RUTHFULLY YOURS

https://issuesinsights.com/2022/03/17/four-charts-prove-biden-is-lying-about-putin-an

THE PRESIDENT’S EXCUSES ARE RISING FASTER THAN PRICES

As inflation has continued to climb, so have the number of President Joe Biden’s excuses for why he’s not to blame. First, it was a “transitory” effect of the economy rebounding from COVID lockdowns. Then it was the result of supply chain problems because ports didn’t operate 24/7. Then it was due to a lack of competition among beef suppliers. Then it was greed. Now he’s settled on Vladimir Putin.

None of it is true. But the White House is so determined to take advantage of Russia’s invasion of Ukraine it invited TikTok “influencers” to propagandize them. The mainstream press had already fallen in line, delivering stories about why Biden is not at fault. (The New York Times, for example, ran a “fact check” headlined: “Republicans Wrongly Blame Biden for Rising Gas Prices.”)

But Biden is to blame. He set off the current inflationary spiral with the $2 trillion “rescue plan” he and his fellow Democrats jammed through at the start of 2021. They claimed the money was desperately needed to get the economy back on track (it wasn’t) and dismissed warnings from even liberal economists that dumping all that money (while paying people not to work) at a time when the economy was rapidly rebounding would spark an inflationary spiral.

https://dianebederman.com/the-wef-world-economic-forum-versus-western-culture/

We are in a war. And it is not with Russia.

It is a far more serious war.

It is the World Economic Forum versus Western Culture.

It’s past time that we all learn about the WEF and the people behind it. The Four Horsemen of the Apocalypse: Klaus Schwab, Bill Gates, George Soros and Anthony Fauci, medical czar. Each one of them is EVIL. And each one is attacking our Judeo/Christian ethic that underpins our culture.

Here is more on George Soros of WEF and Open Society

I never thought I would be writing about the WEF because what I heard about it was so off the wall, it had to be a conspiracy theory. Why? Because it sounds like something from the Twilight Zone. Actually, the WEF sounds more like the future that George Orwell warned us about in his book 1984; written in 1949 – a warning about totalitarianism.

https://www.nationalreview.com/2022/03/the-extraordinary-vapidity-of-kamala-harris/

In Harris’s hands, the nonsensical bromide becomes an art form unto itself.

A s if to put to rest forever all of those ticklish inquiries about Providence, the grave and trying moment in which we now find ourselves has brought with it a hero capable of rivaling any other. Her name is Vice President Kamala Harris, and she is to the nugatory platitude what Michelangelo was to the marble block: All challengers flee before her, all pretenders quit their thrones at the mere mention of her name. Listen carefully and one can hear the desperation as the most accomplished rattlebrains in America issue condign sighs of dismay. How talented is Harris? Talented enough make the inanities uttered by her rival Pete Buttigieg sound substantive, concise, and apprehensible. Talented enough to make Dan Quayle seem like Pericles. Talented enough to make Marjorie Taylor Greene remind one of top-form Jane Austen. Never, in the field of human rhetoric, has an experiment in political growth been such a spectacular and unmitigated bust.

To the uninitiated, Harris’s exquisite bromides may seem all to run together, like The Ring Cycle or Ulysses. And yet, as the Eskimo is able to distinguish between 400 types of snow, so the experienced Harris-watcher will learn to differentiate between the many innovative ways in which she is able to convey that she has no damned idea what she’s talking about.

https://www.bostonherald.com/2022/03/16/howie-carr-is-monica-cannon-grant-still-the-globes-woman-of-the-year/

Look on the bright side, Monica Cannon-Grant — at least the feds didn’t videotape you stuffing marked $100 bills down your bra.

But other than the Dianne Wilkerson gotcha photograph, Tuesday’s indictment of the sticky-fingered Social Justice Warrior has everything.

As you read the 38 pages of charges, it’s hard to know who is more unspeakably corrupt — the race-hustling Monica, or the Boston establishment and their media stooges who swallowed her shameless hate speech hook, line and sinker.

Is Monica still the Boston Globe’s “Bostonian of the Year?”

Does Boston Magazine still think she’s “the best social justice advocate in Boston?”

Do the Boston Celtics still consider her “a hero among us?”

Does the Boston City Council still offer her “congratulations” after her 18-count indictment?

Does the Roxbury Unity Community still consider her a “Leader of Tomorrow?”

Of all the slobbering, the Globe is probably most responsible for enabling this alleged million-dollar flim-flam to fester for so long.

https://www.city-journal.org/classical-music-cancels-russians

Compelled speech is becoming routine in academia. On campuses, faculty candidates for hiring and tenure increasingly must attest to their dedication to diversity to be considered for a job or a promotion. At least one university requires professors to post a “land acknowledgement”—a statement declaring that the space being used was originally the habitation of indigenous people—on their syllabus page.

Now the classical music establishment is adopting that same norm. Russian musicians are being asked to condemn President Vladimir Putin’s invasion of Ukraine to retain jobs and performing engagements in the West. Staying above the fray is not an option, and denouncing the war will not ward off cancellation. Russian musicians must criticize Putin by name or be blacklisted.

Classical music’s recent self-abasement for its “whiteness” laid the groundwork for this presumptive group guilt. Since the George Floyd race riots in May and June 2020, directors of orchestras, opera companies, and conservatories have lambasted their own field for its historical demographics, said to be inextricably linked to racism. Music critics have sneered at Beethoven and other composers for having allegedly leveraged their whiteness to achieve undeserved acclaim. Mea culpas and promises of fealty to Black Lives Matter have become de rigeuer in mission statements and fundraising pitches. Now these coerced confessions are demanded of a subset of musicians whose Russianness makes them as suspect as whiteness does the entire Caucasian population. Even Russian music itself faces a political litmus test.