in Folds fans a type "who feels threatened by feminist empowerment." By December 2008, artfully feigning clubhouse ladies, the a capella choir of Columbia University's women's college, Barnard College, sang Folds's "Bitches Ain't Shit." Feminist sociologist Michael Kimmel showed the video to his colleague Lisa Wade in 2010. At feminist Jezebel.com, she aired the "appropriation," an "example of resistance" by "race, class, and gender contradictions" to "mock the original"—"Dr. Dre's"—and "expose it as grossly misogynistic." In December, near Barnard, Folds covered Kesha's new song "Sleazy." A Village Voice writer endorsed "wincing," called ironic covers "a problem right now, generally," and said he "perhaps mercifully" omitted the Dre cover, "way more problematic." In 2012, the "violence and aggression" entry in Encyclopedia of Gender in Media linked rocker Ben Folds to rapper Eminem as music's vent of "white boy pain"—an "ideology" that "feminist backlash theory" alleges as heterosexual white men's falsely feeling victimized and thus attacking women, queers, and nonwhites for progress since 1960—while Slate.com editor L. V. Anderson, to reexplain Folds's popularity, cited "musical prowess," leftward "politics," and "identity" in "the trials and tribulations" of straight, white males of middle class. No longer fond, she claimed his breakthrough hit, "Brick"—whose 1997 album was reissued in 2005—"feels exploitative and seems to dehumanize Folds' former girlfriend." L. V. Anderson, adding "empathy" for herself lacking "perspective" in 1998, says that at 15, herself unblighted but "unhappy" and a straight white of middle class, she—who maybe "wasn't Folds' exact target audience"—wanted insight on "the opposite sex." His songs, allegedly, "don't hold up to scrutiny." They, "condescending" or "appropriating other people's struggles," commit "mansplaining" and "unsolicited advice," while 2005 track "Late," for a dead friend, is "troubling," "astonishingly presumptuous." His "entirely unserious songs," like "Song for the Dumped," are "unsuccessful," as maybe Folds—or many a fan—"really believes that paying for dates entitles a man to a woman's sex and affection," she fears. "Even more disquieting" to editor Anderson is "Rockin' the Suburbs"—Folds, in it, "mocking his own lack of urban credibility," "before dismissing concerns about racism by asserting that slavery 'wasn't my idea' "—which, she feels, "reads as the musical manifestation of an enormous chip on his shoulder. Similarly offensive is Folds' slow, acoustic cover of Dr. Dre's 'Bitches Ain't Shit,' which was part of an ugly mini-trend in alternative pop." "Like 'Rockin' the Suburbs,' this bit of quasi-minstrelsy ostensibly pokes fun at Folds' whiteness, but