The Company Of Monsters

Fascism used to be liberalism’s best line of defence. Don’t stray outside the limits of acceptable discourse: that’s where the monsters live! But the mechanism has failed; the contradictions of the latter giving space for the former to grow. Slowly but surely, electorates in the West are choosing the company of monsters.


A Not-So-Brief History of Twerking

From Miley Cyrus twerking with a large black woman on an LA stage to Lily Allen’s provocative sexualisation of nameless and faceless black dancers, the status of black women as an artistic symbol has been brought back to the fore, exposing cracks in the fragile latticework of race and gender. Even in Russia, there was a vociferous reaction against a portrait of Roman Ambramovich’s girlfriend in Buro 24/7. Black, it seems, is back in the papers. And yet this is not new, and those feminists who clamour for Miley’s head on a stick, seeing her as a cause not a symptom, are both historically and contextually blinded. This process of imaging the black female body is not to be confined to a modern day marketing stunt – its roots are deeper, more obscure and more sinister than we care to admit.

Superfunkycalifragisexy: The Demise of Sexually Explicit Lyrics

Somewhere between Prince’s “Darling Nikki” and Nelly’s “Tip Drill”, we forgot how to sing about sex. Explicit sexual references have become a ubiquitous part of pop music, but they have also become as bland and as vacuous as Chris Martin’s darkest fantasies. As boring and predictable as Miley twerking. We are saturated with naked flesh and sexual invitations but somehow they’ve never been less appealing. And I can’t help but think that we’re missing out.

By Matteo Tiratelli