RUTHFULLY YOURS

https://amgreatness.com/2019/05/13/the-modern-bonfire-of-the-vanities/

Five centuries ago, in Renaissance Florence, the Dominican priest Girolamo Savonarola, in his quest to purge Florence of all “immoral” works of art, started what came to be known as the “bonfire of the vanities.” Thousands of objects and works of art were burned in the fire; paintings by Sandro Botticelli, works by the poet Boccaccio, and countless other books, paintings, and objects were forever lost to history.

Looking back on this event today, we might be tempted to feel smug. We’re better than that, aren’t we? Surely today, in our enlightened, modern society, we’d never be stupid enough to destroy works of art or irretrievable relics of our history.

Yet it seems like, every day, leftists are more and more eager to prove that yes, they are that stupid. Because of the Left today, we are stuck in a slow-moving, modern version of the bonfire of the vanities. Unlike Savonarola’s bonfire, this isn’t a one-day affair; it’s an ongoing, subtle, never-ending eradication of our Western history and culture.

A story out of George Washington High School in San Francisco is the latest case in point. Earlier this month, the high school convened a “reflection and action working group” to determine the fate of a pair of 83-year-old murals depicting George Washington. The group determined the artwork is “highly problematic” and “traumatic” for students, since one of the murals presents George Washington next to several laboring slaves, and the other represents a dead Native American. The working group’s choice follows an earlier decision in February by a school-board committee that the art “glorifies slavery, genocide, colonization, manifest destiny, white supremacy, oppression, etc.”

https://www.manhattancontrarian.com/blog/2019-5-8-modern-architecture-theres-no-accounting-for-taste

This past Sunday I joined the good people from Maggie’s Farm on their annual “Urban Hike” in New York City. This year they rounded up a group of about 13. The hike started at the Museum of Natural History (80th Street and Central Park West — near the geographical center of Manhattan Island) and proceeded uptown on a meandering path of about 9 miles, stopping at sites that included things like Pomander Walk, Straus Park (Leo Straus was the founder of Macy’s who died on the Titanic), and Columbia University. The weather was chilly with persistent rain. Toward the end of the hike, at about 155th Street, we had just stood on Edgecomb Avenue at the top of the bluff overlooking the spot where once had stood the Polo Grounds (actually a baseball stadium that was the original home of the Mets, and before them the New York Giants baseball team), and we turned the corner, and suddenly this:

Several gasps and “Oh my God”s erupted spontaneously. I heard the words “Darth Vader building” uttered behind me. Whatever this black block might be, there had been no mention of it in the hike itinerary that had been provided to us; and yet this building was clearly the dominant presence in the neighborhood. Viewing it from the street, its function was not obvious. Had this thing been dropped in by space aliens? What could it possibly be, and why was it here?

https://www.frontpagemag.com/point/273718/new-york-orders-museums-hire-people-race-daniel-greenfield

Another great idea from New York City’s white mayor and white city council speaker.

They’ve destroyed so much of New York City. But even in the city’s darkest days, the Met, Carnegie Hall, and other classical cultural institutions had survived. Now the cultural revolution is coming for them.

The heads of the Metropolitan Museum of Art, Lincoln Center and Carnegie Hall are among dozens of cultural institution leaders quaking in their boots as Mayor Bill de Blasio considers slashing their funds if they fail to meet his staff diversity criteria, The Post has learned.

De Blasio’s decree targets the nonprofit organizations that run the 33 museums, theaters, concert halls, botanical gardens and zoos that comprise the city’s “Cultural Institutions Group.”

But in 2017, de Blasio reversed course and warned that diversity “will be a factor in funding decisions,” claiming, “We do this because we believe in fairness.”

And nothing says fairness like giving people jobs because of their race.

The move is intended to help boost people with African, Latin, Asian, Arab and Native American heritage, “LGBTIQ populations,” people with disabilities, non-English speakers and the poor.

The next great Met conductor can be one or all of the above.

http://goudsmit.pundicity.com/22649/the-humanitarian-hoax-of-political-correctness

The Humanitarian Hoax is a deliberate and deceitful tactic of presenting a destructive policy as altruistic. The humanitarian huckster presents himself as a compassionate advocate when in fact he is the disguised enemy. Political correctness is a humanitarian hoax. It is a deceitful end-run around the First Amendment guarantee of freedom of speech. This is how it works.

The freedoms guaranteed by the U.S. Constitution award citizens the right to disagree without fear of reprisal. American civil society is predicated upon the freedom to express disagreement, and is diametrically opposed to the politically correct demand for avoidance of language that might be offensive and hurt someone’s feelings.

The freedoms guaranteed by our Constitution do not care about anyone’s feelings – political correctness does. Political correctness is a severe prohibition on free speech disguised as courtesy.

Political correctness (PC) is marketed by its devotees as progressive, compassionate, sensitive, and caring. It is defined as the avoidance of language or actions that are seen as excluding, marginalizing, or insulting to groups of people who are seen as disadvantaged or discriminated against, especially groups defined by sex or race. Political correctness has been embraced by leftist liberals with religious fervor in America. The problem of course is deciding WHO will determine what is and what is not insulting.

https://www.wsj.com/articles/standing-against-psychiatrys-crazes-11556920766

In 1979 Dr. Paul McHugh closed the sex-change clinic at Johns Hopkins. In the ’80s he testified against phony ‘recovered memories.’ He hasn’t given up the fight.

You might have heard this joke: A man in a car gets a call from his wife. “Honey, be careful,” she says. “A car is going the wrong way on the highway.” He replies: “It’s not just one car. It’s hundreds of them!”

If it were a psychiatrist joke, Paul McHugh, 87, could be that driver. A professor at the Johns Hopkins School of Medicine and a tenacious skeptic of the crazes that periodically overtake his specialty, Dr. McHugh has often served as psychiatry’s most outspoken critic. Either he’s crazy, or all the other psychiatrists are.

The best-known, and most controversial, decision of his professional life is newly relevant—and recently reversed. In 1979, as psychiatrist in chief at Johns Hopkins Hospital, he shut down the Gender Identity Clinic, which performed sex-change operations. In his view, the hospital had “wasted scientific and technical resources and damaged our professional credibility by collaborating with madness rather than trying to study, cure, and ultimately prevent it,” as he wrote in 2004. In 2017 the clinic was reopened as the Center for Transgender Health, performing what it now calls “gender-affirming surgeries.” Its medical-office coordinator, Mellissa Noyes, told me “the demand is massive.”

https://www.city-journal.org/scottish-maritime-museum-gender-neutrality

Two types of people desire to impose politically correct locutions on the rest of us: those who possess unlimited power and fear to lose it and those who aspire to unlimited power and need a means to attain it. And there is, after all, no greater power than that of prescribing what others must say and what others must not think.

The Scottish Maritime Museum, dedicated to the history of the country’s shipbuilding industry, has decided that it will no longer use the words sheand herto refer to ships, but rather itand its. This is in response to feminists, who have defaced plaques referring to ships as sheor her. This change would negate centuries of tradition, during which the words traditionally used on launching a ship, “May God bless all who sail in her,” carried no connotation of insult or deprecation—rather the reverse.

The Maritime Museum’s surrender is yet another instance of the craven surrender of British officialdom to the demands of a small but vociferous group of monomaniacs who make the imposition of their views the purpose of their lives. Museum authorities have argued that they must move with the times, and the prevention of vandalism is important, for economic reasons among others. Yet this rationale is something like awarding burglars a pension in an effort to prevent burglary.

https://www.steynonline.com/9314/edelweiss-uber-alles

On Friday I started the day with three hours of substitute-host-level Excellence in Broadcasting on America’s Number One radio show. The Mueller Report predominated, but we got to other topics as well: You can find a few moments from Open Line Good Friday here. Thank you as always to Mr Snerdley and the rest of the gang: the best team in radio, no question.

~The moronization of society proceeds apace. As we mentioned on the show, a bigshot New York Times correspondent thinks that playing “Edelweiss” at the White House is some kind of Nazi dog-whistle to Trump supporters. It is tragic and profound the way even small artifacts of our inheritance get trashed in these witless arguments, so, if you want to know the real story of the very last song in the Oscar Hammerstein catalogue, here’s what I had to say a couple of years back:

Not long after Rodgers & Hammerstein wrote the song, Theodore Bikel was leaving the theatre when he found a fan and fellow immigrant waiting at the stage door for his autograph: ‘I love that “Edelweiss”,’ said the theatregoer. ‘Of course, I have known it a long time, but only in German.’

Not for the first time, Hammerstein had done too good a job. Just as his ‘Ol’ Man River’ for Show Boat is assumed by many to be an authentic Negro spiritual, so ‘Edelweiss’ is assumed to be an authentic Austrian folk song.