The Politics of Critique: Feminism, Pop Stars, and the Limits of Empowerment
I was having dinner in The Hague at an Italian restaurant with my boyfriend. We decided to sit inside and noticed immediately that it was sparsely decorated on account of being opened five days earlier. A golden-foiled bag of coffee inside of a case, fake peppers hanging on freshly painted supporting beams. But one piece of decoration stood out: a panoramic glass picture hanging on the back wall. I’m no art historian, so forgive my ham-fisted analysis: the picture was a sepia-toned composite photo of (mostly) 20th-century icons. Marilyn Monroe sitting next to Elizabeth Taylor. Gandhi sidling up to Mother Teresa. Barack Obama quirkily posted up under Elvis. Queen Elizabeth II DJs right above Albert Einstein, Mao Zedong, and the Pope striking poses. You’re supposed to get the vibe that they’re all hanging out at some afterparty, casually sharing revolutionary ideas and cracking inside jokes that only their elite minds could conceive. I made the comment that, to me, the picture represents
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