So Afraid


Is it a blessing or a curse when edgy artists suddenly go mainstream? On one hand, niche artists who happen to fluke into wide popularity often find themselves either pandering to the masses or flailing around to get their original voice back. On the other hand, the mainstream needs regular infusions of weirdness and irregularity to keep it keeping up. If there’s one thing the wider market needs, it’s more queer women’s voices from diverse backgrounds. Enter Janelle Monae, who’s been doing her freak thing out on the edge for a long time, and now she’s got one of the biggest and most acclaimed records of the year. The thing with Monae, though, isn’t that she got lucky with a fluke groove or – god forbid – sold out her aesthetic to become more appealing. She got wildly popular because the world was ready for her. The public didn’t used to take an interest in what a crazy black girl had to say about pushing gender boundaries, same-sex love or being a female artist in a still-very-normative world. Now the tides have changed, and people want to hear as many voices as they can, anything but the same old white-guy angst. The experience of being young, black, gay and creative in a world that is unstable, swiftly-changing and dangerous to differences is suddenly very relevant, and not just to people who’ve lived that particular experience. It’s relevant to anyone who’s come to the realization that the pop cultural figures they’ve been told to relate to are garbage. We’ve been living in a tyranny of forced empathy, being told from childhood that the most valid, universal and important human experience is the puberty-pain of middle-class white males, and we’re fucking sick and bored of it, and we want to learn about other people, and we want to be heard for our own stories. And we want more music and pop culture that reflects that. It’s not a matter of the outsiders storming in at the expense of the old classics, it’s just the Zeitgeist being ready.

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