RUTHFULLY YOURS

https://pjmedia.com/uncategorized/kevindowneyjr/2021/10/12/chicago-museum-goes-woke-fires-all-of-its-mostly-white-female-volunteers-n1523179

Thank you, ladies. You were kind enough to volunteer for years. Some for decades. Now get out.

The Art Institute of Chicago has canned all of its volunteer docents—well-trained, volunteer educators—almost 150 in total. Their crime? Most were retired white women. No diversity, no inclusiveness. I’m betting many were… ew… straight. And… “cisgender.” Bah.

The Docent Council complained about the decision in a letter to Art Institute President James Rondeau:

We believe we were dismissed (1) because the museum’s perspective is that the current docent corps’ demographics do not meet the need of the strategic plan (2) the museum concluded that reengineering the docent program was a step towards achieving the museum’s important goal of creating a culture of diversity and inclusion.

“Once you cut through the blather, the letter basically said the museum had looked critically at its corps of docents, a group dominated by mostly (but not entirely) white, retired women with some time to spare, and found them wanting as a demographic,” stated the Chicago Tribune.

And if you think that’s ugly, here is the real punchline: Their “diverse” replacements will be paid $25 an hour.

Yes, you read that correctly, a volunteer crew of mostly white older women is out and a diverse, well-paid crew is coming in.

This is the work of the museum’s new Woman’s Board Executive Director, Learning and Public Engagement, Victoria Stein. Stein, who is black, was hired earlier this year.

https://www.city-journal.org/ripping-off-the-veil-on-diversity-regimes?wallit_nosession=1

Racial preferences have been almost impossible to dislodge because their human costs are usually hidden. College admissions officers don’t inform rejected student applicants that they were turned down to make room for diversity admits. An HR office does not tell job seekers or the company’s own employees that they were not hired or promoted because they would add nothing to the company’s diversity metrics. The rejected applicants may suspect that they didn’t get a desired position because of a racial preference, but they can rarely be 100 percent sure.

The offstage nature of these tradeoffs allows preference proponents to deny that diversity decisions entail a zero-sum calculus. In 2019, a U.S. district court judge upheld Harvard’s racial-admissions preferences after a lengthy trial. In her opinion, Judge Allison Burroughs insisted that race is only a positive factor, and never a negative factor, in Harvard’s admissions process. Such a claim is specious. The only reason that institutions implement racial preferences in the first place is that there are not enough qualified applicants among non-Asian minorities to achieve a racially proportionate student body or workforce under a meritocratic selection system. Hiring a diversity candidate under a preference regime almost always means not hiring a more qualified non-diverse candidate. The former’s gain is inevitably the latter’s loss.

Now a British classical music organization has inadvertently ripped the veil off the diversity arithmetic, and the consequences may be far-reaching. Earlier this month, the English Touring Opera told nearly half its orchestral musicians that it would not be renewing their contracts for the 2022 season because it has “prioritised increased diversity in the orchestra.” In other words, as a bunch of white guys you must be cleared out so that we can boost the collective melanin levels among our musicians. Your talent does not matter; your skin color does.

Here, at last, were concrete, publicly identified victims of a preference regime. The reaction was swift. Since the Sunday Times broke the story, the English Touring Opera has been thrown on the defensive. Arts Council England, a government arts funder and the opera company’s main patron, is backpedaling on its aggressive promotion of diversity after the company claimed that it was only following the Council’s mandates in terminating the white musicians. It turns out that the public has little stomach for watching the diversity sausage be made.

https://issuesinsights.com/2021/09/20/the-lefts-war-on-comedy-is-no-joking-matter/

A curious characteristic of totalitarian communist regimes is the dearth, if not the total absence, of comedy. No comedy films were ever made in the Soviet Union or in any of the other Communist countries. In fact, cinemas in communist countries were almost always empty, the films being so mind-numbingly abysmal. (One time in Havana, the government allowed American films to be shown in a theater and the lines stretched around the block, whereupon the government arrested the attendees inside the theater.)

In the Soviet Union, circuses were a major source of popular entertainment, devoid of the usual crude propaganda. The favorite aspect of Soviet circuses were the clowns, when the otherwise unsmiling Russians could let loose with belly laughs.

Yoani Sánchez stated that one of the things that first helped her to break through the indoctrination received at school of the cult of personality of Fidel Castro was her observation that Castro never joked, highly unusual for a Cuban.

We are in the midst of a Marxist upheaval going full throttle towards turning America into a Communist utopia. The symptoms are all there: self-censorship, censorship (aka “cancel culture”), political indoctrination of the military, indoctrination in the schools, network news deliberately becoming propaganda outlets, Balkanizing the population, etc.

Another symptom is the slow strangulation of comics and comedy.

https://www.nytimes.com/2021/08/17/opinion/woke-politically-correct.html

If you’re subscribing to my newsletter, you likely already know that I am a linguist who writes books and articles about the joys and mysteries of language. Others likely know that I write about race in America. Some of you know that I switch hit between both and sometimes combine the two. In my newsletter I’ll also be pitching in about music and other things that occupy me from week to week.

But for this first edition, I have chosen a subject that brings together the two things I get to write about most: language and race. Namely, just what has happened to “woke” lately?

It seems it was 10 minutes ago that it was the hot new badge of enlightenment, shared warmly as a kind of lexical bonding ritual, usually in the expression “stay woke.” To be woke was to be in on a leftist take on how American society operates, especially in reference to the condition of Black America and the role of systemic racism within it.

In 2012, people were using “stay woke” on Twitter with unalloyed pride. As late as 2016, you could find rosy-cheeked teens and 20-somethings all but chirping “woke,” such as in this earnest little guide to the latest slang.

No more. These days, “woke” is said with a sneer. It’s a prisoner in scare quotes as often as not (“Why ‘wokeness’ is the biggest threat to Democrats in the 2022 election”) and typically uttered with a note of condescension somewhere between the way comedians used to talk about hippies and the way anybody talks about, well, rather than a word beginning with “a” you’ll find discussed, among other places, here, I will sub in “jerks.”

The first thing that happened to “woke” was that it was borrowed from Black slang. It first appeared in neither a BuzzFeed article nor a rap but a jolly piece on Black vernacular expressions in 1962 in this newspaper called “If You’re Woke, You Dig It.” Many will be surprised that “salty,” as in “irritable,” another Black expression that white people have taken on of late, also occurs in this piece.

By the time something hits the page, we can be sure it had been around long before, and it’s a good guess that Black people had been using “woke” for at least a couple of decades before this. Lead Belly gives us a look at its likely origins when he urges people to “stay woke” in an afterpiece remark on a 1938 recording. He is referring to Black people being alert to actual physical danger; it would have been a natural evolution to start using “stay woke” to refer to more, as we say, systemic matters.

It was after 2010 that “woke” jumped the fence into mainstream parlance. Erykah Badu’s “Master Teacher” seems to have at least planted a seed, and then those “stay woke” salutes on Twitter in 2012 were in the wake of the Trayvon Martin killing, upon which the expression was truly set in stone.

There are those who will see the story of “woke,” therefore, as one of cultural appropriation. But that’s a narrow take. To refer to its uptake by whites as a kind of theft is one way to see it. But another way is to marvel at how bizarre it would have been as recently as the 1980s for white progressives to warmly embrace a term from the Black street as a sign of empathy with Black America’s problems — and as for the theft, Black English is mighty enough that legions of its slang words and expressions stay quite unappropriated, thank you very much. Clearly we can spare one or two now and then? In the meantime, while racism’s persistence is clear, people who like and at least halfway understand one another will talk like one another.

https://thefederalist.com/2021/08/09/rocks-are-racist-now-university-of-wisconsin-moves-derogatory-boulder-for-50k/

The University of Wisconsin at Madison is spending $50,000 to move a giant rock that leftist students insist is a symbol of racism—all because a century ago some publication used a racial epithet to refer to the rock.

Chamberlin Rock, which was positioned in the same spot on campus since 1925, is a boulder named after Thomas Crowder Chamberlin, a former university president and geologist. But according to students who testified at a Campus Planning Committee meeting last November, the rock is racist because it was referred to with a racial slur in a 1925 newspaper headline.

“The derogatory nickname was commonly used at the time to refer to any large, dark rock,” relayed a university press release. “The Wisconsin Black Student Union, in partnership with the Native American student organization Wunk Sheek, led an effort to remove the rock from campus. UW–Madison’s main campus is on ancestral Ho-Chunk land.”

The rock is deemed by experts to be more than 2 billion years old, and it will be used for educational purposes at its new location. Nearly 12,000 years ago, it came from northern Canada to Observatory Hill—the Wisconsin area—after being carried by glaciers.

The students, however, have evidently yet to unearth evidence that the professor the rock is named after is a racist. Instead, the boulder was characterized as oppressive because a writer 100 years ago referred to it with an outdated term, “nig-erhead,” which was used by people at the time to describe darker rocks, as noted by the university. The 42-ton boulder will be moved off-campus thanks to private donations.

https://www.nationalreview.com/corner/under-fire-from-social-justice-warriors-classical-music-organizations-grovel/

If you don’t really have any talent, the surefire way of getting attention these days is to claim that some institution is racist. For several years now, the malcontents have been griping about classical music, claiming that it is “too white” and “not inclusive.”

Naturally, the leaders of orchestras and opera companies and other groups have abased themselves before the critics and are hastily trying to make amends by hiring “diversity” administrators and putting more works by “underrepresented minority” composers on programs.

For a thoroughly depressing read about this, Heather Mac Donald has written an essay for City Journal that lays out the ugly facts.

Sadly, nobody in the classical-music world seems to have the nerve to tell the SJWs that there is no racism in it and hasn’t been for many decades.

Mac Donald’s concluding paragraph explains the truth:

Without home transmission, the best hope for creating more black classical musicians is to restore widespread music education. The antiracism advocates have said little about that imperative, however. It’s easier to extract racial quotas from compliant organizations than it is to engineer a change as profound as exposing students to a vanishing musical aesthetic. Packing off every opera and orchestra administrator to implicit bias training will not produce a single competitively qualified black musician. Nor will potential students be inclined to pick up the violin after learning that its repertoire belongs to a white supremacist tradition. But more power is to be gained by pushing the racism line than by pursuing the unlikely rebirth of public school music training. So the search has been on to find racial scapegoats.