Paul Krugman, Pop Culture Critic

This first ran on Splice Today.
_______________________

large_krugman

 
“If you saw Suzanne Vega years ago, as I did, and wondered if she’s still as good in live performance, she isn’t — she’s better.” A Facebook post by some acquaintance, you think? A tweet? A tumblr? A small blog from some semi-anonymous writer who likes to share their concert-going experiences with their friends? None of the above. This here is Paul Krugman, Nobel Prize winning economist, and the venue for his clichéd, pedestrian fanboy gushing about Suzanne Vega is the website of the illustrious New York Times.

I’m trying my best here to restrain the snark, because I generally like both Krugman, and Vega, and because I don’t think there’s anything wrong with fanboy gushing. Krugman loves Suzanne Vega, and he wants to share his love with the world — nothing wrong with that. Even if he wants to go on to tell us about his meal afterwards (“The food in Joe’s Pub was very good….”) well, that’s fine. Lots of people use the Internet as a way to share the equivalent of personal letters with friends, and why shouldn’t they?

But (and here’s where the snark comes in) this is not a personal letter. This is a post to the website of the New York Times. Krugman labels the piece as “personal”, but he’s not actually sharing it with friends or family or Uncle Jimmy. He’s sharing it with you, and me, and the rest of the world — this is a piece of cultural criticism on one of the most prestigious websites in the United States. And what does this cultural criticism say? Its says, whoa, Suzanne Vega is awesome and she played some of my favorite songs and then I got food at Joe’s Pub and hey, here’s a picture of me and Suzanne Vega, eat your heart out, losers.

If there’s a trace of bitterness there…well, sure, I’m bitter. I’d like to write cultural criticism for the New York Times, too. But to do that, I have to pitch things, and have ideas, and maybe even employ paragraph transitions. But Krugman can just write a blathery, vacuous numbered list, and hey, presto, there he is on the New York Times, writing immortal lines like “Has there ever been another widely heard song, let alone a massive hit, written in blank verse?” Is that supposed to qualify as insight. As brain activity? Why are the editors letting him print this crap?

They’re letting him print this crap because he’s Paul Krugman, Nobel Prize winning economist, liberal gadfly, puncturer of Republicans, mocker of inflation hawks. Krugman is one of the NYT’s most visible voices and assets; he’s a hugely successful brand. People are not just interested in what he has to say about economics; they’re interested in him, personally, yay, verily, unto the Suzanne Vega worship and what he had for dinner. Krugman is a big enough name that he can print what he wants. If he felt like running his laundry list, I suspect the Times would let him.

This isn’t exactly a new phenomenon — writers from from Sylvia Plath on down have long been public figures and celebrities, and folks have always been interested in their lives as well as in their writing. The Internet though, with its demand for content and its ease of publishing, has made it possible for celebrity writer brands to let their fans in on the minutia of their lives in new and copious ways, whether on social media or from the platform of the Grey Lady.

These developments aren’t all bad. I like the informality of the Internet, and I enjoy the way that blogs can escape the tight confines of a particular pigeonhole. I don’t really want to read Jonathan Bernstein’s (http://www.bloombergview.com/contributors/jonathan-bernstein) baseball posts, but I like that he’s allowed to write them.

But, then, Bernstein actually works on his baseball posts; he has expertise and knowledge, and he takes time to put both in a coherent form. Krugman, on the other hand, seems to be flaunting his half-assedness. It’s like he wants everyone to know that he’s so big, and so important, that he can use the New York Times as his personal social media account.   In Internet journalism, it’s not what you write, but who you are — and he’s Paul Krugman. Look on his laundry list, aspiring cultural journalist, and despair.

Kickstarter: Threat or Menace?

Thing_early_benchmark_h1

 
So, I think maybe I have an academic publisher for my next book. If the good lord is willing and the creek doesn’t rise, the book would focus on a topic much discussed on this blog — whether superheroes can meaningfully represent diversity, and especially blackness.

The problem is that academic presses don’t pay — and of course I’m not an academic, so I don’t get a salary to publish. If I’m writing a book, I’m not writing other things that people might actually pay me for.

So I’m considering doing a kickstarter or a patreon or some such to try to see if I can generate enough money to make writing the book worthwhile — or at least defray the extent to which it isn’t worthwhile. I’ve never done a crowdfunding thing before — and I don’t know that I’ve ever seen anyone try to do a crowdfunding effort to write an academic press book. Basically, I’m looking for feedback. Is this a horrible idea? Would anyone willingnly contribute to such a thing? What platform do you think would be best? How much should I ask for?

This is all fairly notional at the moment; everything may fall through. But I’m curious if people have thoughts/advice/mockery. Help?

Utilitarian Review 5/2/15

On HU

A trans man on what Sailor Moon means to him.

Remember Colombiana? It was terrible.

We’re going to do a roundtable on Joss Whedon; more details to come!

P. Marie, Zoe Samudzi, and Julia Serano on feminist exclusion of black and trans women.

Jaz Jacobi on why the silly wonderful Weisinger Superman is the greatest Superman of all.

Eric Berlatsky on how continuity precludes real diversity in superhero narratives.

Em Liu on Bruce Lee and the desexualization of Asian men in Hollywood.

Winter Soldier is a vacuous piece of crap that makes me hate my country.
 
Utilitarians Everywhere

At Playboy I wrote about:

(not) being an ally.

Black widow, slut shaming, and why one strong female character isn’t enough.

I talked about how racism is partly a question of etiquette on the Matt Townsend show.

At Pacific Standard I wrote about how public policy has made Indiana’s HIV crisis worse.

At Ravishly I wrote about:

—how the genderless utopia isn’t really a utopia at all.

Mariah Carey’s new video and gender without bodies.

At Splice Today I wrote about constantly marketing yourself as a freelancer.

And the Salem’s Lot study guide I worked on for Shmoop is online.
 
Other Links

Pauline Kal-El on why superhero comics in general, and Catwoman #23 in particular, are terrible.

Emma Kidwell on video games looking to attract a more diverse audience.

DeRay Mckesson reveals Wolf Blitzer to be a racist tool.

Gerry Conway on how DC works to screw creators out of royalties.
 

Salems+Lot

The Louis Armstrong Fallacy

large_rsz_louis_armstrong_restored

 
This piece first appeared on Splice Today.
________

The election of Barack Obama means that there is no more racism in the United States. The fact that some women have been elected to the Senate means that sexism is no longer a major factor in American life. Beyoncé’ is a superstar, so that means that women of color are celebrated in our culture, not denigrated.

Those arguments may sound fairly ridiculous, but if you spend any time taking about discrimination online, you’re bound to stumble across them or their equivalents. I think of it as the Louis Armstrong fallacy: “Louis Armstrong was successful, therefore Jim Crow doesn’t exist.”

Louis Armstrong is clarifying both because he’s universally revered and because he lived, and succeeded, during a time that was, by any measure, extremely racist. Armstrong started his career during the height of what historians have called the “nadir of American race relations.” In 1901, the year he was born in New Orleans, 105 people were lynched, and the last post-Reconstruction African-American congressman gave up his seat; there would not be another for 28 years. In 1912, when Armstrong dropped out of the Fisk School for boys and joined a quartet singing in the streets, Woodrow Wilson, a racist white Southerner, was elected President — the next year he resegregated the Federal government. In 1917, when Armstrong was sixteen and playing in New Orleans’ brass bands, whites rioted in East St. Louis, IL, killing between 40 and 220 African-Americans. In 1926, when Armstrong’s recording “Heebie Jeebies” became a sensation, the Supreme Court in Wyatt v. Adair ruled that racial discrimination in housing was Constitutional.

From the executive branch to the judicial branch, from south to north, America in the early decades of the 20th century was not just racist, but actively, in many ways, becoming more racist than it had been since at least the end of the Civil War. And yet, nonetheless, Louis Armstrong went from success to success. Even in the Depression, when jazz greats like Sidney Bechet had to hang up their horns, Armstrong flourished, celebrated and beloved.

So how is that possible? How does a society of lynching and segregation manage to turn around and give one black man riches and fame? The answer is in part that no one gave Armstrong anything. No system of oppression is ever total; music was one of the relatively few avenues in which some few black Americans were able, through sheer talent and grinding work, to force their racist society to acknowledge their genius, if not their humanity. Armstrong was arguably the most talented American musician ever, in any genre, and still, he was quite aware that the accolades he received were grudging. “I don’t socialize with the top dogs of society after a dance or concert,” Ebony reported him as saying in 1964. “These same society people may go around the corner and lynch a Negro.” Though he was sometimes accused of being an Uncle Tom during the Civil Rights era because of his generally jovial demeanor and stage presence, Armstrong made no excuses for white America, and could be a harsh critic. During the 1957 struggle to integrate Little Rock Central High in Arkansas, Armstrong called Eisenhower “two-faced” and stated, ” “It’s getting almost so bad a colored man hasn’t got any country.”

To use Armstrong to exonerate America of racism is obscene in part because Armstrong’s success was accomplished in the teeth of racism — the grandson of slaves, he grew up poor, and was often harassed and arrested by the police. Through sheer talent, he overcame America’s best efforts to thwart him. But that doesn’t mean that racism didn’t exist, anymore than Jane Austen’s novels mean that women had the same access to education as men did in England in the 1800s. The fact that some people, through luck, skill, and genius, manage to thrive despite oppression is a testament to the human spirit of those whose humanity is often denied. But the oppressors shouldn’t get the credit when, despite their best efforts, in some small way, the oppression fails.

Hail America, Captain Hydra

Captain America: Winter Soldier, like Dark Knight Rises before it, signals its intelligence through ambivalent allegory. In the Avengers, the supersecret SHIELD spy network is unambiguously good; the government defends our borders against a (literal) alien menace, as the spies man the ramparts. In Winter Solider, though, the spooks are the foe, as well as the heroes; America (and its security force) is its own worst enemy. Hydra lurks within SHIELD itself, working to promote terrorism in order to make the world ready and eager for totalitarian dictatorship. The terrorist other and the fascist state collude together to oppress and murder us all. End of moral.

It’s not a bad moral, as these things go. It is in fact the case that imperial excess and terrorist extremism thrive on each other; George W. and Osama, loving frenemies, birthed the big ball of hate and bile that consumed thousands of people here and hundreds of thousands overseas. Were we not gallumphing around the Middle East casually starving children and dropping the occasional bomb, who would climb into a plane and kill themselves in a futile orgy of innocent death? If terrorist whackos didn’t create a futile orgy of innocent death, what excuse would we have for picking a random, distant country and turning it into a nightmare wasteland? The pendulum of revenge needs psychopaths pushing on both sides, if it’s going to continue to reap.

Which is sort of what Winter Soldier is about, with its Hydra vs. SHIELD shenanigans…but then, not really. Because Hydra and SHIELD don’t furtively collaborate in bloodshed. Instead, Hydra is both halves of the evil dialectic; it’s both Osama, the terrorist, and George W., the totalitarian twit. Hydra creates chaos to impose imperial order. SHIELD, on the other hand, in the person of the noble Nick Fury (and of course, of Captain America), remains transcendently pure, battling anarchy and fascism in the name of an unexamined, supposedly non-ideological middle. Fury and Cap stand for decency — said decency underwritten by high-tech weaponry, martial bluster, and megaexplosions, of course. At the end Black Widow sneers at the appointed democratic representatives of the people, giving them the old, “You don’t want to know the truth” spiel, utterly without irony. We need kick ass heroes to do the dirty work of protecting us from the evil bastards who tell us they will protect us from the terrorists. America is the land of the violent, uncompromising, brutal middle.

Chris Evans as Captain America seems, then, like the perfect vacuity to paper over this empty aperture. Wooden, certain, noble, sexless, a blank, blond, slightly startled bolus of violence, pointed by the plot in more or less arbitrary directions, scattering bodies and explosions about him as he rolls like a muscle-bound marble about the screen. He is goodness sans ideology, justice sans brains, righteousness sans character. The world in its complexity is shoved into Hydra, which whispers “Hail nuance!” before it is battered into submission by the purity of himbo. America marches on, unsullied by thought, on the straight and narrow path to what we call justice for all.
 

nick-fury-captain-america-black-widow-winter-soldier-2014-movie-hd-1920x1080

P. Marie, Zoe Samudzi, and Julia Serano on Feminist Exclusion

Last week I wrote a piece about Laverne Cox’s nude photoshoot for Allure and how various feminisms have often failed black women and trans women. The piece was in particular a response to a post by Meghan Murphy in which she criticized Cox in what I argued were transphobic, racist, and cruel terms.

For my essay I conducted several interviews — but as often happens, I was only able to use little bits of them. The interviews were all really thoughtful and enlightening, though, and it seemed a shame to waste them. So I asked folks if it would be okay to reprint them here, and everyone (including Playboy) kindly agreed. All the interviews are below, from shortest to longest responses, more or less. My questions are in italics; answers are of course by the interviewees.
_______
P. Marie is a former sex worker; she blogs a mix of trash, nail art, and selfies at pmariejust.tumblr.com and @_peech on twitter.

Why has feminism and radical feminism had trouble respecting black women?

As far as I can see, the problem can be boiled down to (among many things) entitlement and a sense of ownership. For decades, white feminism has said things like “being a voice for the voiceless” – essentially taking ownership of the voices (and bodies) of Black women, sex workers, and Transgender people through exclusion and subscribing to violent, racist, and transphobic rhetoric.

While at points in history, speaking up to protect others was necessary and desired by us from them, it’s now turned into a clear case of overbearing entitlement and greed for the spotlight. Opportunistic hatred is published quickly and easily by both news houses and blogs with large followings, giving bigoted white feminists a platform to share their trash with a digital megaphone.

The shame in all this is how difficult it seems for feminists as a community to see this happening as often as it does.

With dangerous ideas like “women born women”, the new emergence of the “rescue industry”, and anti sex work and anti black feminists these newest waves of feminism are going on the offensive and becoming more harmful by the day. The problem blooms larger when the actuality of “being the voice for the voiceless” is comprised solely of ignoring people who are willing to speak for themselves. Feminism isn’t helping anyone anymore – unless helping yourself to take the stage by way of abusing women you don’t like counts, and I don’t think it should.

Could you talk just briefly as a black woman and a sex worker what your reaction to the Laverne Cox photos are? Is it empowering or satisfying to see black women recognized as beautiful in that way? Do you see sexualized images of black women as a problem at all, or does it depend on agency/the situation?

As for my reaction to Laverne’s pictures, I feel a sense of happiness for her. She’s done interviews and spoken about her self esteem/appearance, and to see her be able to have those photos done and (very obviously) look and feel so beautiful, what a happy moment. It helps me as an individual when I see any Black woman feeling beautiful and sharing that with the world – reminding people we ARE beautiful, desirable, feminine, and strong – which is exactly, thankfully, what Laverne Cox has done for us.

When it comes to sexualized images of us, for me it’s all about agency! Did we consent? Are we respected? Is this our choice? Is this a collection of body parts or erased humanity? There are a lot of questions that run through my mind at that intersection of sex work and being a Black woman.

What Laverne Cox did put a smile on many faces and some hope in a lot of hearts. I think there are very few better things a person could do in life.
__________
Zoe Samudzi is a researcher and activist; she’s a project assistant at UCSF. You can follow her on twitter, @ztsamudzi.

Could you talk just briefly about how some strains of radical feminism have marginalized black women and trans women? Like, specifically, why does feminism have trouble embracing those groups? Are the reasons linked?

It isn’t just radical feminism, but also mainstream White Feminism that has targeted and excluded women of color, sex workers, trans women, and others marginalized identities. But these radical second wave feminisms emerged in reaction to traditional femininity, a part of which is female sexuality, which they characterized as “slavery to patriarchy.” These radical feminisms, in my opinion, don’t even feign inclusivity: there’s a very prescriptive understanding of what emancipation and liberation looks like and in the rejection of femininity, it fails to recognize women’s agency (including sexual agency). Couple this misogynistic demonization of femininity with the general devaluing of certain bodies and identities – black women, trans women, and sex workers most notably – and you have shaming, commentaries about “self-objectification” (actually the imposition of the male gaze) when women pose nude, refusal to recognise sex workers as agents, and so on. This exclusion and marginalisation links to white female entitlement and the refusal to de-center whiteness. White women have historically been perpetrators of violence against black women’s bodies, and the same entitlement and identity-centerdness in feminism has enabled them to proclaim themselves as the arbiters of womanhood. It’s also worth nothing that it isn’t just radical feminism that has marginalized trans women and sex workers: that has and does happen in black feminism/womanism, as well.

Do you see fashion images of black women as disempowering? empowering? Some mix of both? Do black women have a different relationship to objectification/sexualization than white women do?

I guess I don’t pay them much attention, but the models are gorgeous. Beyond being empowering or disempowering, I see fashion images of black women as promoting similar discouraging messages about body images as white ones. But black women lend an element of “cool” and afford a cultural capital to fashion that white models to not (they’re always thrown in there for some performance of athleticism or exoticism). The objectification of black women is both gendered and racialized: there’s not only a gendered sexualization, but also a fetishization as an exotic radicalised “other.”

I know you don’t identify as a feminist right now…I guess I wondered what feminism would have to do to get you back? What needs to change before you’d feel comfortable identifying as a feminist again?

I don’t think I’ll ever identify as a feminist again, though there’s a tremendous amount of scholarship in marginal feminisms (i.e. from sex workers, in transfeminism, from migrant/immigrant women, from disabled women, from women in the Global South, and so on). I’m not spending any more energy trying to convince white women that my identity is worthy: I’d rather invest my energy in gender politics grounded in intersectional understandings, as womanism is.
________

Julia Serano is a trans feminist and author. Her most recent book is Excluded: Making Feminist and Queer Movements More Inclusive.

Why has feminism been so resistant to including trans women?

There was a time when most feminists (like society at large) were very resistant toward trans women, largely because of misconceptions that people in general had about us. But with increasing trans awareness over the last ten or twenty years, most strands of feminism now acknowledge (and sometimes ally with) trans people and issues. One major exception has been trans-exclusive radical feminists (often called TERFs).

While they may differ to some degree in their perspectives, most TERFs subscribe to a single-issue view of sexism, where men are the oppressors and women are the oppressed, end of story. This rigidly binary view of sexism erases transgender perspectives. It leads TERFs to view trans men as “dupes” or “traitors” who have bought into patriarchy’s insistence that being a man is superior to being a woman. This framing also leads them to depict trans women as entitled men who are “infiltrating” women’s spaces and “parodying” women’s oppression, or as “gender-confused” or androgynous people who transition to female in some hapless attempt to “assimilate” into the gender binary. Which is so bizarre that they think that, because no one in the straight mainstream views out trans women as being well-respected legitimate gendered citizens!

Is that linked to, or how is it linked to, feminism’s discussions of objectification, or with its discomfort with sex workers/sexualized portrayals of women?

Yes. Their single-issue view of sexism (i.e., men are the oppressors and women are the oppressed, end of story) ignores intersectionality—the fact that there are many forms of sexism and marginalization that exacerbate one another, and that people who experience multiple forms of marginalization may view sexism (and feminist responses to sexism) very differently.

Some feminists (including many trans-exclusionary ones) forward the following overly simplistic argument: In patriarchy, men sexualize and objectify women, therefore women should avoid being sexualized and objectified, because it is inherently disempowering and anti-feminist. This seems to be the case that Meghan Murphy is making. But it ignores the fact that all women are not seen and interpreted the same in the eyes of society. If you happen to be a disabled woman, or a woman of color, or a queer or trans woman, or a sex worker, then you are also constantly receiving messages that you are *not* considered desirable or loveable according to society’s norms.

Feminists have long discussed the “virgin/whore” double-bind: If we express our sexualities and/or expose our bodies, many people will sexualize and objectify us. But if we repress our sexualities and hide our bodies, that also has negative ramifications, especially for those of us who are deemed to be non-normative or undesirable for some reason or another.

I completely understand why, in a world that constantly attempts to erase and eradicate trans women of color, Laverne Cox might feel that that photo-shoot might be empowering for her and for other trans women who share similar identities, backgrounds, or circumstances. This does not by any means imply that they are “buying into the system”—rather, it most likely means that they are navigating their own way through society’s mixed messages (e.g., women are seen as sexual objects, but at the same time, trans women and women of color are viewed as sexually deviant, undesirable, or sexual abominations).

Laverne Cox is an outspoken feminist who has been raising public awareness about sexism and multiple forms of marginalization for several years now. Given that history, Murphy’s response seemed especially condescending to me. It is okay for feminists to disagree. But when you accuse someone who is creating positive change in so many ways of “reinforcing” sexism (especially when they face obstacles that you do not have to face), then you should probably consider whether you are the one who is “holding back the movement” by excluding women who differ in their experiences from you.
 

laverne-cox-nude

Announcing…the Next Roundtable!

So, we’ve had a ton of suggestions as to what to do for the next roundtable, from Roz Chast’s new book to the Claremont X-Men to Mad Men. I have considered all the suggestions carefully, weighed the pros and cons, and decided on the next one true roundtable topic.

(Drumroll.)

Joss Whedon!

Okay, so no one actually suggested that we do a roundtable on Joss Whedon. But! I am morally certain lots of folks are interested in him, and I would like a better sense of his virtues and weaknesses.

In short, I am a not especially benevolent dictator, and I say Joss Whedon it is.

Unless no one will write about Joss Whedon, in which case we’ll have to pick something else, or shutter the blog, or take drastic measures. So! If you would like to avoid that horrible fate, whatever it is, say you will write about Joss Whedon in the comments, or email me or contact me psychically if you are able to do that.

Update: There seems some interest in this from folks who haven’t written here before, so I should probably explain that HU is an all volunteer endeavor, alas; we have no ads, no funding, and no one gets paid. So, if that does not dissuade you, we’d love to hear from new folks!
 

resizedimage600298-Standard-Image-Size-Buffy