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P.C.-CULTURE

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The Lie of Cultural Appropriation It’s not about respect for other cultures or justice for the oppressed. It’s about power and revolution. by Mark Tapson

By on June 23rd, 2025

https://www.frontpagemag.com/the-lie-of-cultural-appropriation/

In the early ‘90s, I was a percussionist in an Afro-Brazilian drumming-and-dance troupe in the vibrant Brazilian community of San Francisco. A handful of performers from Bahia, the most Africanized part of Brazil, had brought to the Bay Area at that time an exciting form of music called samba-reggae, which was briefly popularized among American audiences via the Paul Simon album The Rhythm of the Saints and Michael Jackson’s “They Don’t Care About Us” video, both of which featured the samba-reggae group Olodum.

I loved the drumming and threw myself into this scene obsessively. The Bahian performers appreciated my enthusiasm for the music and embraced me so unreservedly that when the drummers ultimately moved on to Miami, their dancer and choreographer who stayed behind worked with me to create an award-winning samba-reggae troupe, whose drummers I led. We even performed with Olodum when they participated in the annual San Francisco Carnaval parade.

In today’s climate of divisive identity politics imposed by the Left, I – a white guy from Arkansas – would never be allowed to rise to that level of involvement and prominence performing the music of Afro-Brazilians. Instead, I would be met with open resistance and drummed out (if you’ll pardon the pun) over accusations of “cultural appropriation” – the ridiculous and racist concept that whites have no right to adopt or even flirt with the aesthetics and practices of non-Western cultures. The false assumption is that whites – especially white males – belong to a civilization that historically has been uniquely exploitative, oppressive, and racially supremacist, and so the purported victims should reclaim their stolen dignity by forbidding today’s whites access to appreciating other cultural expressions – whether it be music, cuisine or even hairstyles:

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Broadway Baby Statues of great men have been razed all over. But never fear! Statues of literal non-entities are taking their place. by Bruce Bawer

By on May 12th, 2025

https://www.frontpagemag.com/broadway-baby/

Two years ago, a new 12-foot-high bronze statue by British artist Thomas J. Price was installed outside Rotterdam’s main railroad station. It’s called Moments Contained, and its subject, to quote Guardian reporter Senay Boztas, is “an ordinary-looking black woman” – a plus-sized black woman, I might add – in “tracksuit bottoms and trainers.” When Boztas visited the statue, she encountered a middle-school art class that was there because the statue was part of its “colonialism and slavery” curriculum. One of the students told Boztas that it was “nice to see something other than a white man in a suit.” Boztas also quoted Rotterdam mayor Ahmed Aboutaleb’s praise for the statue: “She’s not a heroine, a character with an illustrious past….She is the future, our future, and this city is her home.” And she quoted Price’s own explanation of the statue’s purpose: “to challenge our current understandings of monuments, to critique this idea of status and value within society: who gets to be seen, to be represented.”

When I read the other day that another 12-foot-high statue of a black woman had been placed in Times Square – in the very heart of New York’s theater district – I figured it was Thomas J. Price at work again. (These days, after all, no artist worth his salt does anything just once.) Of course it was. To be sure, the two statues differ somewhat. The one in Rotterdam seems to be somewhat at ease – leaning back slightly, her hands in her pockets. The one in New York, which is called Grounded in the Stars, is standing up straight, her hands on her hips, and looks as if she’s about to spit on somebody or let loose a string of expletives. She’s even more overweight than her sister in Rotterdam, and her hair is in cornrows. Times Square’s website (who knew that Times Square had a website?) says that the statue “foregrounds the intrinsic value of the individual and amplifies traditionally marginalized bodies on a monumental scale.” You know, the usual. Price, for his part, says that he wants the statue to inspire “deeper reflection around the human condition and greater cultural diversity.” As for the bronze woman herself, “both her stature and her unbothered gaze are markers of status and authority; this is a figure who understands her worth.”

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Paul du Quenoy The Met’s “Big Bet” on Contemporary Opera Looks Like a Loser General manager Peter Gelb’s gamble on new works has failed to fill seats—or steady the company’s shaky finances.

By on April 10th, 2025

https://www.city-journal.org/article/metropolitan-opera-ticket-sales-operating-costs-performances

“Hopefully we see the Met thriving artistically, and that we will have created a new artistic foundation that will help it continue to grow,” Metropolitan Opera general manager Peter Gelb told the New York Times in 2023, referring to his “big bet”: programming “new works” by living composers. That includes brand-new pieces premiering at the Met, very recent ones that premiered elsewhere, and contemporary works that have been around but are coming to New York only on Gelb’s initiative.

Just how well has this programming done? Sales for the recently completed 2023–2024 season are up slightly: 72 percent capacity versus 66 percent for 2022–2023. However, adjusted for steeply discounted tickets—as little as $25, including taxes and fees—the 2023–2024 season’s box office revenues reach only about 64 percent of their full-price potential. It’s hard to say that the “big bet” is paying off.

Part of Gelb’s approach is to stage one “new work” as each season’s opening-night gala performance. The Met kicked off this trend in 2022 with Terence Blanchard’s Fire Shut Up in My Bones, a tedious adaptation of journalist Charles Blow’s oversharing childhood memoir. The Met, having just returned to live performance after the Covid-19 pandemic, touted Blanchard’s opera as its first by a black composer. Racial tokenism notwithstanding, Gelb congratulated himself in a Times op-ed last November for having “seized the moment for some wholesale change.”

Gelb has claimed that “new works” outperform traditional favorites. But this appears to have happened only once last season, with Anthony Davis’s X: The Life and Times of Malcom X, which sold 78 percent of seats. House premieres of Daniel Catán’s Florencia en el Amazonas, the Met’s first staged production of a Spanish opera in the original language, reached only 68 percent of seats sold. The respected composer John Adams’s new opera El Niño, a Latin-themed meditation on the birth of Christ, returned just 58 percent. The 2023–2024 season’s much-hyped opening-night new work, Jake Heggie’s Dead Man Walking—a preachy indictment of the death penalty—sold only 62 percent.

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Teacher Wins in Court After Being Fired for Refusing to Use Preferred Pronouns By Eric Lendrum

By on March 12th, 2025

https://amgreatness.com/2025/03/11/teacher-wins-in-court-after-being-fired-for-refusing-to-use-preferred-pronouns/

On Monday, a teacher in Wisconsin who had been fired for refusing to use the “preferred pronouns” of students who believed themselves to be “transgender” won a legal settlement with his former employer.

As reported by the Daily Caller, Jordan Cernek had been an English teacher with the Argyle School District until his contract was not renewed, after two students in the 2022-2023 academic year demanded that staff refer to them by their preferred names and pronouns. Following his termination, Cernek sued the school district in July of 2024, claiming a violation of his First Amendment right to freedom of religion, as well as Title VII of the Civil Rights Act of 1964.

The lawsuit was filed on Cernek’s behalf by the Wisconsin Institute for Law & Liberty.

“Mr. Cernek has a sincerely held religious belief that God makes no mistakes when it comes to sex and gender and that calling a transgender student by a name or pronouns at odds with their biological sex would cause Mr. Cernek to affirm that God made a mistake in creating a transgender person as a male or a female,” the lawsuit read in part. “In Mr. Cernek’s religious view, affirming a transgender person’s identity through the use of preferred names and pronouns would be speaking a falsehood and violate his religious beliefs.”

Court records reveal that the school had initially agreed to a religious exemption for Cernek, before suddenly revoking the agreement and ordering him to use the students’ preferred names and pronouns.

The case was dismissed in February following the announcement that both parties had reached a settlement. The school district confirmed in a statement that it had agreed to pay the amount of $20,000 to Cernek.

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Halftime at the Super Bowl I failed to understand all but a few words. by Larry Elder

By on February 14th, 2025

https://www.frontpagemag.com/halftime-at-the-super-bowl/

President Donald Trump became the first sitting president to attend a Super Bowl, and his presence was flashed on the jumbo screen. It’s always a crapshoot when a politician attends a spectacle like this. Attendees will let him or her know exactly how they feel. When the big screen showed him, fans cheered. But when the big screen showed the hyper-woke Trump critic Taylor Swift, fans booed.

So far, so good.

What to say about the halftime show performed by the popular rapper Kendrick Lamar? USA Today wrote: “The Grammy-winning rapper took the stage … for an exhilarating medley performance that paid homage to the Compton emcee’s eclectic catalog.”

“Exhilarating medley performance”? OK, call me biased, and I’m certainly not in his age demo. “Artists” like Lamar could not care less what I think. But I lean toward performers who can sing, dance, play an instrument or, heavens, do all three.

Nearly 50% of voters in a poll conducted by Darren Rovell gave the performance an F.

My nephew, Eric, loves rap. While driving and listening to a popular “song,” I said, “Eric, I don’t understand a word.” He proceeded to translate each line as it was recited.

“How many times did you have to listen before you were able to figure it out?” I said.

“Figure what out?” he said.

“The lyrics.”

“Once.”

So maybe it’s me. During Lamar’s performance, I failed to understand all but a few words. Before the game started, a couple of songs were performed before the national anthem. A beautiful, well-dressed woman used sign language for the hearing impaired. Where was she during Lamar’s performance for those of us who suffer from rap lyric comprehension impairment?

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Woke Grammys Show How Out of Touch Entertainment Industry Is Who cares? by Daniel Greenfield

By on February 3rd, 2025

https://www.frontpagemag.com/woke-grammys-show-how-out-of-touch-entertainment-industry-is/

Every entertainment industry awards show can be reduced to ridiculous outfits and woke special pleading acceptance speeches in which millionaires impassionately proclaim their love for drag queens, illegal aliens or Hamas, and in which most of the country (except for their deranged fan bases) look at them like clowns.

The Grammys, probably the first major awards show since Trump took office (unless I missed one), was no exception, celebrating its out-of-touchness by thumbing its nose at country music fans and then platforming Shakira and Lady Gaga to attack Trump and stand by illegal aliens and transgender activists.

The sum of it though would add up to ‘who cares’.

Kamala tested the power of celebrities and found them wanting at best. The public will spend a fortune going to see Taylor Swift lip sync but doesn’t care whom she endorses. The last time anyone effectively used celebrities in a political context was Barack Obama and he did it by appearing to become one of them.

Celebrities couldn’t help Kerry or Hillary, and it’s not at all clear that they can help any candidate at all.

Somehow celebrity culture has become an even stranger echo chamber over the years. A showcase for the mentally disturbed, (so of course Kanye West showed up), and for the just plain grotesque.

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Cancel Cowards “Officially in New Zealand it was ‘Girls can do anything year’. I was instructed to make the boys in my story into girls”Amy Brooke

By on December 7th, 2024

https://quadrant.org.au/magazine/society/cancel-cowards/

Although the move throughout the West to impose a cancel culture as a form of control seems to be nearing its apex, the fight against the truth has been decades in the making. For example, when moving some decades ago to Nelson, I tried to get from the local library some of the Enid Blyton books I and so many others had loved as children.

Blyton eventually wrote so many books that some of her themes became repetitive. But she was imaginatively outstanding, and her wonderful stories about the Faraway Tree, the Enchanted Wood, the Magic Wishing Chair, and Galliano’s Circus, followed by the Famous Five and Secret Seven adventure stories, spanned a career of nearly fifty years. Sales of her books were estimated at over 2 billion copies. As a young Froebel-trained teacher, with her father one of Britain’s top naturalists, her weekly courses of seasonal nature study evoked enthusiastic tributes from schools throughout Britain. She had an extraordinary knowledge of the natural world, coupled with a great flair for detail, and brought to thousands of children an increased awareness of the world around them.

Blyton was well aware that many children living in industrial towns in the 1930s with fathers on the dole couldn’t visit the country, but through her pages she tried to give them vicarious pleasure in the joys of rural life, and described how they might make tiny gardens of their own. One suggestion which met with a huge response was that country readers might like to send such things as budding twigs or wildflowers to their counterparts in town.

She became one of the first victims of the cancelling culture, which apparently sprang from the envy of a rival children’s writer in Britain, and by the end of the 1950s librarians were banning her books in Britain, Australia and New Zealand. The librarian I spoke with some decades later dismissed Enid Blyton with apparent contempt, her reasons hard to find. One was the silly suggestion that Noddy and Big Ears, in the stories younger children loved, had “an unnatural relationship”. Doubtless this would be a reason to have these stories highly regarded these days. Then there was the claim that she wrote for middle-class children only, that she had no social concern—utterly untrue. She and the many thousands of children who belonged to the clubs she formed raised astonishingly large quantities of money for the many charitable organisations they took under their wing. She personally answered a staggering number of letters each week for the children who wrote to her and whose views she always asked for. This didn’t stop the accusations piling up, including from New Zealand librarians and writers such as children’s books specialist Dorothy Butler, who claimed that, “regrettably”, Blyton was a snob.

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Canada’s woke Stasi An elderly school trustee who questioned trans ideology has been subjected to a legal witch-hunt.

By on October 13th, 2024

https://www.spiked-online.com/2024/10/13/canadas-woke-stasi/

Under other circumstances, former school trustee Barry Neufeld may have retired as one of your curmudgeonly, albeit amusing, elderly neighbours, equipped with a brash sense of humour, a glass of wine and a cigarette. Had he not introduced himself at a recent panel event I spoke on in Victoria, British Columbia (BC) about the harms of gender-identity ideology, I would never have pegged him as a supposed hate-monger. He seemed rather jovial, in fact. Yet the Canadian media and some of Canada’s most powerful unions see things differently. They have made Neufeld their nemesis.

Neufeld is now in his seventies. His troubles began in 2017. This was when he discovered a new gender-identity curriculum for kids coming down the pike in his school district of Chilliwack, BC. This was the year that the SOGI (Sexual Orientation and Gender Identity) 123 programme was implemented in public schools across the province, with the aim of making classrooms more ‘inclusive’ for LGBT-identified kids. That same year, Bill C-16 was passed by the national parliament, adding ‘gender identity’ to the list of protected characteristics under the Canadian Human Rights Act. Both pieces of legislation were introduced with little public debate and most Canadians were completely unaware of what was even happening.

But Neufeld noticed and spoke out on Facebook, criticising SOGI 123 for instructing ‘children that gender is not biologically determined, but is a social construct’. ‘At the risk of being labelled a bigoted homophobe’, he wrote, ‘I have to say that I support traditional family values and I agree with the [American College of Pediatricians] that allowing little children to choose to change gender is nothing short of child abuse’.

After facing backlash, he apologised a couple of days later ‘to those who felt hurt’ by his opinion. He explained that ‘I am critical of an educational resource, not individuals. Those who have worked with me for over 24 years know that I do believe in inclusion and a safe learning environment for all of our students.’ Yet he didn’t relent, adding: ‘SOGI 123 resources need to be reviewed by engaging parents and teachers in conversation… before full implementation.’

This didn’t happen, of course. This is never how the trans issue has been handled by the Canadian government and its state-funded institutions. Rather, gender-identity policy and legislation have been slipped in under the radar. By the time most of the Canadian public noticed, it was far too late.

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Paris Olympics: a smug spectacle of wokeness The self-consciously ‘queer’ opening ceremony was offensively drab. Brendan O’Neill

By on July 28th, 2024

https://www.spiked-online.com/2024/07/27/paris-olympics-a-smug-spectacle-of-wokeness/

Is anyone else bored of ‘queering’? Everything’s getting ‘queered’ these days. We’ve had ‘Queering the Curriculum’. ‘Queering the Arts’. And my personal favourite: ‘Queering Palestine.’ This entails academics ‘unpack[ing] the multiple intersections of queer politics and the Palestinian struggle’. Hot tip for these profs: if Hamas ever invites you to discuss your theories, don’t agree to meet them on the high floor of a building. ‘Queering the Pavement’ is the only thing they’re interested in.

Now, with soul-zapping inevitability, we’ve had the ‘queering’ of the Olympic Games. Yesterday’s rain-sodden opening ceremony in Paris was super LGBTQIAzzz.
There were drag acts everywhere. A bearded bloke twerked for the world. A bollock-naked man in blue paint was served on a platter of fruit to a gaggle of diet-dodging drag queens. Look, if I wanted to be exposed to the camp debauchery of drag culture, I’d go to a kindergarten.

It really was a naff, dispiriting affair. It was the first opening ceremony to take place, not in a stadium, but in the heart of the hosting city. Boat after boat after boat carried the Games’ athletes along the Seine as 300,000 spectators in soaked plastic macs craned their necks for a glimpse. It seemed to go on forever. It was so bad that even square liberals on X started using the favoured slogan of the right: ‘STOP THE BOATS.’

The weather didn’t help. The lashing rain hampered the audio, making it hard to hear the ceremony’s star turns, Celine Dion and Lady Gaga (an upside of the downpour, I suppose). What we could hear was just weird. Like when a headless Marie Antoinette sang the opening bars to an ear-splitting heavy-metal ditty. The ceremony organiser, Thomas Jolly, said he wanted his spectacle to be a ‘celebration of being alive’ – here we had a celebration of being dead.

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Drag Queens Parody the Last Supper During Olympics Opening Ceremonies Haley Strack

By on July 28th, 2024

https://www.nationalreview.com/news/drag-queens-parody-the-last-supper-during-olympics-opening-ceremonies/

Drag queens parodied Leonardo da Vinci’s rendition of the Last Supper during the opening ceremonies of the 2024 Paris Olympics on Friday evening, creating international outrage.

During the Olympic ceremonies, 18 performers re-created the scene, a depiction of Jesus Christ’s final meal with his disciples before his crucifixion. The burlesque performance was an “interpretation of the Greek God [of wine and festivity] Dionysus” to make viewers “aware of the absurdity of violence between human beings,” the Olympics said on X.

The scene featured some half-naked performers, one in the middle with a halo atop her head, behind a long table. A man who was painted blue, and with only vines covering his genitals, sat in the middle of the table and was surrounded by flowers. Viewers called the performance “crazy,” and Christian commentators on social media said that the scene made a mockery of the Christian faith.

The Paris games also opened this year with a performance by LGBTQ icon Lady Gaga paying tribute to French dancer and singer Zizi Jeanmaire near the River Seine, a performance by French-Canadian singer Céline Dion by the Eiffel Tower, and a torch-bearing act by rapper Snoop Dogg.

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