Anti-Violence Protestors Don’t Want Odd Future at Pitchfork Festival

Most people have come to accept, or at least come to terms with the fact that Odd Future’s music can be offensive. Not among the cockroach-eating enlightened are the Chicago-based women’s rights, LGBT, and anti-violence organizations who intend to protest the crew’s July 16 performance at the Pitchfork Music Festival.

So maybe Tyler’s explanation for his language—“I’m not homophobic. I just say faggot and use gay as an adjective to describe stupid shit”—wasn’t sufficient enough?

The controversy started bubbling back in May, when WBEZ quizzed Pitchfork CEO Ryan Schreiber and president Chris Kaskie about their reasons for booking Odd Future.

The questions went like this: “If we took some of Tyler’s murder/rape fantasies and substituted Jews or blacks as the targets instead of women, would you still book them?”

And the conclusion looked like this: “Pitchfork booking Odd Future is not unlike Whole Foods deciding to sell friend Twinkies, factory-bred chicken, and tuna with 10 times the mercury content.”

In response, a number of women’s rights groups, LGBT organizations, and anti-domestic violence groups such as Between Friends will protest Odd Future’s Pitchfork performance. They plan to protest by handing out 5,000 fans—yes, fans—printed with anti-violence messages to concertgoers in Chicago’s Union Park. Their goal is to have “a sea of fans cooling down concertgoers, while hopefully, getting them discussing the issue and knowing where to turn for help.”

Truth be told, we’re a little nervous for these protesters, who’ve obviously never seen footage of an Odd Future concert.

Big Boi Rocks the Pitchfork Festival

Big Boi’s Sir Lucious Left Foot: The Son of Chico Dusty remains the gold standard for summer 2010 rap and the OutKast rapper took to the stage on the final day of last weekend’s Pitchfork Festival to rock a medley of killer new tunes, including “General Patton,” “Follow Us,” and “Daddy Fat Sax.” You’ve got to love any rapper who can release a simultaneous commercial and avant-garde classic rap album and then bring it to the Pitchfork crowd. Hit the break for the performance.

I’m usually not a fan of live rap, but I would make an exception for Andre Patton. Some of these new tunes, as great as they sound pumping out of a set of quality speakers, must sound unbelievable live–big choruses, big orchestral arrangements, big Boi.