The machine can’t help but consume its own critique, and every time it does, it exposes its own absurdity.
I appreciate your second response here, it seems less hostile.
My counterpoint would be that capitalism is an Ouroboros. It’s forever devouring its own tail- consuming its own critique and spitting it back out as commodity. It’s not a bug, it’s a feature. Every once in a while there is some sort of social movement (punks, hippies, hip hop, gays, etc) and it has a real chance to threaten the system.
Punk becomes a fashion statement, hip-hop a soundtrack for commercials and corporate events, gay pride becomes a marketing gimmick. It’s incorporated, stripped of any revolutionary potential and repackaged as an ideological product for you to consume.
This is the perverse genius of capitalism. It doesn’t survive in spite of crisis. It needs the crisis to survive. The absurdity becomes palpable, like you mentioned, but it doesn’t matter. The system flaunts this absurdity, knowing full well that we have no way out.
It is a trap- a Möbius strip of ideology.
So while I enjoyed the performance and I don’t expect anything more from Kendrick (he is under no obligation to be a real revolutionary figure), I also think we shouldn’t delude ourselves into thinking this was anything more than a corporate spectacle meant to sell future Super Bowl tickets by way of exploiting the discontent and dissatisfaction of poor blacks. (and really, it’s two fold. a) you exploit the black culture not only in the positive way that’s black-positive b) you exploit the angry white culture who is threatened by it). You get to double dip.
You’re right to put on the glasses. Just don’t forget they distort as much as they reveal.
Yep. When you think you have been freed from ideology at that moment you are in ideology. Turtles all the way down. I am under no illusion that I am an not an idiot.
I’ll admit my initial tone was sharper than it needed to be—chalk it up to the sheer amount of garbage I usually get for posting opinions like this. That said, I genuinely appreciate you engaging in open discourse instead of resorting to knee-jerk dismissal. It’s rare and refreshing.
Capitalism as an Ouroboros is not just a metaphor but a mechanism—a system that thrives on consuming its own contradictions. You’re absolutely right that it doesn’t merely survive crises; it metabolizes them, converting dissent into fuel for its perpetuation. But the trap isn’t just ideological—it’s structural. It’s not just a Möbius strip; it’s a cage.
The double exploitation you describe—of Black culture and white fear—is capitalism’s perverse genius at work. It doesn’t just commodify rebellion; it weaponizes it, turning every critique into a product and every product into a reinforcement of the status quo. Kendrick’s performance wasn’t revolutionary, but it wasn’t meaningless either. It was a mirror, reflecting the absurdity of a system that sells resistance as entertainment.
I appreciate your second response here, it seems less hostile.
My counterpoint would be that capitalism is an Ouroboros. It’s forever devouring its own tail- consuming its own critique and spitting it back out as commodity. It’s not a bug, it’s a feature. Every once in a while there is some sort of social movement (punks, hippies, hip hop, gays, etc) and it has a real chance to threaten the system.
Punk becomes a fashion statement, hip-hop a soundtrack for commercials and corporate events, gay pride becomes a marketing gimmick. It’s incorporated, stripped of any revolutionary potential and repackaged as an ideological product for you to consume.
This is the perverse genius of capitalism. It doesn’t survive in spite of crisis. It needs the crisis to survive. The absurdity becomes palpable, like you mentioned, but it doesn’t matter. The system flaunts this absurdity, knowing full well that we have no way out.
It is a trap- a Möbius strip of ideology.
So while I enjoyed the performance and I don’t expect anything more from Kendrick (he is under no obligation to be a real revolutionary figure), I also think we shouldn’t delude ourselves into thinking this was anything more than a corporate spectacle meant to sell future Super Bowl tickets by way of exploiting the discontent and dissatisfaction of poor blacks. (and really, it’s two fold. a) you exploit the black culture not only in the positive way that’s black-positive b) you exploit the angry white culture who is threatened by it). You get to double dip.
Yep. When you think you have been freed from ideology at that moment you are in ideology. Turtles all the way down. I am under no illusion that I am an not an idiot.
I’ll admit my initial tone was sharper than it needed to be—chalk it up to the sheer amount of garbage I usually get for posting opinions like this. That said, I genuinely appreciate you engaging in open discourse instead of resorting to knee-jerk dismissal. It’s rare and refreshing.
Capitalism as an Ouroboros is not just a metaphor but a mechanism—a system that thrives on consuming its own contradictions. You’re absolutely right that it doesn’t merely survive crises; it metabolizes them, converting dissent into fuel for its perpetuation. But the trap isn’t just ideological—it’s structural. It’s not just a Möbius strip; it’s a cage.
The double exploitation you describe—of Black culture and white fear—is capitalism’s perverse genius at work. It doesn’t just commodify rebellion; it weaponizes it, turning every critique into a product and every product into a reinforcement of the status quo. Kendrick’s performance wasn’t revolutionary, but it wasn’t meaningless either. It was a mirror, reflecting the absurdity of a system that sells resistance as entertainment.
Your cynicism isn’t misplaced. It’s clarity.