UPDATE (2006-09-21 06:55EST): The latest: The Color Line and the Perceptual Gulf and A Chasm Illuminated.
UPDATE (2006-10-03 16:14EST): Still more Zukiness at An Uncanny (Media Tactic) Resemblance and A Chasm Accentuated.
Here are 5 problems I have with Blackface Joe:
(1) Visual Impact: Tell me honestly, if you empty your mind and look at the picture fresh, as most people will, who's the first target of visual mockery? Black folks or Lieberman? I'd argue that the image's raw, visual, stereotypical mockery of blacks handily outweighs any secondary intellectualizations that might be layered on top. Now I'm sure some white Americans view the stylized humiliation and emasculation of African Americans, and other people of color, as a yawn-worthy cultural norm, easily overlooked in the service of an important liberal political campaign. But I'm not down with that. I think progressives should energetically analyze and criticize linguistic, conceptual, and visual constructions which reinforce the cultural norms of white supremacy. This isn't "political correctness"; white supremacy isn't a fabrication of the "PC police" or any humorless leftist conspiracy. Political correctness never lynched anybody; human beings who emerged from a white supremacist culture did, and do. Crying PC is a scant excuse for the intellectual and spiritual laziness that underlies privilege. Blackface is only funny if lynching is funny. I'll welcome that day; but we're not there yet.
(2) Crossed Metaphor: The central satirical point of Blackface Joe is to highlight the fakeness of Lieberman's overtures to black voters. In other words: Lieberman's attempts to portray himself as a civil rights champion are as fake as the make-up on a blackface minstrel. Here's the metaphorical problem: Minstrels applied make-up in order to mock African Americans, whereas Lieberman's act is meant to appeal to African Americans (get it? blackface is for white consumption only). Lieberman's attempts might exude a clueless "old white dude" stiffness about them, but it's not blackface, any more than Lamont's overtures are. I think the metaphor gets its own internal logic crossed and badly misses the mark, leaving only the decontextualized visual impact as the persistent message.
(3) Imprecise Framing: As usual, Bill Clinton's presence creates more confusion than clarity. He's the "white" foil, arm in arm with Lieberman's blackface. The superimposed sunglasses appear to be an effort to make him more "ethnic" or "soulful" (a la Blues Brothers), but that's where I get lost. What exactly are we to gather from this extended metaphor? Bill Clinton is Joe Lieberman's soulful slave master? I don't even know what that means. So what are we supposed to resent: Joe's fakeness or Bill's being a slave master? Again, the metaphor's essential sloppiness leaves the viewer with little more than the raw fact of the visual impact. It's hard to avoid the feeling that Clinton has been spared the blackface treatment simply because the artist holds Clinton in higher esteem than Lieberman. In this sense, blackface becomes a cheap slander, like drawing a mustache on a girl; and as surely as the mustache on the girl is intended to make her ugly and ridiculous, the blackface on Lieberman appears intended to do the same.
[ UPDATE (2006-09-26 22:45EST): Darkblack has offered this explanation: "Clinton's black, opaque glasses signify that he is 'blind' to how he
is being used, as I made clear at FDL over a month ago. A side effect
here is that he, in real life, no longer suffers that 'affliction'." I don't know about you, but the mere presence of dark shades doesn't make Clinton look blind to me. Furthermore, I seriously doubt Clinton was "blind" to what Lieberman was doing; he's a slick operative who understands the political game as well as anyone. Basically, even with darkblack's clarification, I believe the image suffers from Imprecise Framing.]
(4) Gratuitous Invocation: Of course, there are instances when it makes complete sense for a fearless artist to invoke explosive, culturally-loaded imagery in the service of an ambitious artistic objective. But my feeling is that the offensiveness of the material should be justified by the loftiness of the artistic enterprise. In other words, I think you can justifiably satirize the Bible if you're writing "The Last Temptation of Christ"; you can justifiably satirize the Koran if you're writing "The Satanic Verses"; but in the case of Blackface Joe, the argument for risky satire is, shall we say, less clear. The upside just doesn't live up to the downside. From a story-telling perspective, the shock value overwhelms any intended plot development. Obviously this is a subjective measure, but it's part of my frank explanation; realistically I could have let this image slide if it accomplished something more; but it didn't. That makes its offensive imagery gratuitous.
In fairness to the PC-haters and
other erstwhile champions of controversial imagery, I should note that
on one level they're right: cultural expression should not be policed
in any way. I don't mean to suggest that offensive imagery should be
censored. As far as I'm concerned, you should say and publish any damn
thing you choose. And then I'll say and publish any damn thing I choose
about what you said. Don't blame me if your own foolishness sticks to
you. Free speech means freedom to speak like an idiot, I suppose. Free speech isn't at issue in this discussion; the substantive meaning and value of a specific image is.
(5) Flippant Defense: The last thing that rubbed me the wrong way about the whole Blackface Joe episode was the cavalier lack of contrition from its originators. I don't for a moment believe that either Jane Hamsher or darkblack are racists; I'm just pissed that they don't get what's so wrong about what they did. Jane's apology came straight out of the "asshole boyfriend non-apology" book of patronizing dismissals: "I apologize that you're upset, though if you're upset you're probably my political enemy". Wow, that brush-off makes Arianna's Clooney-triggered soul-searching look positively spiritual.
Thankfully, the bottom line remains: Lamont won. But as long as Lamont's supporters, and other progressives, refuse to confront the uncomfortable implications of Blackface Joe, the progressive vehicle won't be firing on all cylinders.