Friday, September 30, 2011


by Sam Haddix

"Basically it’s just fuckin' -- who was the dominant -- like who controls the social space in Ann Arbor? It’s like the entire premise of Critical Mass is based on 'taking back the street' which is fucking bullshit because -- I don’t want to necessarily boil down Critical Mass but, especially in Ann Arbor, the majority of bike culture enthusiatsts are generally those people that have a huge voice in the social sphere, right?

"So really what Critical Mass ends up being is just like a reassertion of, uh, that power -- of that stance. Of like, a bunch of white males breaking street laws & screaming at people, wearing denim vests and really just being as visible as they possibly can be & having a huge adrenaline rush. I mean, you could get sexual with it but, uh, that’s totally what it is. Is that not true? It’s just some white kids looking for reaffirmation for white kids that they’re the shit.

"Those who would participate in an event like Critical Mass are already, um, sort of like their identity represents something that's like antithetical to what it’s supposed to be like. It’s like the entire art world. Like everyone should be seeing the art... people are creating art that... museums are no place for art to be. Because it’s already a safe place. It’s already condoned. People go to museums or more importantly the art show -- which are hip as fuck these days -- who are the people that are likely to be walking by & want to get drunk for free. Like that entire crowd self-replicates itself. Like the art that’s supposed to be challenging peple -- it’s already in an environment that’s supposed to be safe. You’re going to that environment expecting to be challenged but you feel safe."

"Well maybe it requires a new envisioning of the art world. I’m sure what I’m talking about has already been done and acted upon & what not but at that point the audience becomes like the enemy. Because you’re not, because these people -- because the audience becomes the very people your art hates. The justice you’re trying to enact is to those who arent able to come to the show. If you’re reasonably intelligent, your art in whatever reduced political sense should be repsonding to all of the products of pseudo-liberal capitalist society. Like consumers -- pure consumers -- that don’t create. That are interested in life but look for it in these weird reproductions of like...

"It’s not whiteness, it’s power. It's those that occupy pirvilege -- and what is privelage? It's like a social power, right? There's a whole field of study that's emerging right now that supposedly tackles ideas like why are black people supposedly louder than white people? Because they feel they have to occupy a larger space because white people control it. And because white people don’t have to forge a space for themselves, what you end up happening are these narcisssitc negative rituals that are really the reverse of the things they attempt to act out. Where you have these white kids 'taking back the streets' when in fact they’re reasserting their own power space.

"I noticed that there are a bunch of black longboarders in town. I mean, what's that all about? I think the most important thing is that you’re pursuing, like, you're just like being honest with yourself."

Wednesday, September 14, 2011


This is a poem about you, son
endless mirror images
taken on a fucking Macbook

You staring you down
in endless mirrors of annoyance
your dumb face

O, the terror of anger at friends
"the long road down"
and the hot time before it

History was a drag
a Hallowe'en mask
whipping on a string

When being too busy was
being busy and not being
annoyed by one another