"Love is the big booming beat which covers up the noise of hate"
About this Quote
“Love is the big booming beat which covers up the noise of hate” lands like a club track dropped in the middle of a street fight: not delicate, not abstract, but loud enough to change what your body does in the room. Coming from Margaret Cho, a comedian who’s spent decades turning racial backlash, queer shame, and political hypocrisy into punchlines, the metaphor matters. She doesn’t frame love as a moral lesson; she frames it as sound engineering.
The “noise of hate” is telling. Hate is positioned as constant, ambient, and cheap - the kind of racket that fills a space because it’s easy to make. “Boiling” would imply heat and intention; “noise” implies mindless repetition, the feedback loop of trolls, pundits, and everyday microaggressions. Cho knows that hate thrives on airtime. Her answer isn’t to argue with it; it’s to drown it out.
“Big booming beat” carries the cultural DNA of clubs, marches, and comedy rooms: communal spaces where rhythm syncs strangers into a temporary we. That’s the subtext: love isn’t just a private feeling, it’s a collective practice that requires volume. It’s performative in the best sense - you have to project it, amplify it, make it impossible to ignore.
There’s also a sly realism in “covers up.” She’s not claiming hate disappears. She’s proposing a survival strategy: build something louder than the cruelty, something that keeps you moving anyway. For a comedian, that’s also a thesis about art itself: don’t sanitize the ugliness; overwhelm it with a beat people can live to.
The “noise of hate” is telling. Hate is positioned as constant, ambient, and cheap - the kind of racket that fills a space because it’s easy to make. “Boiling” would imply heat and intention; “noise” implies mindless repetition, the feedback loop of trolls, pundits, and everyday microaggressions. Cho knows that hate thrives on airtime. Her answer isn’t to argue with it; it’s to drown it out.
“Big booming beat” carries the cultural DNA of clubs, marches, and comedy rooms: communal spaces where rhythm syncs strangers into a temporary we. That’s the subtext: love isn’t just a private feeling, it’s a collective practice that requires volume. It’s performative in the best sense - you have to project it, amplify it, make it impossible to ignore.
There’s also a sly realism in “covers up.” She’s not claiming hate disappears. She’s proposing a survival strategy: build something louder than the cruelty, something that keeps you moving anyway. For a comedian, that’s also a thesis about art itself: don’t sanitize the ugliness; overwhelm it with a beat people can live to.
Quote Details
| Topic | Love |
|---|---|
| Source | Help us find the source |
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