Tag: Representations

Who Are the Homeless?

Who Are the Homeless

Posted on by jabittan
In the United States we have many housing insecure individuals. We have many people who are chronically homeless, and are unlikely to ever get off the streets. We have many people who experience homelessness only transiently, possibly during an unexpected layoff or economic downturn. And we also have many people who find themselves in and out of homelessness. For each group of housing insecure individuals, their needs and desires of people differ. However, when we think about homelessness in America, we typically only think about one version of homelessness: the visibly homeless man or woman living in the streets.
In his book Tell Them Who I Am Elliot Liebow writes, “an important fact about these dramatically visible homeless persons on the street is that, their visibility notwithstanding, they are at best a small minority, tragic caricatures of homelessness rather than representatives of it.” When we think about the homeless we think about men and women who don’t work, who are smelly and dirty, and who appear to have mental disorders or drug addictions. This means that public policy geared toward homelessness is a reaction to this visible minority, not policy geared to help the many people who may experience homelessness in a less visible way.
People do not like the visibly homeless who live on the street. They feel ashamed to see them begging, feel frustrated by their panhandling, and are often frightened of them. The visibly homeless are not a sympathetic group, and are not likely to be the targets of public policy that supports them.
The less visibly homeless, however, are a population we are less afraid of and less likely to strongly dislike. But because we don’t see them, we don’t think of them when we consider policies and programs designed to assist the homeless. Their needs, their concerns, and the things that could help them find more stable housing are forgotten or simply unknown to the general public and the policymakers they elect. We are often unaware of the individuals who are homeless but still managing to work a job. We don’t think about those who experience temporary homelessness, sleeping in a car for a couple of weeks at a time between gig work. We don’t consider those who live in shelters until a friend or family member can take them in and support them until they can find work. Without acknowledging this less visible side of poverty, we don’t take steps to improve public policy and public support for those working to maintain a place to live. We allow the most visible elements of homelessness to be all we know about homelessness, and as a result our policy and attitudes toward the homeless fail to reflect the reality that the majority of the homeless experience.
Crass Art

Crass Art

Posted on by jabittan
Tyler Cowen recently interviewed Dana Gioia for his podcast, Conversations with Tyler. Gioia is a noted poet and writer and was once the Poet Laureate for California. In the podcast, Cowen asked Gioia an interesting question and received a response from Gioia that I can’t stop thinking about:
“Cowen: Is rap music simply the new poetry? It’s very popular. It is poetic in some broader notion of the term.
GIOIA: Rap, hip hop without any question is poetry. It is rhythmically structured words moving through time. … if I go back to 1975 when I was leaving Harvard, I was told by the world experts in poetry that rhyme and meter were dead, narrative was dead in poetry. Poetry would become ever more complex, which meant that it could only appeal to an elite audience … what the intellectuals in the United States did was we took poetry away from common people.
We took rhyme away, we took narrative away, we took the ballad away, and the common people reinvented it.“
This passage is fascinating because it looks at rap music, something that is often hated for its misogyny, drug/sex culture, and general shallowness and appreciates it as a true art form. Gioia’s answer takes our distinction between high culture and low culture, what we consider fine art and crass art, and turns it upside down. Gioia says that poetry was deemed too complex for simple people and that it was taken away from them, only to be reinvented in pop culture through rap music.
Since listening to this podcast I have thought a lot about popular culture and high culture. I always feel a temptation to engage with fine art and to look down my nose at what we generally consider crass art, but at the same time I often find a great pull and fondness toward that crass art. I enjoy Marvel movies, I find myself reflected in the characters of the Harry Potter books, and when I workout I like to listen to rap music or even trendy K-Pop with nonsensical and often ironic lyrics.
What Gioia noted about rap music, and what I have felt with regard to popular mega-IPs and trendy music, has been seen with different artforms and media in human history. In the 1920’s, writes Michael Tisserand in his biography of cartoonist George Herriman Krazy, comics were already seen as crass art. However, a quote from Gilbert Seldes’ book The 7 Lively Arts that Tisserand includes in the biography defends comics in much the same way that Gioia defends rap music. To quote Seldes Tisserand writes, “Reading a comic, Seldes noted, is seen as a symptom of crass vulgarity, dullness, and, for all I know, of defeated an inhibited lives.”
In the 1920’s, when Seldes wrote his art review, comics were already seen as crass art. Their value was misunderstood, and the people who read them were seen as failures. Yet, looking back at comics and pop art from the time tells us something important about the era and the people. We enjoy seeing commonalities between ourselves a century later and the art, worries, thoughts, and ambitions represented in popular culture. We can understand a lot by looking at what was derided as crass art.
When we think about popular culture today, we shouldn’t simply scoff at it as crass art. There are forces the drive the popularity of certain forms of music, cinema, art, television, and media. Understanding what those forces are, recognizing what values, challenges, and life views are present in those forms of art can tell us a lot about who we are. Rather than simply dismissing popular culture as crass art, we should strive to be like Seldes and Gioia who work to understand that art and see its value and merit, even if it appears simple, vulgar, and ephemeral. We don’t have to like it and spend all of our time with it, but we should not simply dismiss it and the people who engage with it.