How about all the times celebrities have appeared with Barack Obama or Hillary Clinton? Did you call them all props and baubles for a narcissist to gloat over?
Waldman goes on to talk about the "fascist undertone" of West's art. (She doesn't use the word "dark," by the way. That racially questionable adjective only appears in the headline.)
Mussolini’s favorite thinkers exalted the heroic, and curiously amoral, promise of man hurtling toward perfection; West speaks in similarly bombastic terms when he declares that, as a musician, “I can do whatever I want to do. … If I’m gonna take a stage and like, open up a motherfucking mountain I can do that.”... West and Trump’s dynamic—the artist and the strongman—evokes a traditional symbiosis between aestheticism and fascism. In the visually ravishing films of Leni Riefenstahl, the crisp goose-stepping of smartly uniformed troops, the propulsive fervor of futurism, we’ve seen politics married to the pursuit of the beautiful before.Ironically, it's Waldman who is marrying ideas and images. If she's aware of how propaganda like Riefenstahl's films work, is she circumspect about what she herself is doing? It's not too aesthetically appealing, so there's little chance that it will sway large crowds, but it is, in its own tawdry way, propaganda.
IN THE COMMENTS: MadisonMan said:
So it's come to this. Slate writers assuming that Black entertainers are useful stooges to The Man.It's the Clarence Thomas treatment. A black person is given less room to have opinions of his own.
Nothing racist at all about that assumption.