You can’t say anything anymore. For example, you can’t write a song where a 47 year old man flirts with a 25 year old girl or a song where a guy keeps messaging online to a girl who barely responds to him. Or, yes, it is possible, only now these songs, these columns, these opinions or these books have an answer that can be heard. That is to say, yes, it is possible, but those who write or sing them must – the poor ones – put up with being told what they think or being criticized. Let them exercise their own freedom of expression, wow.
For example, Dani Martín, the former singer of the group El canto del loco, was able to compose a song a few months ago in which a 47-year-old man tries to flirt with a 25-year-old girl (Ester Exposito is called, because it is dedicated to the actress). Now he’s started one where a guy keeps messaging a girl on social media who barely responds: “What can I do so that one day/You’ll pay attention to me /And for me to come get you/And to be my girlfriend and jump into the void?
His songs have attracted some criticism. And neither he nor Pablo Motos, who interviewed him this Thursday in El Hormiguero, understand it. Not only that, but they claim that we now live in an “invisible mode of forbidden things” and that an artist should not “feel constrained.”
If Pablo Motos treats his guests questionably or Dani Martín writes lyrics that normalize male insistence on women, that’s free speech. If we say what we think, we constrain them
In 2019, Lucía Lijtmaer published Ofendiditos (Anagrama), an essay which could well serve to explain these four minutes of conversation between the singer and the presenter, but which serves much more: the writer wonders if we really live in a climate of neopuritanism. and censorship, and analyzes where the real threats to freedom of expression currently come from. The conclusion is exactly the opposite of what scandalizes Motos and Martín. The climate of the “offended” – encouraged by political and economic powers now disguised as freedom – seeks instead to criminalize protest, to designate those who now have the opportunity to point the finger and respond and to be heard and read.
That is to say, those who present themselves to the world as champions of freedom of expression paradoxically promote the idea that feminists, LGTBI groups, minorities or, quite simply, people who denounce practices, obsolete or discriminatory ideas or customs, also go far in their freedom of expression. If Pablo Motos treats his guests questionably or Dani Martín writes lyrics that normalize male insistence on women, that’s free speech. If we say what we think or speak to their prejudices – and they don’t like it – then we are not using our freedom of speech, but we are constraining them.
From Virginia Woolf to Toy Story
Lijtmaer looks at the attacks on freedom of expression that we are experiencing and which emanate from political and legislative powers. As recent examples (although there are more), we have the plays that the municipalities governed by PP and Vox have censored. In Valdemorillo (Madrid), the municipality vetoed Orlando, by Virginia Woolf, featuring a character who changes gender. In Bezana, Cantabria, the Ministry of Culture removed the animated film from the summer cinema programming Light year (from the saga toy story) because a lesbian couple appears.
Alberto Núñez Feijóo explained that true feminism “does not politically use” women and children victims of gender-based violence and seeks to ensure that “there is no resentment” or confrontation between women and men . His party forms or supports governments that have eliminated equality councils and applauded Milei’s victory
If we look at other latitudes, the government of Javier Milei in Argentina has joined a campaign (initiated by an ultra foundation) against several authors in the country whose works it considers immoral and pornographic. This is why they are considering excluding them from institutes. This week, dozens of writers and journalists came together to do a collective reading of these authors, and bookstores and publishers launched a wave of support.
“Real” feminism
This invisible state of prohibitions and coercion that Motos and Martín speak of, however, does not seem to indicate these facts which represent a clear attack on freedom of expression and creation. They also take shelter in their so-called feminism, a “real” feminism. Dani Martín openly stated during the interview that she considers herself “super feminist” and that she was raised “in the most feminist education in the world.” What is feminist education? There is much to think about and say on this issue, but some things seem clear: feminist education should make those who receive it aware that “deconstruction” never ends and that self-criticism is always necessary.
What they cannot continue to pretend is to live in silence, in the comfort of being the only ones authorized to speak, compose, sing, write, define or criticize.
“However, with Joseph’s mother Nothing was said” or “I can only flirt with 40-year-old women”, these were other phrases from the singer (47) during the interview. The subject you are talking about appeared in the world in 2003 and in these 21 years, Dani Martín, a lot has happened. Maybe at the time this song, which focused on the stereotype of a friend’s mother’s crazy child, didn’t make much of a splash, or maybe the critics weren’t up to it. speaker they would have today. Neither in 2003 did we have a law against gender violence, nor did we experience two feminist strikes, nor did we know what #MeToo was, nor did Jenni Hermoso and her colleagues have also not said #It’s over, domestic workers did not even have the right to unemployment, and we had not questioned power relations and their relationship with age or professional position as we did let’s do today.
Added to this combo is the Popular Party event to commemorate the Day Against Gender Violence, during which they chose to talk about “real feminism” and “real feminism”. Alberto Núñez Feijóo explained that true feminism “does not politically use” women and children victims of gender-based violence and seeks to ensure that “there is no resentment” or confrontation between women and men . Now remember that his party forms or supports governments that censored plays, eliminated equality councils and cheered Milei’s victory.
Pablo Motos can continue to drool in front of his interviewees, Dani Martín can continue to compose lyrics full of clichés, Alberto Núñez Feijóo can talk about real feminism without blushing. What they cannot continue to pretend is to live in silence, in the comfort of being the only ones authorized to speak, compose, sing, write, define or criticize. They can be sexist. And we can say it. Not to coerce or censor anyone, but to try to change things.
