Schrodinger’s Rapist or: Stranger Danger 2: Electric Boogalo

There are all kinds of problems with Schrodinger’s Rapist. It’s fairly logical, but it only states obvious things that don’t further our understanding. It’s a nice-sounding buzzword, too. As far as trying to reveal greater truths about the existence of rape culture, it’s a failure. In order to reveal rape culture, you’ll have to reveal something. This is just Stranger Danger with a feminist paintjob.

I’m going to tackle it from various points.

First of all, the language switch. This is the quote from Rebecca Watson with the sexes switched:

When you approach me in public, you are Schrödinger’s Rapist. You may or may not be a woman who would commit rape. I won’t know for sure unless you start sexually assaulting me. I can’t see inside your head, and I don’t know your intentions. If you expect me to trust you—to accept you at face value as a nice sort of girl—you are not only failing to respect my reasonable caution, you are being cavalier about my personal safety.

Dear women, you are Schrodinger’s False Rape Accuser, or Rapist, or Heartbreaker, or Run-Away-With-Child-er, or Mugger. I’m afraid, too.

What if made this a race issue? Schrodinger’s Black Mugger. Assuming black people commit more crimes (for whatever reason – class or genes or rap cred or because of biased reporting), wouldn’t it be reasonable to think a black person is Schrodinger’s Mugger until he proves otherwise?

Schrodinger’s Rapist is true, but its logic also encourages distrust of women. Even if you confine it to rape, males still get raped. Even if it happens less often, it does. Men being in power doesn’t matter. It’s not going to make the experience of a raped male any better.

Schrodinger’s Rapist is also an extension of Stranger Danger. Stranger Danger is an idea that should’ve been discarded long ago. People remember it when they want to ‘keep their children safe’ (=locked in the house with only a math textbook) and forget about it when complaining about how antisocial everyone is.

Stranger Danger is promotion of asocial behavior. Don’t talk to strangers. Don’t respond when they talk to you. They’re all out to get you. What people forget is that everyone is a stranger until you get to know them, including the parents. The baby simply didn’t have any control.

Strangers might hurt you. Asocial behavior is certain to hurt you. Isolation is a common factor when it comes to depression and depression is a common factor when it comes to suicide. Stranger Danger didn’t contribute anything.

Stranger Danger (Schrodinger’s Rapist) also fail because it’s not only strangers who hurt us. These strangers have probably been brainwashed with being asocial, too. It’s often people we are close to who hurt us the most. Rape occurs more often by familiar people rather than strangers.

That makes perfect sense. If you want to rape, it’s easier and safer to do it with someone you know, who trusts you. They will be less resistant at first. You already know how to interact with them and how to coerce them to having sex. You can guilt trip them later. If you’re the dominating person in a social group, they will less likely to accuse you.

The idea can cause more harm than good. It will make women fearful of strangers, but it can make them more lax with familiar people who are most likely to rape them. Where does the circle end though?

It also misses the point. By telling people not to act like rapists, you’re actually telling rapists how better to conceal themselves. A person with little regard to consent doesn’t need to be told how ‘not to act like a rapist’ but why rape is so wrong.

Acting like a rapist and raping are two different things. A person can have an aggressive, loud behavior. He can even care little for personal space and accidentally touch you, but it doesn’t mean he’s a rapist. It means he’s loud, obnoxious and doesn’t care much for personal space. It doesn’t mean he’s inconsiderate (or sadistic) enough so he will harass you.

The only surefire way to tell if someone is a rapist or a sexual harasser is when they actually do it. We should not teach people how not to act like a rapist. We don’t people not-acting like rapists, but we want them to not rape at all.

I also saw a claim that talking to people who are currently in the middle of something – reading a book, on the laptop, browsing Facebook on their phone is rude. I fail to see rudeness in initiating social interaction. It’s rude to keep pushing if a person tells you s/he’s busy, but it’s possible that this person is browsing Facebook because there’s nothing to do on the train.

You will get hurt less by telling a person who approached you to leave you alone then by not being approached to at all. Loneliness is more damaging than we think. The fact some people won’t leave you alone is rude, but is a different story.

(Here’s some Hypocrisy With Natalists moment: You think it’s rude when guys approach you while you’re reading a book, but think it’s fine to force people into existence? That kid you just forced into existence and wants to die suffers way, way more than you.)

If Schrodinger’s Rapist is supposed to make us understand better the fear women have of rape, it fails. It’s Stranger Danger in disguise. It’s actually worse than Stranger Danger. Its main message is that you can’t trust anyone. In some ways it’s true. Anyone can hurt you. The key word is ‘can’. It’s possible they will and it’s possible it won’t. There is one thing that’s guaranteed – loneliness, isolation and fear of communication will hurt you no matter what.

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Clutch – Psychic Warfare

clutch-front-cover_v9-hi-res

Clutch are, what, 24 years old now?

That’s a very old age in Rock & Roll, especially when your music is about driving rock. Most bands burn out or get tired of rocking. They take the stage, get the girls and lose the frustration that makes for good loud music. Even the best turn artistic. Monster Magnet rediscovered Psychedelia and Local H flirted with Progressive Rock as soon as their started moving units.

Clutch never had that artistic bent. They were all about riffs and catchy hooks. You could lump them up other dumb Hard Rock like Drowning Pool and Nickelback. The only difference between them and Clutch is that Clutch had better hooks and and outsider’s perspective.

Clutch were outsiders, and still were. For all of their rocking and rolling, they had weird lyrics that were poetic as they made little sense. Neil isn’t a big rock star out for the sex and money. He’s a weirdo who likes turning up his weirdness loud.

That makes them an almost perfect band. Combine the hooks with the odd lyrics, and they sound more badass than anyone else. This also gave them a glass ceiling. They were so focused on just kicking rock songs that they will never make a masterpiece. If there was some hope in the past they might knock one out, it’s all gone on Psychic Warfare.

It’s a confusing album that will only make sense depending on what comes after. It’s either the sound of a band giving up and not even trying to make a “Mice and Gods”, or it’s the sound of a band being comfortable in their place and just having fun.

The first tracks rock hard and got the energy, but none of the hooks. They’re driven by sound with the melodies as an afterthought. “X-Ray Visions” isn’t sure what the melody for the hook is. If it wasn’t for Neil’s brilliant lyrics and charisma, the song would’ve been boring to death. “A Quick Death in Texas” is the only chorus that sticks, and would’ve been just another good song on Robot Hive/Exodus.

Clutch may be giving up, but every song is performed with enthusiasm. Clutch sound happy in their place. Neil sounds like he’s happy to spit big words like ‘dynamite’ and ‘telekenetic’ on “X-Ray Visions”. In another band’s hands, it would run out of steam in 30 seconds.

The second best song here is “Noble Savage”, and it’s where the band (again) declares how rock and roll is their life. It doesn’t have a melody, but the band sounds so energized that it’s convincing. Neil might be 43 years, but no one sounds better than him at capturing the appeal of rock and roll. It’s about having fun and letting out your weirdness. Other bands try to convince you they’re having fun by singing about how much sex they have. Neil has a wide-eyed approach that makes “Decapitation Blues” sound more fun than them. That one is about neck damage from headbanging.

It wouldn’t surprise me if Clutch are more interesting in performing live than writing songs. These songs are more about loudness and energy than melody. They’ve been rocking weird for 24 years. How much left do they have to say? Still, if they perform these songs with the energy it promises it means Clutch should keep going. If it’s a sign of things to come though, maybe they should stop. They’re still a melodic rock band, and a good live show is hard to make of bad songs nobody wanted to write.

3 noble savages out of 5