Taylor Swift hasn’t come out and said she’s okay with being white, of course, but she hasn’t explicitly denied it either, and just look at her.
There is something to the coincidence of the “Okay to be White” trolling and the renewed intensity of the anti-Swift movement now. Like the other components of the Left, black advocacy is enlivened and a little manic after the election of Trump. An awful lot of people are taking advantage of that to indulge personal prejudices, such as those against skinny white Beckys for instance.
You have to hand it to Swift. She soldiers on, despite having virtually no defenders in a sub-genre of criticism dedicated to her. Somewhere there is a college course dedicated to her, and not the adulatory sort “studying” Beyonce.
It’s been almost a decade since black America’s campaign against her began in earnest, with Kanye West’s public humiliation of her in an act that would have ruined his career not long before. As it is, he demonstrated a new level of acceptable public racial provocation, which continues to grow in malice.
West’s cultural guerrilla warfare blew out the Overton Window for anti-white animus.
Indeed, black hostility toward Swift tracks Kanye’s periodic acts of hostility toward her, and is subdued but still very evident during periods of Kanye-determined detente, demonstrating the astounding if unacknowledged privilege black America enjoys. Most of Swift’s provocations of the black public come from her responses to West’s random attacks. Swift’s career has become intertwined with his. Every work of hers is scoured for references to him.
Indeed, in her relationship to West and black America Swift is drawn into the black model of popular music based on personal conflicts and self-aggrandizement.
Kanye tested America with his stunt. But the reaction to it–white America’s shrug, corporate America’s indifference, black America’s approval–consecrated the thing. His petty act proved to be of great moment and hastened significantly the present untenable state of anti-white hatred in America.
West’s eventual but complete victory over Swift laid waste to implicit limits on giving offense to whites, as well to as white notions of decorum. He thrived after and by the act, establishing a not just viable but attractive option for others. This has the effect of monetizing anti-white animus.
It was a watershed in the present pilfer-and-appropriate phase of the American civil rights movement. At the same time institutions and culture (and wealth) are being separated from their white progenitors in the name of diversity, blacks seek to banish whites from “black” culture, music, fashion. Other ethnicities follow suit–blacks are the real “model minority”, in that theirs is the political model for racial group advocacy, universally if unevenly adopted (even by “model minority” Asian and South Asians, astutely seeing no need for their prosperity to deny them their share of American ruin).
Diversity is a spider’s web; move this way offend one, move that way offend another. Whites hold still to avoid giving offense. Taking Kanye and his ilk for a joke we are like the man-in-the-burning-room: this is fine.
Even slang becomes proprietary. What’s yours is ours, what’s ours is ours is the present attitude of non-whites, with the vigorous approval of their white allies.
Trump doesn’t challenge black America or its privileged status directly–he seems to accept it–but he challenges a status quo that greatly favors black America. Despite being made up of countless emotional and irrational individual expressions, collectively black resistance to Trump is rational self interest without emotional attachment (or recognition of) a broader national interest.
White spaces are a threat. White faces are a threat.
Where there was condescension for whites as a group safely displaced, if still hanging around and helpfully doing all the work, now there is paranoia. Like the old joke about racist cops finding a criminal conspiracy in three black guys standing on the street corner, any such concentration of whites is a hate crime. The difference of course being the former retains some connection to reality.
The unrealistic characterization of diversity in mainstream media propaganda–and it’s all propaganda now–takes on a whole new urgency. White spaces are now potential hamlets of resistance. Individual whites are potential icons of resistance–as the humorous adoption of Taylor Swift by white nationalists demonstrates.
As with everything else the Left seems incapable of keeping track of the sequence of events. Taylor Swift was made into a figure of white supremacy by blacks for being too white long before Trump and the meme wars.
In advertising, film and television it’s long been standard practice that no group can be too large without the mediating presence of non-whites. There is a number, probably around six, over which no group presented in a television ad, for instance, can be all white. A single family of whites is still allowed (but nearly discouraged, and balanced now by mixed-race families).
There are rules as well for the individual presentation of blacks and whites in media, all bent on portraying the former superior to the latter.
Against the backdrop of reality, where whites risk murder merely by setting foot in black neighborhoods from which occasionally issue raiding bands of murderous orc-like children, in a reality where the limits of black malice appear limited only by that same indulgence we grant Kanye West; in a time when it’s not outrageous to imagine them slaughtering us in the streets if only given the encouragement and means, against these things the ongoing black supremacy kitsch of popular culture is barbaric and sickening.
It can’t be much longer tolerated.
It’s okay to be white. It’s okay to be Taylor Swift.