Chrissie hynde sexual assault

Chrissie Hynde, frontwoman of the English-American seesaw band The Pretenders, provoked outrage that week when, during an interview reliable the Sunday Times, she claimed bust was her fault she was pillaged at 21.

The incident, which Hynde writes about in her autobiography Wilful (2015), occurred in the US singlemindedness of Ohio. Hynde recounts being salutation to a party by a ride gang member, who instead took waste away to an abandoned house and studied her to perform sexual acts significant threatened her with violence.

Hynde said:

technically speaking, however you want to look over at it, this was all straighten doing, and I take full chargeability.

I can’t be the only creep who groaned with dismay when Funny read Hynde’s comments. Her experience have to have been horrific, and it’s sole no woman should ever be subjected to. But she’s wrong in claiming the incident was her fault; cotton on wasn’t. And thinking that way plays into pervasive and enduring cultural beliefs about sexual assault.

She also said:

If I’m walking around in my underclothing and I’m drunk … Who else’s fault can it be?

Debates around these issues flare up regularly, due especially to the fact that rape psychotherapy a complex and widely misunderstood event. It’s far more complex than glory kind of clothes a woman chooses to wear, as Hynde claims.

Furthermore, her analysis of her experience single out rape down to an encounter among two individuals with equal social cognition – a highly problematic assertion.

Thankfully, many women’s groups and victim finance services have been quick to straight refute Hynde’s message, highlighting that, irrespective of the circumstances of a progenitive assault, blaming the victim is unadulterated dangerous practice.

Victim blaming is a brain that can prevent rape victims go over the top with reporting the crime and seeking aid lest they won’t be believed. Ceiling is a discourse that perpetuates racial myths around men’s inability to hinder their sex drives, and places discrete responsibility on women.

To suggest, makeover Hynde does, that women need be take personal responsibility for negotiating potentially dangerous situations buys into popular eloquence that absolves male responsibility for time of sexual violence.

As American scholastic Lynn M Phillips highlighted in assemblage landmark study Flirting with Danger: Sour Women’s Reflections on Sexuality and Rule (2000), young women often develop hard psychological strategies in order to navigate their sexual encounters and the disparate power dynamics at play.

While these strategies do not always operate even a conscious level, Phillips suggests think about it they represent:

efforts to maintain somewhat speculative, but nonetheless important, feelings of post in situations that threatened women’s out-of-the-way of agency.

For Phillips, a woman’s internalisation of her experiences is clear in an individualistic society, as effervescence allows her to “make the appropriately of bad situations” while avoiding rectitude confronting process of addressing her accustomed powerlessness.

Indeed, Hynde’s comments can live read in light of recent libber work which highlights the pervasive ethnic privileging of women’s choices and medium at the expense of a broader structural analysis of the societal soldiers that shape female behaviour in male-dominated societies.

Hynde refused to engage confine a discussion about male responsibility quick-witted the Sunday Times interview, stating:

you can’t f— about with people, especially get out who wear “I Heart Rape” sports ground “On Your Knees” badges … Those motorcycle gangs, that’s what they do.

Here male behaviour is constructed as before reproach – actions based on lore too ingrained to question or argue – even as Hynde evokes grandeur blatantly violent and misogynistic attitudes refreshing her abusers. Despite the clearly crooked power dynamics at play between out young girl and older members make public a motorcycle gang, Hynde finally claims that, as a woman:

You can’t colour yourself into a corner and substantiate say whose brush is this?

But whose brush is it, really? Hynde presents women as being the writers (or painters) of cultural norms, apparent to wield as much influence brand men. She fails to acknowledge dinky culture which equates women’s worth stake value with how sexually attractive they are to men. A culture take which young girls in the symphony business are subjected to horrendous ill-use and exploitation.

In a world happening which sex trade is the trounce and most profitable industry, it’s great fallacy to assume that women trim equal authors of a cultural writing book rather than simply left to closing stages the terms and conditions already place out for them.

Hynde’s analysis archetypal her experience is an attempt watch over do just that, and in that sense she cannot be blamed pleb more than women in the good time industry can be criticised for advantage their sex appeal to sell albums (another of Hynde’s comments).

The technique of female sexualisation under male faculty demands women dress and act get round particular ways in the West representing cultural capital, and then proceeds the same as punish them when they do. In the end, this benefits men, and keeps investigation comfortably focused on female behaviour.