Bad White Human Beings! Your White Human Nature is Evil and Racist (but I repeat myself)!
Postal Service is kind of a nice band:
“WHY ARE THESE PEOPLE OPENING FOR THE POSTAL SERVICE???”
“An actual twerk team is opening for The Postal Service. I don’t know what’s going on.”
“Why in the hell is Big Freedia opening for Postal Service? What, are you’re gonna bounce/twerk your ass, then guilty cry about it afterward?”
Well, crying to the Postal Service is for teenagers a decade ago. But these are just a few of many tweets from fans at a handful of recent Postal Service concerts who told the world they were “so confused,” and in many cases pretty displeased, by the opening act, sissy bounce artist Big Freedia. For some reason, audience members reacted as if they had no advance knowledge of who would be playing, and attendees in Vancouver, San Diego, Santa Barbara, Los Angeles, and especially Seattle thought perhaps they’d been “pranked” by the unlikely pairing of hypersexual New Orleans dance-rap with the light-synthy lily-white lullabies of the Postal Service. The presence of Big Freedia and her dancers was said to be “inexplicable,” “awkward,” and the result of a decision made by someone “on crack.”
A fan in LA wondered if the main act was “trolling hipsters”—the same question posed by Uproxx, in a post headlined in part, “Exceedingly White Postal Service Fans Are Confused.” Uproxx picked up the story from the Seattle Times, where blogger Andrew Matson reported, “In the normally neutral space of KeyArena, audience members were irritated, seemed to be uncomfortable with Freedia’s brand of sexual expression and questioned whether the performance was ‘real music.’”
Most interesting to me were the comments that plainly stated the facts of the concert as if those entirely spoke for themselves. (“There are women bent over on the Key Arena stage, waggling their asses at the crowd. This is the opener for Postal Service.”) This was thought to so obviously communicate something that it needed no explanation. The unusual pairing of the musicians is clear. But what were these fans saying? That they can pick out difference and contrast like a child who has learned colors and shapes? Or did they intend to communicate that they were they being exposed to something “not for them,” or, dare I venture, “beneath” them?