NYT: Shakespeare’s #Resistance in the Park

As if to rub the Right’s noses in some Central Park dogsh*t, the NYT has a piece titled “Protesters Outside ‘Julius Caesar’ in Central Park, and Laughs Inside”.

That very juxtaposition in the title, given a play about the brutal assassination of Julius Caesar Donald Trump, is itself quite telling. After mentioning the handful of protestors who showed up, the ‘reporters’ (Emily Palmer and Maya Salam, peace be upon him) describe just how the in-joke sophisticates watching the play reacted to some of the most unsubtle, agitprop crap you can imagine:

Inside the theater, the production began shortly before 8:15. Just minutes later, three theater staff members rushed toward the stage to inspect an audience member, then left.

Otherwise, the show took a self-aware bent and was filled with often-lighthearted political jokes. “Who is it in the press that calls on me?” Julius Caesar cried out to great laughs. And the audience booed when a character who represented an adviser was introduced. At one point, actors came out with protest signs and exclaimed, “Show me what democracy looks like! This is what democracy looks like!”

More laughter swelled when Caesar appeared sitting in a footed tub, smoking a cigar and typing on his phone, and again when the character playing his wife stepped into the tub, seducing him with a Russian accent.

The piece, like the liberal mantra elsewhere on this subject, is to point out that a 2012 version of the play (not in NYC, mind you, but in that great theater hub of Minneapolis) featured an Obama-looking POTUS and, so, why weren’t conservatives outraged about this?

Mary Andrews, 59, of Manhattan, who was hoping for a standby ticket — standby lines were closed because of high demand — was wondering where the backlash had been when another American production of “Julius Caesar,” in 2012 in Minneapolis, depicted Caesar as President Barack Obama.

The answer, of course, is that in that Obama-reign version of Julius Caesar, the ‘bad guys’ were depicted as the assassins, and the POTUS as the ‘good guy’ wronged (a separate recent NYT article notes of the Minneapolis version: “Five years ago, the Guthrie Theater in Minneapolis staged a production featuring the assassination of an Obama-esque Caesar by a group of right-wing conspirators.”)… whereas in this Trump-era version the assassins are quite clearly the ‘good guys’ and the POTUS most assuredly ‘bad’.

In a perfect embodiment of the NYT as purveyor of snark and fake news, there is this passage, accompanied by the photo below:

Before the production, a more reflective tone had been sought. Audience members were invited onto the stage to add a message to a poster reading “I mourn for” and “I hope for.”

People added words like, I mourn for: “innocents lost,” “Manchester,” “Brett” and “Apathy, Enemy of Democracy”; and I hope for: “Paris accord,” “a better life for my sister” and “unconditional love, including self-love.”

Above is all that is written about the poster, but take a close look at the poster itself (at least the biggest words you can even see), in letters so big the NYT editors must have missed them.

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NYT: In Congo, Complete Dysfunction But People Look Good

In the NYT (where else) is a piece on Congo titled “In Goma, Lights May Flicker but Looks Stay Sharp”:

The Democratic Republic of Congo is the birthplace of SAPE, a loosely organized cult of dandies known as “les sapeurs.” SAPE is an abbreviation of the group’s name, which in English translates as the Society of Ambience and Elegant People. The contrast between the extravagance of their attire and the hardships of their lives has the effect of highlighting the dignity of their code. Indeed, dressing well is part of the culture there.

“Everybody wears these amazing colorful clothes and are so eager to show who they are,” Ms. Harris said of the people in Goma.

Ms. Harris was in Congo on a fellowship documenting energy poverty.  She wanted to capture how people, many of whom don’t have reliable electricity or access to water, maintain pride in their appearance. In Goma, 14 of 18 neighborhoods in the city experience rolling blackouts on a daily basis.

Their society is in complete disarray, but hey, at least they look good! This reminded me of the wonderful passage from Booker T. Washington’s Up From Slavery, where during a sojourn to Washington D.C., wrote:

“I took great interest in studying the life of our people there closely at that time. I found that while among them there was a large element of substantial, worthy citizens, there was also a superficiality about the life of a large class that greatly alarmed me. I saw young coloured men who were not earning more than four dollars a week spend two dollars or more for a buggy on Sunday to ride up and down Pennsylvania Avenue in, in order that they might try to convince the world that they were worth thousands. I saw other young men who received seventy–five or one hundred dollars per month from the Government, who were in debt at the end of every month.”

In the NYT piece, we also learn that the Kult of Kim Kardashian has quite the influence in Congo:

Nadia Wete Mwami is a model. “This is not an African style,” Ms. Mwami said of her look. “To me, this is like an American style. I get my inspiration from Kim Kardashian.” Ms. Harris wanted to show what it means to be a young person in Congo who is borrowing ideas from other parts of the world. “She said again as a point of pride, ‘I copy from Kim Kardashian, but the Congolese people copy from me.’”

So, let’s see…. Young women of the Congo are getting their fashion cues by culturally appropriating the look of ‘white’ Kim Kardashian, while Kim Karshashian herself is being accused of culturally appropriating American black fashion trends.

This ‘cultural appropriation’ stuff gets so confusing.

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Still Life – October Witches (1971)

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The Strange Death of Europe

Here’s the Amazon description for the new book The Strange Death of Europe: Immigration, Identity, Islam by Douglas Murray, Associate Editor of the Spectator:

The Strange Death of Europe is a highly personal account of a continent and culture caught in the act of suicide. Declining birth rates, mass immigration, and cultivated self-distrust and self-hatred have come together to make Europeans unable to argue for themselves and incapable of resisting their own comprehensive alteration as a society and an eventual end.

This is not just an analysis of demographic and political realities, it is also an eyewitness account of a continent in self-destruct mode. It includes accounts based on travels across the entire continent, from the places where migrants land to the places they end up, from the people who pretend they want them to the places which cannot accept them.

Murray takes a step back at each stage and looks at the bigger and deeper issues which lie behind a continent’s possible demise, from an atmosphere of mass terror attacks to the steady erosion of our freedoms. The book addresses the disappointing failure of multiculturalism, Angela Merkel’s U-turn on migration, the lack of repatriation, and the Western fixation on guilt. Murray travels to Berlin, Paris, Scandinavia, Lampedusa, and Greece to uncover the malaise at the very heart of the European culture, and to hear the stories of those who have arrived in Europe from far away.

This sharp and incisive book ends up with two visions for a new Europe–one hopeful, one pessimistic–which paint a picture of Europe in crisis and offer a choice as to what, if anything, we can do next. But perhaps Spengler was right: “civilizations like humans are born, briefly flourish, decay, and die.”

Of the book, Sir Roger Scruton writes:

“This is a vitally important book, the contents of which should be known to everyone who can influence the course of events, at this critical time in the history of Europe.”

We will see more books like come out in the years to come, and from a wider political spectrum, as the facts become more irrefutable.

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The Vanguard of Nihilism

Greg Johnson discusses “White Genocide”:

[I]t is no longer controversial that Jews are massively overrepresented among Western elites in politicsthe mediabusinessacademia, and the professions. Jews are, moreover, among the principal promoters of trends conducive to white genocide, for example: non-white immigration, racial integration, miscegenation, feminism, and sexual liberation. Of course any attempt to blame Jews for white genocide can be hijacked into hairsplitting about historical causation. From a practical point of view, however, it is more important—and less controversial—to note that the organized Jewish community is the linchpin of opposition to nationalist, especially racial nationalist, attempts to rectify these problems going forward. How we got here is ultimately less important than how we can save ourselves. And Jews are blocking the exit.

Now, is it really plausible that the leaders of the Jewish community “know not what they do”? Jews, after all, are the people most aware of the conditions that promote or prevent genocide. Thus Jews support the existence of a Jewish state, Israel, as a refuge from genocide. Yet they oppose any attempt to preserve white homelands for white peoples. Israel is for Jews, but Poland, Sweden, Germany, France, and so forth are for everyone. Jews see intermarriage as a threat to Jewish survival, but they promote miscegenation for other groups and oppose anyone who would ban it. Jews recognize that a strong sense of Jewish identity, including pride in their history and achievements, is necessary for Jewish survival, but they promote multiculturalism and white guilt for the rest of us.

Now, not all Jews promote destructive ideas merely for the goyim while exempting themselves. Jews may promote intermarriage for others, but they practice it as well and at higher rates than other groups [14]. Jews promote feminism to others, but the primary victims of Jewish feminism are the Jewish men who marry these harridans, while other Jewish men marry out to avoid them. Jews promote an ethos of selfishness, individualism, and materialism to others. But they practice it as well, which is one reason why secular Jews have very low reproduction rates.

In short, many Jews don’t just preach nihilism, they practice it as well. Unfortunately, because Jews are so influential, they have the power to drag us along in their wake. They are the vanguard of nihilism. They are not hypocrites, preaching nihilism for thee but not for me. But that makes them even more evil, because hypocrisy is the tribute that vice pays to virtue, and they don’t care enough to even offer lip service.

But while some Jews are leading us into extinction, others are goading us from behind but have no intention of sharing in our fate. These are the Jews who praise multiculturalism, open borders, and miscegenation for us, but prefer to opt out because they know that such policies would lead to their extinction.

They aren’t just being “inconsistent” about principles. They are being perfectly consistent with their real principle of collective self-interest. They are not upholding “double standards,” because their single standard is collective self-interest. These Jews have a live and let die philosophy. They seek to profit from our destruction as a people, and they not only promote our decline but actively suppress our resistance to it.

Aside from Jews that are actively pushing and pulling us toward our destruction, there are surely some who are doing neither. Some simply lack the power to do us harm, even if they might want to. Others are entirely ignorant of what their leaders are doing. But one category is conspicuous by its near absence: righteous Jews, i.e., Jews who know white genocide is taking place, who understand their people’s role in it, and who have warned whites and worked to stop it. That relative silence is actually more damning than the never-ending din of anti-white hatred emanating from the Jewish community.

In short, we know that white genocide is happening, because Jews in high places, with the power to promote or prevent white genocide, cannot be unaware of what is happening, yet they do nothing to stop it and everything to stop us from stopping it.

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All the News That’s Fit To Lie About

One day after a leftwing shooter tried to assassinate as many GOP members practing at a baseball field as he could, and leaving Rep. Scalise still in critical condition, and the NYT has absolutely nothing on their homepage today about the incident.

Think about that. Imagine if the political leanings of the shooter and victims were reversed.

You’d almost think MSM outlets like the NYT and WaPo (whom Rush talked about today) want to have this story go away as quickly as possible, so they can get back to “Russia! Russia! Russia!” and now “Obstruction! Obstruction! Obstruction!”.

The NYT also gets called out for their astonishing fake news lie – by their godlike, nameless, faceless, ‘Editorial Board’ editorial no less. They issue a one sentence retraction but no apology:

The New York Times has published an editor’s note correcting an editorial that linked the 2011 shooting of Rep. Gabby Giffords in Tucson, Ariz., to a fund-raising email by former Alaska Gov. Sarah Palin. The editorial drew complaints from many conservatives and from Palin herself, who hinted she might explore legal action against the newspaper.

“An earlier version of this editorial incorrectly stated that a link existed between political incitement and the 2011 shooting of Representative Gabby Giffords,” the note reads in its entirety. “In fact, no such link was established.”

The Times did not offer an apology.

The editorial, published Wednesday, had drawn a distinction between the assault on Giffords and the shooting of House Majority Whip Steve Scalise and four others at a Republican congressional baseball practice in Alexandria, Va., earlier in the day. The Times’ editorial board said that while Wednesday’s attack by a left-wing activist was “probably” motivated by divisive political rhetoric, there was a “clear” link in Giffords’ case.

“In 2011, when Jared Lee Loughner opened fire in a supermarket parking lot, grievously wounding Representative Gabby Giffords and killing six people, including a 9-year-old girl, the link to political incitement was clear,” the editorial said. “Before the shooting, Sarah Palin’s political action committee circulated a map of targeted electoral districts that put Ms. Giffords and 19 other Democrats under stylized cross hairs.”

Stay classy, NYT!

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Paul McCartney – Cosmically Conscious (1968; 1993)

“Cosmically Conscious”, which was released on Macca’s 1993 album Off the Ground: The Complete Works, was originally written in 1968 during The Beatles’ pilgrimage to India. (One can only imagine what other gems the boys may have knocked out during that time, songs that haven’t seen the light of day.)

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Jonathan Bowden: Race is Culture, & Culture is Race

Excerpts from the late, great Jonathan Bowden, woven into a concise distillation.

The gorgeous background music is from Vaughan Williams’ Symphony No. 3 (Pastoral Symphony).

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Slate: First Amendment Needs Curtailing

As has been noted here many times in the past, the Left — who have the upper hand in Culture (due to the still-dominant sway of Political Correctness) — are on a mission to curtail the First Amendment. Today’s episode comes from Slate where (((Dahlia Lithwick))) has a piece titled “When the Nazis Come Marching In”, the byline of which reads: “I never feared the First Amendment until white supremacists came to my hometown.”

Oh boy. I can quickly see where this is going… which is the only reason I continued to read the piece. It’s about the triggered-trauma Ms. Lithwick experienced when Richard Spencer came to town:

Last week, I had come to a place where I was thinking—if not saying aloud—that maybe it was time for me and the First Amendment to see other people. It’s not me, to be sure, it’s the First Amendment—or at least what’s become of it. I am weary of hate speech, wary of threats, and tired of the choice between punching back and acquiescing. I am sick to death of Nazis. And yet they had arrived, basically on my doorstep…

There’s that obligatory-novelistic-pretension-of-an-opening.

It is a short hop, we are learning, from “words can never hurt us” to actual sticks and stones and the attendant breaking of bones.

That is what has become of free speech in this country. That is why I was contemplating breaking up with it. I don’t think I’m alone, either. There are a lot of people out there who feel that they ignored racist, xenophobic, sexist white supremacists at their own peril, for months and years, when they should have been punching back. And now, a lot of people in my town are not quite sure what to do. Some liberals cheered when Richard Spencer was confronted at his gym and cheered again when Ann Coulter didn’t speak in the free speech haven of Berkeley, California. Some have decided to meet what they perceive as violence with violence of their own: A growing list of “anti-fascist” groups have announced they are willing to use “direct action” against their foes if necessary. Many progressives are sick and tired because they have found that their attempts to protect free speech have resulted in a world that is not flush with the reciprocal exchange of ideas, but one that is shimmering with the threat of imminent violence and the daily fear that comes when you live with the possibility of that violence.

The cognitive dissonance here is deafening.

But to guarantee an escape from conflict, from violence, requires censorship. To have free speech in this moment, when the stakes are so high, is to live with fear. This is not an easy thing to confront—or to accept.

Ah, there it is.

By the way, I’m noticing a pattern to Slate’s list of contributors, as listed on the right hand side of their main page… but I can’t quite put my finger on it:

  • Jamelle Bouie
  • Mark Joseph Stern
  • Jim Newell
  • Jordan Weissmann
  • John Dickerson
  • Daniel Engber
  • Isaac Chotiner
  • Dana Stevens
  • Fred Kaplan
  • Dahlia Lithwick
  • Katy Waldman
  • Laura Miller
  • William Saletan
  • Willa Paskin
  • Will Oremus
  • Michelle Goldberg
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Harpers Bizarre – Witchi Tai To (1969)

This beautiful cover of a song written by Jim Pepper (based on a peyote song he’d learned from his grandfather) soars emotionally, through its tight production that lifts as the song progresses. The song starts with the bass line prominent in the mix, the first verse kept minimal. Subsequent verses introduce bells, a distantly picked surf guitar, flute, gorgeous harmony vocals we expect from Harpers Bizarre, and eventually strings.

This song is pure bliss. A great driving song.

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