew inseminates Cambridge this Friday, Fresh Kid Ice will “keep it 2 Live because that’s what people need in this economy.” Reached by phone in Miami, he also promised “plenty of ‘bitch,’ ‘dick,’ and ‘ass.’” It’s remarkable that – after this many years – Ice is still down to bend over female fans; his everlasting nihilistic determination is not only sincere and commendable, but also proof that pounding sluts never gets old. 2 Live isn’t still foul because a master marketing manipulator scripted them, nor because they anticipate publicity from a potential police raid (as might have been the case two decades ago). They’re as nasty as they wanna be, and they’re nasty because they wanna be. I wish I could say that about more cats these days.