RUTHFULLY YOURS

https://amgreatness.com/2022/02/13/joe-biden-alchemist/

Medieval alchemists sought to turn base metals into precious metals like gold. The more the alchemists bumped into the reality that gold was an element, the more desperately they sought to find fantastic ways to fabricate the rare element out of nothing. 

Joe Biden operates on the same alchemist principles. He tries to turn his record of dross into golden success. And the more he fails, the more zealously he embraces his next new fantasy. Meanwhile,  the midterm reckoning approaches. 

Printing money, talking up low interest rates, disincentivizing work, subsidizing inactivity, and being unprepared that a pent-up, locked down, constipated economy of the past two years would eventually break out—all that resulted in January’s 7.5 percent annualized inflation rate. Unlike Joe Biden, even a child knows that too much demand and liquidity and too few available goods and services cause prices to rise. The rate of inflation is increasing at an annualized rate not seen in 40 years. And the jump already follows a prior 2021 annual rate of 6.8 percent. The prices of gas, food, and houses—the stuff of life—are collectively rising far higher than just 7.5 percent. 

At first, the Biden Administration attempted to turn this inflationary dross into gold. Price hikes, we were assured, were all just the worries of an elite. 

https://www.city-journal.org/metropolitan-museum-of-art-has-redefined-itself-as-an-antiracist-agent-of-change

Like the Art Institute of Chicago, the Metropolitan Museum of Art has redefined itself as an antiracist “agent of change.” In July 2020, its director Max Hollein and CEO Daniel Weiss announced that the museum will henceforth aim to overcome the racism still perpetrated by our “government, policies, systems, and institutions.”

What such a political mandate means for an art museum may seem puzzling, but two exhibits currently running at the Met provide an answer. They suggest that the museum will now value racial consciousness-raising over scholarship and historical accuracy. Double standards will govern how the museum analyzes Western and Third World art: only the former will be subject to the demystification treatment, while the latter will be accorded infinite curatorial respect. The Met will lay bare European art’s alleged complicity in the West’s legacy of oppression, while Third World violence and inequality will be chastely kept off stage.

The first show, “In Praise of Painting: Dutch Masterpieces at The Met,” arranges the Met’s own seventeenth-century Dutch canvases in thematic categories, such as still life and landscape. (The content of those categories is sometimes hard to discern underneath such mannered academic rhetoric as “Contested Bodies.”) Highlights of the show include Franz Hals’s portrait of Paulus Verschuur, a bravura performance of spontaneous brushwork and psychological acuity that captures the Rotterdam merchant’s modern irony, and Johannes Vermeer’s A Maid Asleep, which anticipates Paul Cézanne in its treatment of decorative pattern and geometry.

The Dutch Baroque formed the cornerstone of the Met’s first holdings; subsequent bequests created one of the world’s great assemblages of Rembrandt, Hals, Vermeer, and their peers. The antiracist museum, however, understands that it is not just Western art that needs deconstructing; the collecting and donating of art does, too. Thus, the commentary accompanying “In Praise of Painting” wearily notes that “of course” there are “blind spots in the story these particular acquisitions tell. Colonialism, slavery, and war—major themes in seventeenth-century Dutch history—are scarcely visible here.”

https://www.frontpagemag.com/fpm/2022/02/muslim-federation-event-speaker-glorifies-hitler-joe-kaufman/

On March 18th, the South Florida Muslim Federation (SoFloMuslims), an umbrella group for the vast majority of South Florida’s radical Muslim institutions, will begin its two-day First Annual Conference, titled ‘Our Collective Strength.’ The group has been advertising the event’s featured speakers, since early November. One of these speakers is Khalid Griggs, an anti-Semite who has used his social media to glorify Hitler and someone who believes the United States is “owned and controlled” by Jews. Having Griggs on its roster shines a light on the motives of the Muslim Federation and all who agree to participate in this month’s conference.

Khalid Fattah Griggs is the imam of the Community Mosque of Winston-Salem (CMWS) in North Carolina. He is also the Vice President of the Islamic Circle of North America (ICNA) and the Chairman of ICNA’s Council for Social Justice (CSJ). Unlike ICNA that has its roots in South Asian Islamism, Griggs, a black Muslim convert, took his main influences from the black power movement. In December 2019, Griggs wrote of the “honor” he had in meeting Kwame Ture, a rabid anti-Semite who claimed European-born Jews were not Jews but “Cossacoids” and said, “The only good Zionist is a dead Zionist.” Griggs called Ture a “courageous political visionary.”

https://www.frontpagemag.com/fpm/2022/02/caligulas-horse-senate-bidens-dog-doe-robert-spencer/

In the most consequential appointment since the Roman emperor Caligula made his horse Incitatus a senator, Old Joe Biden’s handlers have appointed one Sam Brinton (“they/them”) to be the Deputy Assistant Secretary of Spent Fuel and Waste Disposition in the Office of Nuclear Energy in the Department of Energy. But in our American version of late imperial decadence, Brinton is not a horse, but a dog: Brinton is also involved in “puppy play,” which apparently involves grown men putting on dog masks and behaving like animals for sexual kicks. Some people think Caligula was playing an elaborate practical joke on the Roman elites by exalting Incitatus, but the appointment of Sam Brinton is no laughing matter, and no one is more po-faced about it than the broadminded Leftists of the Biden administration.

Brinton is, to put it bluntly, a pervert, and proud of it. In his drag queen persona, “Sister Ray Dee O’Active,” he announces: “I am the slutty one. And the nerdy one. #sexynerd.” In a 2016 article in Metro Weekly, he speaks at length about puppy play (he is identified only by his first name, but an accompanying photo makes it clear that Sam in the article is Brinton), explaining his role as a “handler” of men who pretending to be puppies: “It’s the concept of the teacher and nurturer…. My job is to make sure that while he’s in headspace, I’m keeping him safe.” He says of one of his companions in this bizarre role play: “Pup and I have what I feel is one of the most ideally perfect connections between our personal and kink life. Both of us have other partners, so we come into this space, and then we come out of it, knowing the boundaries of where your kink and non-kink relationships begin and end.” Right, that’s always good to keep in mind.