...I've got a blog, so I get to comment on shit what don't really concern me if 'n' when I damn well feel like it. So shall we?
Anthony Miccio wrote a review of the Ying Yang Twins' single "Wait" in the Village Voice. Two female critics, Jessica Hopper and Julianne Shepherd, responded, not all that kindly, to his thoughts. Anthony attempted a rebuttal. (There's also a discussion about the song, and now the foofaraw, on ILM. My comments appear at the tail end of it.)
Here's what I think: Seems to me that (in Shepherd's view, though I actually think Hopper's critique is stronger) the review connects with the ILM/Voice mindset that (can seem like it) combines what blount called "the old 'art has no duty to anything/one but itself' jig" with a snickering, boys' club embrace of sexual ultra-machismo as rebellious fun (rather than implied threat, which is how lots of women, not just overeducated campus-speech-code-happy women, view it).
My take on all this is that it's all about relative public profile. I don't think "Wait" is exactly misogynist, in that it doesn't express hatred or loathing for women. It is a call for rough sex, and said rough sex may not be as consensual as a few half-phrases are clearly intended to convince the (critical) prosecution that it is. So it's a song written by half-literate knuckle-draggers who are happy to be that because that's what's made them their money. And (I'm trusting the rest of the discussion thread on this, because I don't actually own the Twins' album) this is not the first time they've trampled into potentially misogynist territory, and indeed some earlier examples seem to be worse. In this case, I think it's the creepy whispering (with its obscene-phone-call/stalker implications), not the lyrics on their own, that's making (some) women shudder. If these same lyrics were delivered in the usual crunk bark, I don't think the outcry would be as loud.
At the same time, I think the (commercial/pop-cultural) success of the song is helping draw fire, too. The women linked complain that whiteboy critics who embrace this song, and crunk in general, shrug off its offensive aspects partly out of fear of being called racist. Since I've seen it happen many times online (and even in Spin - one of their articles about the 2 Live Crew court case was called "Fear Of A Black Penis," implying that Florida sheriffs/prosecutors were tiny-dicked white men intimidated/threatened by Luther Campbell's pythonlike manhood, and jeez no of course there's nothing racist/patronizing about that bit of projection), I buy that. But I think that if the song wasn't a hit, nobody would give a shit. Exhibit A: Nelly. The outcry over his "Tip Drill" video was relatively short-lived, because "Tip Drill" was not a hit. (Was it even a single in the traditional released-to-radio sense?) Exhibit B (and here's where we leave race behind, sorta): Cannibal Corpse. What do Julianne and Jessica think about "Fucked With A Knife" and/or "Entrails Ripped From A Virgin's Cunt"? Nothing, I suspect. Because Cannibal Corpse play to a fairly small audience/scene, relatively speaking (actually, they probably sell just as many records as the Twins, or damn close, or did at their peak), and (oops, here comes race again) that audience/scene has no hipster cred with whiteboy critics the way crunk (black, culturally "other") does.