Coffee: Cafe Pajaro Extra Dark, Trader Joe’s Brand
I read a New York Times Magazine article about contemporary art. It started at a dinner table, two friends arguing about the show ‘Insecure.’ One friend liked it, the other didn’t. They both were black men.
The friend who liked it said there were no grounds to question ‘Insecure.’ It’s a TV series by and about black women in America – it’s too important as a social symbol to critique. They other guy – the author of the article – was wary. He described a world of bland dinner parties: no strife, no conflict, everyone agreeing to progressive standards, consuming media that was morally homogeneous. He said that wasn’t art.
But of course it’s complicated. Of course representation matters. There are studies coming out every day showing that kids who are given positive role models from their own race, culture, background, grow into healthier self-esteems. And there are still tremendous thumping gears churning night and day to keep the dark dream of white patriarchy vibrant, all the while actively draining color from whatever minority garden in which art or ideas might grow. Desperate times call for desperate measures. It is, in fact, ‘important’ that shows like ‘Insecure’ exist.
I met a guy in Japan who still lives there. He talked about America, about Wisconsin, about how everything was bleaker back home. He spoke fluent Japanese and knew how to party. He’d buy the seasonal chocolates at the corner store and ring the bell and clap three times at Buddhist shrines. He wasn’t Japanese but he wanted to be. I think something similar is going on with progressive art. You play an educated left-leaning American of whatever color one song by Kendrick Lamar, then one song by Young Dolph and nine times out of ten they’re picking Kendrick. Why? Because he’s able to sanitize a struggle so it’s palatable. Like Martin Luther King, Jr, he’s a great man with great words and zero blemishes, an idol, a god, in-human, unattainable, safe to aspire to because implicit in his image is the fact that you – 35, two jobs, disenfranchised by voter registration laws, behind on credit cards and paying half your income to rent, probably black but maybe even poor and white – will never get to life that life of freedom. Implicit in a blanket admiration for non-white art is the fact that these aren’t complicated, messy, people – these are fancy macaws and peacocks locked in carefully hidden cages, putting on a show for the upper class.
Currently Reading: Autumn, Ali Smith; Cherry, Nico Walker
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“This version of the culture wars casts Beyoncé as the goddess of empowerment who shan’t be blasphemed. She offers herself as both deity and politician, someone here to embody and correct.” – Wesley Morris, The Morality Wars, linked here