Betty Friedan: Communist homewrecker?
Last week marked the 50th anniversary of the publication of Betty Friedan’s The Feminine Mystique, which inspired a flood of commemorative essays everywhere from Slate to the New York Times.
It also inspired what I think is one of the most hilariously dumb sentences I’ve ever read on The Spearhead. In a post talking about Friedan’s “youthful Bolshevik activism” – she spent a number of years as a labor journalist – Spearhead head boy W.F. Price offers this assessment of the book that jumpstarted feminism’s second wave:
Although I haven’t read the book, it apparently stresses the need for women to engage in work outside the home, which is a basic Communist tenet.
Yeah, that’s why most women work. Not to pay the bills, but because they are pawns of the worldwide communist conspiracy.
Weirdly, Price is well aware that he’s full of shit here, and that most women throughout history have worked, not because of Communism but because of economic necessity. Indeed, he even points this out in his post. But he follows this acknowledgement with more thoughts on Friedan’s evil commie ways:
[I]t looks as though Betty Friedan was one of the many dedicated Communists who caused so many problems immediately after WWII. I once looked up a list of known Communist front groups in the US, and noticed that quite a few of them were women’s groups. Combined with accounts I’ve read from former Cheka agents, it makes for pretty convincing evidence that feminism was deliberately fostered in the US by Soviet agents. It makes sense to use women in that manner, because authorities are not as suspicious of women, and they can operate under the radar far more easily than men. Women also make excellent spies.
Although I’m sure resurgent feminism would have emerged in one form or another with or without Betty Friedan, it is interesting to note second wave feminism’s Cold War origins in Marxist infiltration of US society. …
It turns out she was little more than a loyal Bolshevik pawn who suddenly stumbled onto success by writing a thinly-veiled Marxist critique of American capitalist society from a woman’s perspective.
In the comments, TheTruthishere enthusiastically agreed with Price’s feminism-was-a-Soviet-plot thesis:
You are right a read the same thing on another site … feminism was thought up in a russian thinktank to basically destroy the family as the states smallest cell. Basically so communism could be introduced in the western world. Well, it worked, it just took them longer than expected. By the way the Rockafellas are involved in this as well
RockEfellers. Not RockAfellAs. Or even RockAfellERs.
Uncle Elmer gave us this weird socio-sexual fantasy:
Speaking of Freudian, all feminists have a major clit-boner for “1963”, though it was not technically part of the mythic “50s”. Based on their persistent mention of that era, it’s clear they would gladly trade in their Birkenstocks for a chance to be slapped and rogured by Ward Cleaver.
They didn’t call him “The Cleaver” for nothing.
And Towgunner, for some odd reason, used the opportunity to express his disdain for “female” – in quotes – music composers.
I have a lot of classical music as my pandora stations, Mozart, Bach, Beethoven, Debussy, etc. So, guess what gets inter-mixed with the play sets from time to time…yep, the token “female” composer. I’m usually doing something else while listening and this never fails – I always know its a female composer because it, well, is bad music. Also, all of the female composers I’ve heard basically sound the same. All things aside, forget I’m an MRA, it has very little aesthetic value for anyone, except for those who think talent is the same thing as “social justice”. female composers create music that is akin to cold coffee left over from breakfast and now its 2:00 PM. And its not after a few minutes, I can tell a female composer in the first few seconds…that too never fails. Many of them painfully subject their listeners to simple scales and scattered and disagreeable harmonies…kind of like the background music for greys autonomy or any chick flick. Above all, it’s not, even in the slightest, original…frankly female composers are a perfect case study in that you can hear the innate female tendency towards conformity.
By the way, here are some songs by female composers – sorry, “female” composers. I’m not sensing a lot of conformity here.