But increasingly, people aren’t sniping about “whiteness” to be funny, or even defiant—at least not entirely. They’re using the term as a form of criticism, meant to be dismissive. “That movie looks very white,” or, “That sounds like music for white people,” is another way of saying, “That can’t be any good.” And I do have a problem with that.
To some extent, this is mainly a personal beef. I get annoyed whenever anyone slaps a label on something and then presumes that the label itself says all that needs to be said. Whenever a critic or a potential audience member sniffs about “dad rock” or “chick lit” or “one for the fanboys,” it raises my hackles. If you’d rather not engage with what a piece of art actually is—as in, what it expresses and how well it expresses it—then fine. But don’t presume some kind of superiority because of that choice. One of the biggest fallacies in the way we talk about art is this idea that somehow personal taste equates to quality: That each of us miraculously only enjoys movies and music that are the best of their respective medium, and ergo, any movies and music we don’t enjoy must be terrible. It’s a standard we generally only apply to art (well, and politics). If we dislike salmon, we don’t presume salmon itself to be bad; we just understand we don’t have a taste for it, and we’re generally willing to acknowledge that if prepared properly, we might even be capable of enjoying the occasional piece of salmon. It’s not that degrees of “good” and “bad” don’t exist, but ultimately our taste in art isn’t so different from our taste in food, in that it’s personal, and—if we’re being honest with ourselves—fairly malleable.
What’s even more aggravating, though, is that the use of “white” as a tag of shame has the inadvertent but real effect of reducing “non-white” elements to mere ornamentation. http://www.avclub.com/articles/our-white-people-problems-problem-why-its-time-to,72974/