Sunday, September 6, 2020

September 6, 2020



MY CORNER by Boyd Cathey


Cancel Culture and the Religious Origins of the Revolution in the Streets

Friends,

These violent times in which we live are in some ways unparalleled. Various writers and commentators have attempted to describe them. In many cases, these authors reach back into history for analogies or parallels. But ongoing history never offers the same event repeated exactly.

Of course, the riots of 1968, ostensibly over the Vietnam War, figure in these historical comparisons. And on a literary level, we recall the works of George Orwell on the growth and results of totalitarian Communism and collectivism (Nineteen-Eighty-Four and Animal Farm) or the late Jean Raspail on the very real peril of mass immigration which would overwhelm our civilization (The Camp of the Saints, 1975 and 1995). And there are other examples, especially on the infiltration and perversion of academia and of our entertainment industry, which come to mind.

But none of these literary classics or historical analogies can measure or describe fully what we are witnessing today. It is unique.

A work—a film—that I own came to mind recently, and in so many ways I think it encapsulates as no other artistic or literary work has the period we are passing through. No, I am not thinking of the riots and the looting: they are, I would suggest, a derivative, a by-product of the mentality that reigns today nearly everywhere, in our politics, in our media, in entertainment, and most particularly in that most critical element of society (and its continuance), education. There are reasons behind those frenzied and unhinged “mostly peaceful” demonstrations, and those reasons are not just the financial largesse of a George Soros or of Hollywood and Silicon Valley mega-millionaire elites.

That movie is a Russian opus, Burnt by the Sun (1994), directed by the Russian anti-Communist (and monarchist) Nikita Mikhalkov. It is set in 1936 more or less at the height of the Stalinist purges, and its main character is Comrade Sergei Kotov, a devout Communist, a hero of the Russian Civil War, an “Old Bolshevik.” But Kotov commits one small error: as Soviet tanks on maneuver are about to trample the wheat fields that belong to the local village collective, with his senior status in the Party he orders them to halt. A family friend, Mitya, arrives; Mitya is working with the Soviet secret police, the NKVD, and because of Sergei’s action he arrests him on a trumped up charge of treason. A black car with NKVD agents arrives and whisks him away. He is forced—indeed, does so willingly in the name of the party and the ideals of Communism—to confess to his “crime” and is executed.

Comrade Kotov’s mental attitude is indeed very much like that of our modern-day revolutionaries. If monuments to Frederick Douglass and the Abolitionists are now defined as “racist,” then they must go, they must be brought down (not to mention those to Robert E. Lee or other Confederates). If a textbook says faintly favorable things about Columbus (or Fray Junipero Serra), then it must be banned or purged. And, thus, the film Gone with the Wind and perhaps any number of John Wayne movies need to be removed from view, or at least contextualized.

The sweep of this destructive vision is immense. It shapes and determines the mindset of millions, bending them to its will, even for those who were entrusted ostensibly with the very defense of our civilization. They cower in silence or fear, if not going along with the Revolution.

This vision, as Mikhalkov underlines in Burnt by the Sun, is motivated essentially by a type of religious fanaticism, a kind of Anti-Christianity, with its own emblematic symbols, sacred teachings, parables, saints (and sinners), a confessional (and repentance) system, and accompanying manufactured history.  In that sense, it mirrors in a very dark and evil way the traditional faith which for two millennia has informed and annealed our civilization. It is that civilization—our Western and Christian civilization—which is the target, and no manner of half-measures on the part of our supposed conservative opposition can stem or defeat it.

In previous essays I have called those who now rampage not just in the streets but intellectually and culturally, “Insaniacs,” that is, those possessed—and that indeed is the proper word—of an outlook and vision that is antithetical to the traditions and heritage of our civilization, the opposite of “normal.” They are to quote G. K. Chesterton, “insane,” in the sense that they reject the living reality and foundations of our history. They are thus outside reality. They feverishly attempt to create a new “reality” which is disconnected from the laws of Nature and the past, and owes almost nothing to two-thousand years of Christian tradition. They are driven by an all-consuming madness—it is impossible to reason with them, it is impossible to compromise with them. No act, immoral or vicious as it may be, is beyond their use in their quest to destroy. Everyone, including their own adepts, must bend to the will of the Insanity. For it is a new paradigm, a new religion far more insistent, demanding and dogmatic than any church of the past.

Just like Sergei Kotov, very recently a major left wing political activist (devoted to rooting out racist “imperialism and colonialism”),  Jessica Krug, a professor of African-American Studies at The George Washington University (Washington, DC), came clean. For years she had claimed that she was black, but now blubbering, she admitted her “sin”—Krug confessed that it was all a lie: she is actually white and Jewish. She had been prevaricating for years: “I am not a culture vulture. I am a culture leech,” Krug wrote tearfully. “I have thought about ending these lies many times over many years, but my cowardice was always more powerful than my ethics.” She continues: “You should absolutely cancel me, and I absolutely cancel myself.”
At first it was her zealous desire for this new form of “salvation” (and possible advancement)—she would become black or a minority, which in the new religion is equivalent to a kind of reserved sainthood, a special and elevated place of predilection for the Elect. But now, recognizing her immense “sin” against the new faith, comes her abject “confession” and public announcement about engaging in multiple lies, her guilt, which like Kotov and any number of those Bolsheviks shot in 1936-1937, she accepts with the same zeal as those victims of Stalin’s purge exhibited as faithful and illustrious party members.
“You should absolutely cancel me, and I absolutely cancel myself,” she cries, perhaps seeking some form of expiation. But unlike in traditional Christianity, with its loving and forgiving God, Krug may not get forgiveness from her progressivist allies.
She illustrates in a certain very disturbing manner what we face: it is not just unchained violence and looting in the streets—it is not just an unhinged anti-Trumpism politically in the media or in academia—it is not even just the hysterical hatred by our defecated elites. In a way Krug is emblematic of the age-old spiritual war between the Children of Faith, the inheritors of our civilization and culture entrusted to them by their ancestors, and those programmed minions, those dark demiurges out of Hell itself who answer not to God but to the Evil One.
This, then, is the conflict we find ourselves in, and just like our Crusading ancestors we must answer the Call. Failing that, we shall perish and future generations will curse our names.
*****
I pass on an article about Jessica Krug’s lies and deception, plus a piece on the purging of non-Progressivist academics and professionals. Be afraid, be very afraid…then prayerfully suit up the armor of the Crusaders and go forth chanting: “Christus vincit! Christus regnat! Christus regnat!” – Christ conquers – Christ reigns – Christ commands!

‘Black’ professor admits she is actually white in self-published essay

ELYSE WANSHEL  Sep 4th 2020 8:59AM
A history professor and political activist at The George Washington University has publicly admitted that she is actually white and Jewish — despite claiming to be Black for years.
Jessica A. Krug — whose areas of expertise include “African American history” and “imperialism and colonialism” — came clean in a self-published essay titled “The Truth, and the Anti-Black Violence of My Lies” on Medium published Thursday. In the confessional piece, Krug said that she has deceived friends and colleagues by falsely claiming several identities like “North African Blackness, then US rooted Blackness, then Caribbean rooted Bronx Blackness” for “the better part of my adult life.” 
“I am not a culture vulture. I am a culture leech,” Krug wrote. “I have thought about ending these lies many times over many years, but my cowardice was always more powerful than my ethics.”
Krug continued: “You should absolutely cancel me, and I absolutely cancel myself.”
A representative of The George Washington University, located in Washington, D.C., told HuffPost in an email, “We are aware of the post and are looking into the situation. We cannot comment further on personnel matters.” 
HuffPost reached out to Krug but did not receive an immediate response.
In her essay, Krug said that she’s been battling “unaddressed mental health demons” for most of her life and began assuming a false identity as a child.
“But mental health issues can never, will never, neither explain nor justify, neither condone nor excuse, that, in spite of knowing and regularly critiquing any and every non-Black person who appropriates from Black people, my false identity was crafted entirely from the fabric of Black lives,” she wrote.
Krug has been teaching classes such as “Topics in African History “ and “Africa and the African Diaspora” at the George Washington University since 2012, according to the university’s website. She has also written extensively on the subject of Blackness, including two books.
It’s unclear why Krug decided to write and publish her essay. Twitter users, who included people claiming to know Krug, have theories — along with reactions to the news.
Many people compared her to Rachel Dolezal, who was exposed as a white woman in 2015 after pretending to be Black while heading an NAACP chapter in Washington State.
To read their responses, scroll down. 
Hari Ziyad @HariZiyad  Jess Krug, professor at @GWtweets, is someone I called a friend up until this morning when she gave me a call admitting to everything written here. She didn't do it out of benevolence. She did it because she had been found out.
Festive Colors @neosoulgod  Yo we have to talk about this. Jessica Krug, a white Jewish woman from Kansas City, has been passing as a Black/Latina/Caribbean woman for years. This is violence, this is anti-black, and this is shameful. It's Rachel Dolezal all over again. And I KNOW it's even more prevalent than this.
Leslie Mac @LeslieMac When Jessica Krug gets her book deal and is on the talk show circuit, remember this tweet. White women continually harm our communities and are rewarded for their efforts.
*****

Educated Young Leftists Most Likely To Fire You Over Politics

Charles Bowyer  Posted: Aug 14, 2020 10:14 AM
A new survey by the Cato Institute has major implications for woke capitalism. The survey has revealed the extent to which the artificial corporate monoculture has poisoned our discourse and made it perilous for anyone outside the left to be open about their views.
One of the key take-aways from the survey was that 62% of those polled said they were afraid to openly discuss their political opinions. The numbers get worse the further down the political spectrum you go: 77% of self-identified Republicans felt that they could not be honest about their politics, whereas 52% of self-identified Democrats felt the same way. The only group that felt they could be honest about their views were “strong liberals.” Liberals, moderates, and conservatives all feel to some extent that they have to self-censor, and that if they were honest about their political views, their careers would suffer.
Perhaps the most distressing aspect of this report is just how many respondents, particularly those on the left, reported being willing to punish their political opponents. Half of self-identified “strong liberals” said they would support firing Trump donors (only 36% of “strong conservatives” said they would support firing Biden donors). There is also a distinct generational divide – younger Americans are more willing to punish Trump or Biden supporters than older Americans.
The problem of an artificial ideological monoculture is exceptionally prominent among the well-educated. According to the Cato study, if you’re a Republican with a graduate degree, there’s a 60% chance you are worried that being open about your politics could cost you at your job, while only 25% of post-graduate Democrats felt the same way.
In summary, virtually every major political group feels some amount of external pressure to keep their mouths shut, and a troubling proportion of people find the idea of firing people because they donated to the wrong politician defensible – and these problems are particularly severe for young, well-educated people. While political bias within corporations is an extremely widespread phenomenon, the big tech companies – Apple, Facebook, Twitter, etc. – are almost endemically left-wing, and these Silicon Valley companies are disproportionately likely to be run by young people.
In light of this study, the widespread ideological monoculture in big tech is not a shocking anomaly. The cause is obvious: Conservatives cannot openly challenge any dogma of the political left, because they might be fired, as happened to James Damore at Google, if they tell the truth. An internal group called “FB’ers for Political Diversity” was formed inside Facebook, consisting of 100 employees who believe that the company was systemically biased against conservatives. A senior engineer at the company wrote in a memo, “We are a political monoculture that’s intolerant of different views [….] We claim to welcome all perspectives, but are quick to attack — often in mobs — anyone who presents a view that appears to be in opposition to left-leaning ideology.” Undoubtedly, a culture that forces conservatives to form tiny support groups would influence how a corporation operates. According to 2ndVote, which tracks political bias in business, Facebook is almost monolithically left-wing.
*Source: 2ndVote. Scale from 1 to 5, 1 being the most left-wing, 5 being the most right-wing.
On everything from abortion to religious liberty, Facebook is completely embedded within the left. There is no viewpoint diversity at these companies because they make no effort to encourage dissenting or deviation from the accepted doctrines.
They may be deeply committed to diversity in a facile and superficial sense, but they have no concern for diversity in its most meaningful sense: diversity of viewpoint. It is not considered desirable by corporate management to maintain a workforce that consists of people who view the world differently. When shareholder rights groups have tried to fix this problem through resolutions that support ideological diversity, corporate management shoots them down. Amazon, Apple, Twitter, and Google all rejected shareholder resolutions calling for more ideological diversity, evidently preferring to let their workers stay in petrified silence than do anything that might allow moderates and conservatives to speak freely.

The conservative movement should find this report deeply concerning. It indicates that left-wing bias in corporations is even more widespread and deep-seated than we thought it was. As far as we can tell, companies such as Apple are doing nothing to make employees who disagree with the consensus feel comfortable being honest about their views. It is now incumbent upon investors to pressure woke capital, particularly big tech companies, to protect and promote ideological dissent. The left-wing monoculture in corporations is both bad for business and offensive to human dignity. 

Friday, September 4, 2020

September 4, 2020


MY CORNER by Boyd Cathey


I Have Been Doxxed…Please Be Aware

Friends,

A very brief message and a personal warning.

I wanted to let you know that I have been doxxed. It actually began back in December of 2019, but the effort has now gone apparently into high gear…even to the point that on a couple of occasions my email address has been manipulated to look as if I am sending out crude or suggestive messages to others. These messages showed up first in my spam file (where I did not see them), but yesterday I got them in my regular email account.

Then, there have been several highly suspicious phone calls, one of which I made the mistake of answering this past Monday (I thought it was from a close friend). When I picked up the receiver the other party immediately asked: “Is this Boyd?” To which I replied “yes,” and then I asked: “Who is this?” He replied: “Family…but I have a cold so you maybe don’t recognize my voice.” He proceeded to state some horrible things, but I stopped him: “If you are a family member, what’s the name of my sister?” Immediately, “click,” and he hung up.

Then, another caller, using a cell phone, began telephoning—I did not answer but I have now determined who this caller is. And it all fits.

I believe this is most likely an attempt to deeply embarrass me and to pressure me to cease writing, and stop putting out my essays; I think it most likely is politically-motivated. Possibly it could also be an attempt to get money from me (but since I don’t have any, that wouldn’t succeed).

It is deeply unnerving, as you might imagine.

But I thought that I should let those on this list know my well-grounded suspicions. And, although this list is always blind-copied, I do need to put you on guard. If you should receive something strange or nasty purporting to be from me, please let me know as soon as possible. I have discussed this briefly with an attorney friend. Right now there is very little I can do, but we need to be aware of the unhinged and amoral zeal of our enemies. They will do anything and use any tactic to silence an opponent.


Thanks for reading. 

Wednesday, September 2, 2020

September 2, 2020




The Revolutionary Cancer in Music:
Severing Our Cultural Connection to the Past

                                           By  Boyd D. Cathey


      One of the significant aspects of the current revolutionary madness sweeping the nation is the unrestrained assault on the cultural artifacts of Western Christian civilization. In effect the attack on monuments and the nomenclature of Army forts, schools and streets, and on so much more is emblematic of something more profound and irreparable, an assault on what those symbols signify.

       In a broader sense, this assault portends a basic denial of the richness and nourishing fruits of our culture and what that culture has given us. For that denial goes far beyond visible symbols in copper and granite or in place names. We have seen this in the increasing demands for a Taliban-like “cultural cleansing” of our society. And thus the mounting attacks on our artistic heritage—on those works of art that remind us of what our civilization has created and, indeed, of its bounty, goodness and creativity that have helped fashion who we are as a people.
       In this climate of nihilism the remarkable art, the superb literature, and the great classical musical heritage which have held us in delighted rapture, are being despoiled, even withdrawn from accessibility like the film classic “Gone With the Wind” (now no longer available via HBO video platforms). In some cases this has resulted in de facto or outright banning. And if a work of our heritage is simply too significant to be erased, then it will be re-cast and reinterpreted to support the revolutionary agenda.
       Penalties are now routinely meted out to the guilty defenders of the two millennia of inherited Western culture. Thus, as we watch statues memorializing Confederate heritage destroyed and symbols commemorating Washington, Jefferson, Christopher Columbus, Father Junipero Serra, and others brought down, we also should understand that this vandalism encompasses far more: the abolition of the historic inheritance and rejection of twenty centuries of civilization.
       The guardians of our patrimony may utter a mild demurrer, but more commonly, they accede to and go along with this radical transformation of Western culture. It is not as much for fear of being called “racist” or a defender of “male privilege,” rather, too many of our cultural elites are possessed of the same “wokeness” that dominates the streets, if a bit more rarefied.
       The effects are particularly dramatic in performance music.  Our musical expression gives voice to our joys, our sadness, our triumphs, our beliefs, and how we view ourselves; it is critical to our understanding of the civilization around us.  Yet for decades there has been a constant effort to undermine and reshape that expression to fit a progressivist, post-Marxist mold and agenda. A concentration on race and gender is all-consuming. “Anti-racism” and “feminism” have become the benchmarks for this transformation.
       Over the past half century and longer progressivists have been largely successful in restructuring what is sometimes termed “higher culture”—an appreciation and understanding of the role in our society of inherited art, literature, music, and architecture—and altering its relationship to most average citizens. When I was a boy, for instance, classical music was programmed regularly and popularly on commercial radio—the major local station at that time in Raleigh, North Carolina, WPTF, featured both the Metropolitan Opera broadcasts on Saturdays and a classical music program every night at 8 p.m. Network television offered us the long-running “Voice of Firestone” and “The Bell Telephone Hour.” Widely-viewed programs like Sunday prime time’s “Ed Sullivan Show” would feature Wagnerian soprano Birgit Nilsson and coloratura Joan Sutherland.
       While many of my school chums from sixty years ago didn’t really get into classical music like I did, they at least recognized its significance and resonance in society, that it was an integral part of our inheritance, and that it surrounded and annealed and helped define our culture and made that culture more complete.  Maybe they didn’t listen to the Met, but we all knew the themes from those popular TV programs like “The Lone Ranger” (with its use of Rossini’s “William Tell Overture”) or “Sergeant Preston of the Yukon” (with the “Donna Diana Overture,” by Emil Reznicek). And who can forget Elmer Fudd belting out a cartoon version of Richard Wagner—“I killed the Wabbit!”
       Today, it is niche programming on television and radio: cable channels dedicated to a specific interest, radio devoted to the top 40 hits and specialty music, or 24-hour talk.  Classical music has completely disappeared from commercial radio and TV. And even classical performances’ relocation to public broadcasting thirty years ago, with its limited audience, is increasingly tenuous. Now when PBS offers a “great performance” it is more likely to be rock music from the 1970s or maybe some celebratory ethnic sampling.
       The template today distorts that important element of our heritage and denudes us in the face of repeated assaults from cultural Marxism and its minions. The arts have become highly politicized, and classical music, now largely compartmentalized, plays a role in that process.
       As Marxists Antonio Gramsci and Georg Lukacs explained a century ago, Western and Christian society—its “hegemony”—could only be overthrown through patient development, the education of a class of cultural revolutionaries. And it was through a “long march” through the culture—in education, entertainment and the arts, religion—that the West would be defeated, not by force of arms.
       The intellectual labor of the Marxist Frankfort School (situated at Columbia University after being expelled from Nazi Germany), and especially their influence in American collegiate education, literary studies, and use of “critical theory” to, first, devalue portions of Western culture and, then, totally re-position it as a handmaid of cultural Marxism can be widely debated. But the effects of their theories cannot.
       Music is seen as an important vehicle for altering the culture. For Theodore Adorno, “the objective validity of [a musical] composition…rests with neither the composer's genius nor the work's conformity with prior standards, but with the way in which the work coherently expresses the dialectic of the material. In this sense, the contemporary absence of composers of the status of Bach or Beethoven is not the sign of musical regression; instead, new music is to be credited with laying bare aspects of the musical material previously repressed: the musical material's liberation from number, the harmonic series and tonal harmony . . .”
       One can argue that the most recent attempts at cultural “purification” have gone farther than anything Adorno or his cohorts of the Frankfort School would have envisioned or desired. Yet, the dismemberment of the corpus of our inherited culture and its ideologization could not have occurred, at least in the same way, had it not been for those earlier Marxist theoreticians and their followers.
       Classical music in this narrative is too white, too masculine. Not only has it been de-emphasized in our schools and by broadcast media, but every effort has been made to re-interpret it, reconstruct it to give it a more politically-correct, less “racist,” less “white,” and less “oppressively male” character, both in how it is presented on stage and who does the performing.
       Increasingly, there are those suggesting a form of affirmative action in how musical ensembles are formed and the musicians employed. “The status quo is not working [in employment]. If things are to change, ensembles must be able to take proactive steps to address the appalling racial imbalance that remains in their ranks. Blind auditions are no longer tenable,” writes New York Times chief music critic Anthony Tommasini. “[T]he audition process has to be altered to take into fuller account artists’ backgrounds and experiences.” In other words, race (and gender) should be major determinants in whether an aspiring musician gets a position in a musical organization or not.
       This is especially pressing in opera where demands for more black and minority personnel—singers, staff, company board members—grow. And in particular there is hostility to whites filling black-face roles, such as Otello in Giuseppe Verdi’s opera of the same name, roles which have traditionally been assumed by the best vocalists and not based on race. In other words, a Placido Domingo who is white and whose Otello is one of his signature roles, would by this standard partake in racism. Indeed, Joshua Barone, again in the Times, labels internationally-renowned Russian soprano Anna Netrebko’s defense of the practice as “racist,” the eventual kiss of death for an artist.
       But it is in public performance that revolutionary changes and restructuring are most apparent and culturally effectual.
       There are literally hundreds of examples I could give, everything from the hyper-leftist “Eurotrash” presentations in opera, to the discovery of second (and third) level women or black composers who are now boosted by “woke” critics and global capitalist record companies as “the new Beethoven or Mozart.” 
       Let me cite a couple of recent examples that have caught my attention.
       Wolfgang Amadeus Mozart’s comic opera of genius, The Abduction from the Seraglio, which playfully makes fun of Islam, was recently heavily censored and its lines rewritten by the Canadian Opera Company. For that production north of the border the company had some bright “woke” scribbler rewrite the dialogue  “in order to remove racist and anti-Islamic language.” But, then, is it still Mozart?
       And after years of patiently waiting to see a presentation of one of the more fascinating and significant operas of the first decade of the 19th century, Gasparo Spontini’s Fernand Cortez, originally produced (1809) to glorify the French invasion and conquest of “backward” Spain (it was later revised to reflect the 1815 triumph of the Bourbons), a quite decent video (on the Dynamic label) emerged in 2020 from the May Florence Musical Festival in Italy. It’s a fairly traditional, well-sung production—few of those “Eurotrash” touches that ruin so much of current musical and theatrical ventures these days. Yet, because Spontini glorifies (in some wonderfully heroic music) the conquest of Mexico and the conversion of the heathen Aztecs to Christianity, the director felt compelled to add a projected on-screen message both at the beginning and at the end basically condemning Western and white colonialism and racism. Nevertheless, the original libretto and music emerge, and I expect to see fierce condemnations of its revival as “racist” despite the cosmetic application of political correctness.

Video promo for Fernand Cortez (Dynamic Records DVD, 2020)
      
       Indeed, there is an effort underway—incredibly—to make Ludwig van Beethoven into a black man. You see, as musicologist Brenton Sanderson has written:
Given Beethoven’s status as the archetypal musical genius, it is unsurprising that aggrieved Blacks have, since the early twentieth century, attempted to propagate the myth that Beethoven had some African ancestry. The basis for this spurious claim was the composer’s somewhat swarthy complexion, and the fact a part of his family traced its roots to Flanders, which was for a period under Spanish monarchical rule. Because Spain had a longstanding historical connection to North Africa through the Moors, a degree of blackness supposedly trickled down to the great composer.
       But, given the nature of such tergiversation and the implicit (and unwanted) recognition of the superiority of the Western canon, the major effort of our cultural revolutionaries is rather to de-emphasize or even deconstruct the classical tradition altogether:
. . . such efforts [to appropriate the classical tradition] are self-defeating, merely serving to treat the Western canon as fundamental and all other styles as deviations from this norm, thus reinforcing “the notion that of classical music as a universal standard and something that everyone should aspire to appreciate.” Trying to make Beethoven Black and desperately scouring the historical records for examples of non-Whites who wrote symphonies is to accept “a white-centric perspective that presents symphonies as the ultimate human achievement in the arts.” Black musicologist Philip Ewell agrees, and advocates “overthrowing the existing structure and building a new one that would accommodate non-white music a priori—no reaching for ‘inclusion’ necessary . . . ”
       This process is occurring likewise through the emphasis on gender and what is termed gender equality.
       Thus, while we might acknowledge the genius of a Clara Schumann or Fanny Mendelssohn in the nineteenth century, increasingly we have such ventures as “Project W,” a collection of compositions, newly written by feminist composers, or the buzz surrounding the rediscovered music of black woman composer Florence Price (1887-1953) who satisfies both criteria: female and black.
       Now, I happen to enjoy the music of Price. She skillfully integrates various folk themes and traditional melodies into her compositions (notably her several symphonies), somewhat like what Antonin Dvorak did with his famous “New World Symphony” (No. 9), with the use of the “Goin’ home” theme in the Largo movement.

“Juba Dance,” from Florence Price, Symphony no.1
      
       But Price, for all her genuine musical talent and felicities, is not Dvorak. And although her output is colorful and musically entertaining, one wonders if she had been a white male would she be getting the same notice and present-day fame?
       Indeed, such well-versed critics as David DeBoor Canfield in the prestigious Fanfare magazine (July/August 2019) admit that too many contemporary (and progressive) writers are “way over the top in finding her music to be superior to that of any of her contemporaries (including Gershwin and Copland).”
       It’s not.
       It is enjoyable and estimable in its own right, and I am pleased that it is being programmed and broadcast. But we do not have here another Howard Hanson or Carlisle Floyd, much less a new Beethoven—who, if memory serves me, were white males and within the classical tradition.
       The fairest evaluation of Price’s music I have seen came back in 2001, in the same venue as Canfield’s review but nineteen years previously, perhaps in less oppressively “woke” times than now when every word in every Twitter message is held up for severe judgment on its strict obedience to advancing progressivist norms. As critic Michael Fine wrote:
Her orchestral music . . . is workmanlike but rarely inspired. There are sweet and expressive moments, notably in the Grieg-like slow movement of the Third Symphony, but the music meanders excessively. Promising moments . . . never deliver. Her scoring is occasionally effective, mainly while setting traditional music such as Deep River in the Mississippi River Suite, but even here she offers few new insights into these remarkable melodies. The Mississippi Suite bears a superficial connection to Delius's Florida Suite and Appalachia with its descriptive sounds of the river and riverbank life. Yet Price lacks the English composer's genius and intuitive understanding of natural landscape's musical shape.
       That verdict could be extended generally to dozens of other composers and musicians who happen to be black or female, or perhaps transgender or lesbian. It represents a substantive judgment on the new template—the irresistible narrative—of the profession and what passes for intellectual thought on the pages of journals concerning the performance arts. And eventually it affects us all.
       The overriding goal of the cultural revolutionaries in music is to utilize the musical inheritance of our civilization ideologically as a means to transform society. A new history must be created. In this narrative unfamiliar composers must be highlighted, others re-imagined or re-interpreted, not for the excellence of the composer or his or her works, but for the greater objective of power and cultural dominance in society. And some works, beyond the pale, must simply be suppressed.  Gone from view, gone from memory.
       Although I am certain that Florence Price, were she alive today, would be gratified by the attention she is finally getting, I doubt she would care for some of the reasons for it.
       The post-Marxist nihilist revolution places our artistic heritage in peril, radically restructures our expression in the service of ideology. And as a result threatens to rob us of the beauty, richness, and grandeur of two millennia, and replace it with the barren straight-jacket and the ideological mentality of the Gulag Archipelago.
       The battle for our cultural heritage remains to be fully joined. If we do not, we and it are lost.

________________________
Boyd D. Cathey was educated at the University of Virginia (MA, Thomas Jefferson Fellow) and the Universidad de Navarra, Pamplona, Spain (PhD, Richard M. Weaver Fellow). He is a former assistant to the late author Dr. Russell Kirk, taught on the college level, and is retired State Registrar of the North Carolina State Archives. Has published widely and in various languages and is the author of The Land We Love: The South and Its Heritage (2018). He resides in North Carolina.





 

 

 

 

 

 

 

 

 

 

Tuesday, September 1, 2020

September 1, 2020

MY CORNER by Boyd Cathey

Tucker Carlson Nails It: The Violence, Lies,             and What’s At Stake  

And More on George Floyd and Kyle Rittenhouse

Friends,
Tucker Carlson has, once again, done a great service for the American citizenry—if only more of us could have seen and heard his memorable seventeen minute monologue (with accompanying video segments) from August 31.

In few words Carlson summed up where we are exactly in the current maelstrom of violence—the unhinged and frenzied radicalism and revolution unleashed in America.  And in so doing he pinpointed with precision (and at times irony) the dire situation that this country finds itself in and the supreme importance of the upcoming November election.

He began with an acute and powerful on-air critique of Joe Biden. But Carlson went far deeper, focusing on the underlying forces at work which are feverishly laboring to not only defeat the president, but dramatically and completely root out and destroy the traditions and culture that have shaped both America and Western Christian civilization.

As is their practice, the Democrats and the Mainstream Media, including some on Tucker Carlson’s own network, Fox News, have been engaged in a form of intellectual projection. That is, if you are guilty of something, then you accuse your opponent of being culpable of that very same thing. Thus, Joe Biden in Pittsburgh (August 31), accused President Trump of causing the riots and looting, of being responsible for the violence in dozens of Democrat-controlled cities: Shift the guilt, and then if the newly-accused “culprit” complains or resists the charge, call him a racist. And too many times—and with too many Republicans—it works.

Then, there is the willingness of many in the media (including some at Fox) to assume the worst—without the evidence—if in a violent confrontation a policeman or white Trump supporter is involved.  On Fox’s “America’s Newsroom,”  September 1, without any challenge, the Fox journalist allowed a Democrat spokesman to outrageously distort the narrative of the recent situation involving young (and white) teenager Kyle Rittenhouse in Kenosha, Wisconsin.

Rittenhouse, according to court documents (conveniently never cited by nearly the entirety of the media):

 …is the 17-year-old who drove to Kenosha with a shotgun where he helped defend local businesses from rioters and even offered medical assistance to far-left rioters who were hurt during the protests. He’s also the young man who shot three people during the riot, and while the media has gone into overdrive condemning him as a white supremacist murderer, court documents suggest it was actually self-defense.

Tucker Carlson interviewed Rittenhouse’s attorney, again on the August 31 program. Here is the short video interview as it appeared on the Carlson program. You won’t hear about this on CNN, on MSNBC, or at NBC, CBS, ABC, or in The New York Times or Washington Post…or on your local media outlets. In other words according to the fake media Rittenhouse is guilty—the evidence that exculpates him be damned—time to string him up and execute him (actually, Antifa/Black Lives Matter militants are apparently now trying to find where he is being held on “murder” charges so they might go and do just that…Where are our law enforcement agencies?).

And another word about the George Floyd death (excuse me! I mean “racist police murder”). Columnist Ilana Mercer has done an excellent job of dissecting that claim, and I pass on a link to her must-read column here.  Moreover, newly-released court documents strongly indicate that, unlike what we hear every day on every network, Floyd died due to “fatal levels” of the drug fentanyl in his system:

…a law enforcement interview with Dr. Andrew Baker, the Hennepin County Medical Examiner, say[s] Floyd had 11 ng/mL of fentanyl in his system. ‘If he were found dead at home alone and no other apparent causes, this could be acceptable to call an OD. Deaths have been certified with levels of 3,’ Baker told investigators. In another new document, Baker said, ‘That is a fatal level of fentanyl under normal circumstances’.”

There is so much more, so many more incidents and events—mostly not covered or downplayed like the recent CNN headline that the violence and looting in dozens of cities was “fiery but mostly peaceful” (with the background of an incinerated building torched by “peaceful demonstrators"?).

Here is the opening monologue for Tucker Carlson Tonight (August 31). It lasts for about seventeen minutes, but it is worth that amount of your time. Please view it and encourage others (including any liberal friends, if you still have any) to watch it:


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