What shoe size do you typically wear?
Of course, there was an outcry over how Black folks have got to do better, how we have lost our collective minds. Later, it revealed that there is no Tyreek and that the entire thing was a hoax. Killing is wrong. Killing someone over shoes is wrong. Making up stories about killing someone over shoes may be even worse!
Sadly, the Tyreek Amir Jacobs story is just one in a long line of stories associating black consumerism, social irresponsibility, and violence.
However, the American media and many of us were quick to recycle a narrative about Black violence. Black people are no more wrapped into consumerism and violence than any other group, but we do receive an unfair amount of scrutiny from media—both non-Black and Black sources. My own love affair with Jordans was severely challenged as I learned more about their production.
Values & Capitalism » The TOMS Development Model - Values & Capitalism
A shoe that costs us over a hundred dollars in the United States costs Nike about 20 dollars to make overseas. Decades back, Nike like many corporations gave up its US factories and jobs, opting to subcontract in places like Indonesia with unsafe conditions, insanely low wages and egregious human rights abuses. Despite decades of activism, workers in Tangerang, Indonesia are paid 1. Instead, I wonder about the millions of manufacturing jobs that Black people used to occupy that have disappeared. I wonder about the health of the families overseas who cannot even afford clean drinking water despite laboring over those shoes for countless hours.
And I am saddened by the irony of poor Black kids lusting after sneakers made by poor Brown kids who could never afford a pair. We must address our issues with materialism, employment and community instead of simply attacking young people for their love of shoes. In truth, we are only seeing our children taking their cues from us.
A new book release? A community service project? We cannot ask our kids to do more than what we have taught them to do.
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There is therefore in Warhol no way to complete the hermeneutic gesture and restore to these oddments that whole larger lived context of the dance hall or the ball, the world of jetset fashion or glamour magazines. Yet this is even more paradoxical in the light of biographical information: Warhol began is artistic career as a commercial illustrator for shoe fashions and a designer of display windows in which various pumps and slippers figured prominently.
If they are not that, then one would surely want to know why, and one would want to begin to wonder a little more seriously about the possibilities of political or critical art in the postmodern period of late capital.
But there are some other significant differences between the high-modernist and the postmodernist moment, between the shoes of Van Gogh and the shoes of Andy Warhol, on which we must now very briefly dwell. The first and most evident is the emergence of a new kind of flatness or depthlessness, a new kind of superficiality in the most literal sense, perhaps the supreme formal feature of all the postmodernisms to which we will have occasion to return in a number of other contexts. Then we must surely come to terms with the role of photography and the photographic negative in contemporary art of this kind; and it is this, indeed, which confers its deathly quality to the Warhol image, whose glaced X-ray elegance mortifies the reified eye of the viewer in a way that would seem to have nothing to do with death or the death obsession or the death anxiety on the level of content.
Here, on the contrary, it is as though the external and colored surface of things--debased and contaminated in advance by their assimilation to glossy advertising images--has been stripped away to reveal the deathly black-and-white substratum of the photographic negative which subtends them.
Genius of Capitalism: Steve Madden
All of which brings me to a third feature to be developed here, what I will call the waning of affect in postmodern culture. Of course, it would be inaccurate to suggest that all affect, all feeling or emotion, all subjectivity, has vanished from the newer image. Indeed, there is a kind of return of the repressed in Diamond Dust Shoes , a strange, compensatory, decorative exhilaration, explicitly designated by the title itself, which is, of course, the glitter of gold dust, the spangling of gilt sand that seals the surface of the painting and yet continues to glint at us.
In an interesting review of the Italian version of this essay, Remo Ceserani expands this foot fetishism into a fourfold image which adds to the gaping "modernist" expressivity of the Van Gogh-Heidegger shoes the "realist" pathos of Walker Evans and James Agee strange that pathos should thus require a team! Magritte, unique among the surrealists, survived the sea change from the modern to its sequel, becoming in the process something of a postmodern emblem: the uncanny, Lacanian foreclusion, without expression.
The ideal schizophrenic, indeed, is easy enough to please provided only an eternal present is thrust before the eyes, which gaze with equal fascination on an old shoe or the tenaciously growing organic mystery of the human toenail. Ceserani thereby deserves a semiotic cube of his own:. Modernism och postmodernism. I want to propose two ways of reading this painting, both of which in some fashion reconstruct the reception of the work in a two-stage or double-level process.
Vincent Van Gogh: "A Pair of Boots" I first want to suggest that if this copiously reproduced image is not to sink to the level of sheer decoration, it requires us to reconstruct some initial situation out of which the finished work emerges.