The Reason T-Pain Can Be Sexy: A Critique of Popular Aesthetics
by Keantre Malone
Celebrity, the representation and popularizing of a face, determines our aesthetics -- models that our minds, in one sense, refer to when judging a person’s beauty. We can say that the drastic changes in whom and what we find attractive are inspired by the popular surveillance of a specific body. Upon seeing a face manifest through a television source, a face that overcomes exclusive requirements to be there, a viewer can sufficiently convert their jealousy into praise. Without a doubt, we viewers further a history of valorizing particular persons for their "transcendence" of being average, and in effect view the box-glaring body with lust. I would have no problem with this fanaticism if the value of the person were substantial, yet the appeal of celebrities often comes from the pity we feel for ourselves; for not making it past the bouncer of popular media.
Don’t confuse my words as an argument that all of our molds for "sexy" or "fine" come from publications; for sure, I recognize the impact of fetishes and family dynamics. The problem is not individual aesthetics but the expression and relations of a popular aesthetic, which can dominate our desires. Face and body of a celebrity surely permeates the aesthetic line -- that divides our notions of "sexy" or not -- only because we torture ourselves by ascribing value to networks that play lottery with our physiques. An ability to disperse photography through one synchronized channel, on top of the economic precondition to broadcast, the transition from an individual envy to a collective attraction occurs more rapidly than one would think. Therefore anyone tracing the revolutions of their aesthetic need only to watch TV, read a novel, or go to a concert. There’s no way possible that a unibrow would ever be sexy if it weren’t for the face of Al B Sure. (source/full text)