I like them. I want to hear more.
Boosting representation in…I dunno, for lack of a better term “Arts & Culture,” I think requires a kind of militancy. The angry feminist trope is totally founded in reality — that we have to yell and shout and cause discomfort to even get recognition of humanity. I think the checklist you ran of upcoming artists really highlights that white/cis/male privilege is unmarked and pervasive. It doesn’t call attention to itself unless it’s uncovered and that’s how it continues. Even when it’s uncovered, as you mention, you don’t know how to feel. It’s a gray area we’re only now really examining.
It can’t be entirely on the individual who’s underrepresented, in this case music venues and bookings in Savannah, to secure adequate representation but it has to be a team effort of those with privilege and those without (like she mentions above). Effective alliances don’t really happen, so those with higher levels of privilege often become disillusioned and those lower on the spectrum are left to stew in their anger. The responsibility continually falls on those underrepresented to break through hardened barricades. And those with more privilege more often than not, bow out and continue living without acknowledging the ongoing benefit of privilege. Which, we know is so complex and layered, but the more you have, the more “comfortable” you’re able to feel, I guess. Raine gets shit done because they’ve got something to prove. Privilege doesn’t have to prove itself, it’s sold as a finite resource and the ultimate commodity, and the further the identity deviates from white/cis/patriarchy, the more the individual has to prove to earn it. The more militancy is required to be heard. It’s fucked up though, cuz rarely can privilege be earned.
Nevertheless, I’m into Raine. More, please. #endrant