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Meredith Englander

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“In one of the most scathing of these reviews, New York Times critic Robert Palmer wrote: “He has mastered the art of making lyrics that are banal—and, when they are about women, frequently condescending—sound vaguely important. He has mastered the art of making the simplest drum accent sound as portentous as a peal of thunder and of introducing his side-men’s solos with such dramatic flourishes that they almost sound like gifted, sensitive musicians rather than like the hacks they are. He has won a huge following by making emptiness seem substantial and Holiday Inn lounge schlock sound special.”
― Hank Bordowitz, Billy Joel: The Life and Times of an Angry Young Man Revised and Updated

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“I remember the rules, rules that were never spelled out but every woman knew: Don't open your door to a stranger, even if he says he is the police. Make him slide his ID under the door. Don't stop on the road to help a motorist pretending to be in trouble. Keep the locks on and keep going. If anyone whistles, don't turn to look. Don't go into a laundromat, by yourself, at night.

I think about laundromats. What I wore to them: shorts, jeans, jogging pants. What I put into them: my own clothes, my own soap, my own money, money I had earned myself. I think about having such control.

Now we walk along the same street, in red pairs, and not man shouts obscenities at us, speaks to us, touches us. No one whistles.

There is more than one kind of freedom, said Aunt Lydia. Freedom to and freedom from.”
― Margaret Atwood, The Handmaid’s Tale

tags: rape-culture

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