I've written several posts recently about how this is a very good moment in time for Black artists -- long overdue many would argue, and I don't dispute that. But at the same time, when one hears endlessly of "white privilege," I think it is useful to shine a bit of light on a trend that goes against that notion.
On Dec. 27, 2020, for instance, the New York Times interviewed Black playwright Jeremy O. Harris, who, after years in the financial wilderness has suddenly come into much better fortune thanks to contracts with the fashion industry (where Black designers are now getting a lot of attention) and the TV network HBO.
Harris' wrote "Slave Play," which I saw on Broadway before the pandemic. It was recently nominated for a record number of "Tony Awards" and will probably come out tops in at least some of them. The play, suitably controversial, centers on interracial sex therapy and one message is that a white male has to love his Black wife because she is Black as opposed to despite that fact. But the manner in which the woman in question was depicted profoundly (and audibly) irritated a Black woman sitting in the audience just behind me -- steam was almost coming out of her ears as she got up to leave the theater -- and, indeed, some have complained that the play has misogynist aspects.
To me, the most convincing interchanges took place between two gay men, one white and one Black, and, indeed, Harris identifies as gay.
The thrust of the Times interview with Harris is his philanthropy -- he appears to be giving much of his windfall away without knowing whether or for how long his good fortune will continue -- and those interested can click on the link above and read about it.
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