The song was released under the pseudonym "Runt" and marked his first appearance in the Top 40.
Rundgren likely attempted to correct the assumed misogyny by not only not performing that song live, but also making sensitive-man ballads like "Hello, It's Me" and "Can We Still Be Friends?" part of his repertoire.
That's an astute observation about how he corrected the misogyny, David. He seems to be a fast learner and adapts quickly to circumstances, so that very well could be.
I also think we tend to forget how young he was. Only 22 when Runt came out, making it alone with the 17 and 14-year-old Hunt brothers. My guess is that he was stung by the Nazz experience, but tested the waters under the pseudonym and got a hit, which convinced him to continue songwriting and performing. Got accused of misogyny with this song and, as you say, pivoted to correct that.
After Something/Anything I think he'd had it with mainstream audiences and their demands. Can't say I blame him.
A slippery slope indeed. Always risky to evaluate something 50+ years old by the standards of today. . . in the case of Todd as a musician *and* as a human being, I submit that his role in the life of Liv Tyler, and songs like "Woman's World" and "Earth Mother" show him to be the opposite of a misogynist.
Agree, actions speak louder than words, and as you point out he took on paternity and fathering of Liv even when he knew she wasn't his.
Most of the criticism I'm aware of was during that time in the rise of feminism from the late 60s/early 70s into the 80s. It was a confusing time for everyone in trying to redefine gender relationships and what was and was not acceptable or desirable. I remember huge shoulder pads in women's suits in the late 70s and early 80s, which I myself wore and which were ridiculous. So a lot of artists caught heck if their lyrics weren't seen as being in tune with the times, even people like Carole King who was a working woman from a young age and should have been seen as an exemplar. Todd unfortunately caught heck too.
The song was released under the pseudonym "Runt" and marked his first appearance in the Top 40.
Rundgren likely attempted to correct the assumed misogyny by not only not performing that song live, but also making sensitive-man ballads like "Hello, It's Me" and "Can We Still Be Friends?" part of his repertoire.
That's an astute observation about how he corrected the misogyny, David. He seems to be a fast learner and adapts quickly to circumstances, so that very well could be.
I also think we tend to forget how young he was. Only 22 when Runt came out, making it alone with the 17 and 14-year-old Hunt brothers. My guess is that he was stung by the Nazz experience, but tested the waters under the pseudonym and got a hit, which convinced him to continue songwriting and performing. Got accused of misogyny with this song and, as you say, pivoted to correct that.
After Something/Anything I think he'd had it with mainstream audiences and their demands. Can't say I blame him.
A slippery slope indeed. Always risky to evaluate something 50+ years old by the standards of today. . . in the case of Todd as a musician *and* as a human being, I submit that his role in the life of Liv Tyler, and songs like "Woman's World" and "Earth Mother" show him to be the opposite of a misogynist.
Agree, actions speak louder than words, and as you point out he took on paternity and fathering of Liv even when he knew she wasn't his.
Most of the criticism I'm aware of was during that time in the rise of feminism from the late 60s/early 70s into the 80s. It was a confusing time for everyone in trying to redefine gender relationships and what was and was not acceptable or desirable. I remember huge shoulder pads in women's suits in the late 70s and early 80s, which I myself wore and which were ridiculous. So a lot of artists caught heck if their lyrics weren't seen as being in tune with the times, even people like Carole King who was a working woman from a young age and should have been seen as an exemplar. Todd unfortunately caught heck too.