Category Archive 'Racial Politics'
05 Jul 2020

A Modest Proposal

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Nebal Maysaud

Now here is something downright exceptional from last year.

Nebal Maysaud (a Lebanese composer of the Sodomitical persuasion) complains that Western Classical Music oppresses persons of color and colonizes Third World cultures operating as an agent of cultural change. All this is the fault of Capitalism. (Personally, I thought most of the really good Classical Music was created by the patronage of pre-capitalist monarchs and aristocrats. Prince Esterhazy did not engage in trade.)

There comes a point in some abusive relationships where the victim wakes up out of their Stockholm syndrome and learns that they need to plan an escape. As you communicate with others and you get a taste of freedom, you learn that the force you thought was protecting you is in truth keeping you in danger.

For those who haven’t encountered abusive relationships, you may support the abuser, or wonder why the victim doesn’t just leave. But you don’t know what it’s like to live in a world where you can’t tell truth from myth.

For the victims who aren’t ready, you may have an urge to push away those of us seeking to help you and stay with your abuser, believing them to be a source of protection.

Unfortunately, not everyone can escape. But having the knowledge that your abuser is an abuser itself can be freeing. It can help you find the next step in your journey towards liberation. But you need a community to fall back on. You need people to talk to so that they can keep you safe, so that they can help you understand the truth, and so that they can teach you the abuser’s techniques and how to fight them.

My fellow musicians of color: it is time to accept that we are in an abusive relationship with classical music.

In my previous articles, I laid out my experiences and reasoning for coming to this conclusion. I started with “Am I Not a Minority?” to explain the everyday racism people of color experience and how it manifests on an institutional level. If you haven’t read it already, I encourage you to explore how institutions uphold their power by choosing which minorities to give access to.

The few scraps given to minorities are overwhelmingly white–occupied by white cisgender women or LGBT+ individuals. The few PoC who are given access to institutional space are most often light skinned and non-Black while also exoticised and tokenised.

And that led me to my second article, “Escaping the Mold of Oriental Fantasy“–a personal history of isolation and colonization, of how Western classical music participates in the act of destroying culture and replaces it with its own white supremacist narrative.

Finally, I shared my attempts at reviving my culture and my tradition, along with the barriers I faced on this journey. My third article, “I’m Learning Middle Eastern Music the Wrong Way,” chronicles the difficulties (and the near impossibility) of engaging with my own cultural musical practices in a proper, authentic way.

From three angles I shared my attempts at being an authentic composer. These articles bring to light the many ways in which the dreams of low-income people of color are obstructed in the Western classical tradition.

Western classical music is not about culture. It’s about whiteness. It’s a combination of European traditions which serve the specious belief that whiteness has a culture—one that is superior to all others. Its main purpose is to be a cultural anchor for the myth of white supremacy. In that regard, people of color can never truly be pioneers of Western classical music. The best we can be are exotic guests: entertainment for the white audiences and an example of how Western classical music is more elite than the cultures of people of color.


After the Revolution, you see, a benevolent Central Committee will see to it that persons of color, like Nebal here — and whites as well (!) –, are amply funded to produce music in their native cultural traditions. Everyone will be liberated!

Unless, of course, the State is having production problems, and all those aspiring creatives are marched off to labor camps to mine salt.

02 Jul 2020

It’s Easy to Lose Your Job and Reputation In a Time of PC Hysteria

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NY Post story

In this time of Cancel Culture, not all exhibitions of self-indulgent racial melodrama win Pulitzer Prizes. This recent Harvard grad posted the above rant on TikTok, and was consequently fired by Deloitte.

Their HR Department, alas! poor girl, took her rather-extreme metaphor literally as a “threat.” I’m sure that she actually had no intention of stabbing anyone, but her personal participation in contemporary group psychosis does have plenty of unfortunate real world consequences.

The African-American pattern of persecution fantasy functions to justify unearned and undeserved favoritism and privilege as “compensation.” It operates as an excuse for the suppression of free speech and honest debate. And it fuels a demented and overwheening self-importance, persuading silly people that they are special and specially-entitled on the basis of historical victimhood, that nobody has suffered as they’ve suffered (and are still suffering!) and nobody else can possibly compete in status and entitlement and nobody else can possibly understand how they’ve suffered (and are still suffering!). Being the ultimate entitled victim and at the same time a haute bourgeois elite Ivy League graduate is nice work if you can get it.

Fueling and participating in this nonsense is intellectually dishonest and socially and politically destructive. This fantasy corrupts society, fosters limitless injustice, and sews bitter divisiveness. Stupid people, even some who did not go to Harvard, will swallow this feel-good, addictive poison and proceed to act on it. Last year, just for instance, 23-year-old Temar Bishop raped and beat a 20-year-old white college student to avenge his historical group grievances.

Bronx Justice News:

She was a white girl. She deserved it because us minorities have been through slavery.”

“This is what they used to do to us,” he allegedly told the witness, according to the criminal complaint. “This is what they did to us during slavery. They used to beat us and whip us.”

The victim suffered a broken nose and teeth, and vomited blood after the attack.

I thought it was sad that she lost her job for a private opinion and because her figure of speech was taken literally, but there is the consolatory thought that she obviously would not feel a bit sorry if the shoe were on the other foot, and some opponent of her Racialist Agitation had his career carpet-bombed due to some social media indiscretion. On the contrary, I have every expectation that she would gloat.

27 Jun 2020

Poor, Poor Pitiful Black Girl

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Caroline Randall Williams

The New York Times publishes the worst nonsense these days. Yesterday, for instance, they served up this spectacular exercise is self-pity from Affirmative Action poet Caroline Randall Williams.

I have rape-colored skin. My light-brown-blackness is a living testament to the rules, the practices, the causes of the Old South.

If there are those who want to remember the legacy of the Confederacy, if they want monuments, well, then, my body is a monument. My skin is a monument. …

I am a black, Southern woman, and of my immediate white male ancestors, all of them were rapists. My very existence is a relic of slavery and Jim Crow.

According to the rule of hypodescent (the social and legal practice of assigning a genetically mixed-race person to the race with less social power) I am the daughter of two black people, the granddaughter of four black people, the great-granddaughter of eight black people. Go back one more generation and it gets less straightforward, and more sinister. As far as family history has always told, and as modern DNA testing has allowed me to confirm, I am the descendant of black women who were domestic servants and white men who raped their help.

It is an extraordinary truth of my life that I am biologically more than half white, and yet I have no white people in my genealogy in living memory. No. Voluntary. Whiteness. I am more than half white, and none of it was consensual. White Southern men — my ancestors — took what they wanted from women they did not love, over whom they had extraordinary power, and then failed to claim their children.


Obviously, the author knows no such thing. history is complicated, far more complicated than imaginary ideal grievance narratives can possibly reflect.

When Henry Louis Gates, on the popular PBS television program Finding Your Roots, looked into the genealogies of African Americans, with massive funding and plenty of professional research assistance, he found one black family that had been free immemorially right back to the 17th century (Tonya Lewis Lee‘s paternal line — Season 4, Episode 6).

He found several black celebrities (including Lionel Richie) descended from ancestors who received state pensions for Confederate military service. He also found one person was descended from a white Confederate soldier who lived, in complete defiance of the mores of the time, with a black woman as man and wife.

Reducing, in the fevered left-wing imagination, all amorous relations between representatives of different races to rape simply travesties reality.

We know from countless depictions of Antebellum Life in the Southern States that African American house servants lived essentially as members of their owners’ extended family. White children were raised by black Mammies, and white and black children grew up as playmates and friends. So, with millions of people living in such intimate and affectionate contact, do you really think that mutual sexual attraction never occurred?

Obviously, it did, because, despite powerful social taboos, some white men really did simply defy Society and live with women of color.

Beyond that, of course, not all African Americans grew up to be pillars of the community and a credit to their race. There was obviously a black underclass way back when, just as there is today. Mixed racial descent could possibly result from the unintended consequences of the practice of the Oldest Profession. Rather than some cruel rapist master, Caroline Randall Williams’ white ancestor may simply have been a lonely chap who wandered off into the sinful part of town one Saturday evening while celebrating.

Of course, it is true as well that current African American hysterical complaints about what they imagine occurred more than a century and a half ago, in addition to lacking a serious factual foundation, are patently ridiculous simply due to the great distance and remoteness of the supposed events.

What happened to your fourth or fifth times great grandparent obviously has very small connection to you. Everybody, white or black or whatever, has some potential historical sob stories. A major portion of today’s US population (including myself) has no ancestors present during, or before, the War Between the States. If Simon Legree, with lascivious intent, chased Little Nell across those ice flows, I had nothing to do with it.

Actually, if we go back before 1850, the ancestors of a lot of white Americans were, if not actual serfs, still peasants with a labor obligation to a socially superior landlord and no meaningful rights.

Caroline Randall Williams, do us all a favor and grow up and get over yourself. Black America’s constant whining and complaining, its excessive chauvinism and racial animosities have a lot to do with the violence and crimes perpetrated by its lower class representatives. It’s long past time to stop all this.

24 Jun 2020

How Much Exactly Do They Owe You?

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Jelani Cobb.

Fat cat Columbia Journalism School prof, New Yorker writer, endless beneficiary of racial favoritism and diversity hiring, Jelani Cobb who makes a terrific living typing out fantastical complaints and brazen expressions of ethnic chauvinism dashed off a little piece in Slate, commenting bitterly in support of the recent rebellion of Woke minority hires at the New York Times.

As protesters take to the streets to demand a reckoning with police brutality and systemic racism, the journalists tasked with covering those protests have taken to social media to demand a reckoning of their own. Journalists of color, most of them Black, have shared their experiences with pay inequity, discrimination, and hostile management at media companies like Refinery29, the New York Times, Complex, and Bon Appétit—leading to decades-late mea culpas and high-level departures across the industry. At the heart of the conversations playing out in newsrooms across the country is the double bind that Black journalists find ourselves in: We’re expected to do our jobs along with the additional, unpaid, and invisible work of making our workplaces more equitable. We’re labeled as “affirmative action hires,” solicited as sensitivity readers for others’ work, and enlisted as diversity consultants for our newsrooms, all while we cover the deaths of people who look more like us than our colleagues do.

How much extra do you suppose the establishment organs that performed all sorts of intellectual acrobatics to justify awarding special platforms and positions to pseudo-educated tokens and paying them professional salaries to produce this kind of tripe need to add to make up for all that “additional, unpaid, and invisible work of making [the] workplaces more equitable”?

19 Jun 2020

Strunk & Black!

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Kyle Smith records a particularly impressive recent case of microaggression.

[A] particularly stupefying incident that may have escaped your attention illustrates how confidently race-based hysteria stalks the landscape. A young black employee at Condé Nast quit her job and stormed out the door after her white boss gave her a copy of America’s beloved writing guide The Elements of Style.

First published in 1918, the slender book was written by William Strunk Jr., then overhauled and expanded by E. B. White in 1959. Generations of students and writers have kept well-thumbed copies of Strunk and White, as the revised work is commonly known, by their desks. As of 2016, a database that tracks these things found that it was the single most-often-assigned text in college syllabuses. “I’ll tell you right now that every aspiring writer should read The Elements of Style,” Stephen King once wrote, failing to notice that the first six words of this sentence are superfluous, indicating neglect of Strunk and White’s famous injunction, “Omit needless words.”

Condé Nast CEO Roger Lynch, who avers that he is making every effort to add racial and ethnic diversity to the famously snooty publisher of Vogue and The New Yorker, once gave his executive assistant, Cassie Jones, a copy of Strunk and White because he thought it would prove useful to her. White is strongly associated with the company, having written extensively for The New Yorker, where the clean, lucid Strunk-White style has always been the model. It was a New Yorker essay in praise of Strunk’s original book that led to White’s being commissioned to revise it. Half a century or so later, the collaboration has sold some 10 million copies. Any reasonable person would have replied with thanks rather than hostility.

Yet Jones quit days later in a huff, leaving the book on the CEO’s desk as she did so. She considered the gift “insulting,” according to a New York Times report. “With its suggestion that her own language skills were lacking, the gift struck Ms. Jones as a microaggression,” informed sources told the Times. Stunned, Lynch told the paper, “I really only had the intention — like every time I’ve given it before — for it to be a helpful resource, as it has been for me. I still use it today. I’m really sorry if she interpreted it that way.”

Assuming that’s all there is to this story, the young assistant looks like an unfortunate example of the kind of fragile, self-sabotaging young adult our colleges are sending out into the workplace. Our campuses turn young people into cultural hemophiliacs who, if someone bumps into them on the sidewalk, are likely to rupture a blood vessel and bleed out. Having spent four years being coached on the perniciousness and prevalence of “microaggressions,” with platoons of campus diversity guardians vowing to champion them in every micro-dispute, young people have learned to look for slights everywhere.

Cassie Jones quit the most prestigious magazine-publishing company in America because she was insulted by being given a common style guide. She was confident enough in her status as a victim that she told others about this. And on her way out the door, she dropped the book on her boss’s desk as a symbol of her grievance. A moment’s research would have provided her with ample evidence that millions of people have kindly given, and gratefully accepted, this elegant and useful little book.


But he does not actually do the story full justice, as he stopped with the NYT’s account.

He really needed to dig deeper and read the Business Insider original story.

Lynch was brought on as Condé Nast’s CEO in the spring of 2019. Cassie Jones, a Black woman, worked for Lynch for four months during his tenure. Jones had over 10 years of experience as an executive assistant when she was hired in July 2019, but her position at Condé was her first time working for a global CEO.

“It was a really proud moment,” Jones told Insider of getting hired for the role.

But the position wasn’t exactly what she thought it would be. By the fall, Jones has reached what she described as a breaking point. “Little things had happened that made me question if this was the right fit for me,” she said, adding that she felt anxious every day at work.

Things came to a head on November 20, according to Jones. Lynch asked Jones to come into his office, and he gave her “The Elements of Style” by William Strunk Jr. and E.B. White, a guide to standard English typically used for writing. Lynch said Jones could “benefit” from reading it, according to three people with knowledge of the situation who spoke to The Times.

As he gave her the book, Jones told Insider that Lynch referenced a few emails in which Jones had made minuscule grammatical errors. According to Jones, Lynch then told her that she represented him and his office, implying that her language skills needed improvement if she was going to continue to work for him.

According to The Times’ sources, the incident “struck Jones as a microaggression,” though she told Insider that she wasn’t familiar with the term until a week ago. “To say it was insulting is not even the right word,” Jones said of Lynch giving her the book. “I had lost my confidence as a person and as a worker. And I’ve worked for a lot of people. I’ve never had someone do something like that.”

Jones said she went to the company’s HR department the same day to complain about the incident. She then quit within a week of Lynch giving her the book, leaving it on his desk before she left the office. …

Jones also said she’s never had a manager complain about her communication skills until she started working for Lynch, adding that her coworkers often call her the “people whisperer” because of her way of making everyone around her feel at ease. …

Despite the negative aspects of her experience at the company, Jones told Insider she’s grateful for her time at Condé Nast. “I feel like it made me stronger and made me see my worth,” she said. “I’m more confident in myself and my work, and I thank him for that,” she added of Lynch.

There you have it. A normal person given The Elements of Style would read through it, and see the book as a helpful tool for improving their writing skills. An African American who has emerged from today’s American educational system loaded with entitlement and flowing over with self-esteem is liable to perceive suggested improvements in grammar, usage, and style as slights upon Ebonics and an insult to herself. No one would be surprised if all this leads to a lawsuit against Condé Nast.

One suspects Ms. Jones is going to find out her real worth to the business world the hard way.

18 Jun 2020

That Explains It

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16 Jun 2020

The Thomas Piketty of Milwaukee

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16 Jun 2020

Thought of the Day


13 Jun 2020

Today’s World is Run by Dolts

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Paris Review’s first issue, Spring 1953, cost 75¢.

The Paris Review was founded in 1953 by three literary-minded American graduates of elite schools (M.I.T., Yale, and Harvard).

William Styron wrote an editorial statement on the new quarterly’s intentions:

    The Paris Review hopes to emphasize creative work—fiction and poetry—not to the exclusion of criticism, but with the aim in mind of merely removing criticism from the dominating place it holds in most literary magazines. […] I think The Paris Review should welcome these people into its pages: the good writers and good poets, the non-drumbeaters and non-axe-grinders. So long as they’re good.

That was then; this is now.

The latest issue of the Paris Review, June 8, 2020, features an editorial titled, Let It Burn, by one Robert Jones, Jr.

The United States of America is, by its very nature, anti-Black.

It isn’t the only anti-Black nation and it isn’t only anti-Black (it also despises the Indigenous, the queer, the trans, the poor, the disabled, and many others). But anti-Blackness is, indeed, the American fact. The nation was constructed on the notion that white people are the only fully human beings on earth, and that humanity exists on a spectrum that moves from the “purity” of whiteness to the “impurity” of Blackness. This isn’t merely some abstract idea; it’s the foundation of every American institution and what animates every American person. It’s what allows, for example, the American media to uphold the pretense that pro-Blackness and anti-Blackness are equal moral propositions or that there can ever be “both sides to the story” when it comes to a state agent murdering a Black person. …

That is the beauty of these uprisings—which are happening in all fifty states; Washington, D.C.; Puerto Rico; and all around the world, joined, surprisingly, by non-Black people who I can only imagine could no longer suffer under the strain of the guilt that is their blood memory (but not only memory). They hint at the possibility of Black liberation. It will not be achieved, of course. The United States of America would unleash the full fury of its military might upon its own citizens before it would allow that to happen. An America without its proverbial knee on the necks of the Black populace is not America at all. And that is their greatest fear: the collapse of all they hold sacred, which is held together, really, by the fiction that Black people are not people.

We must resist even if defeat is imminent.

I don’t believe we will be liberated from the American regime through superficial and incremental reforms (do you reform a lynch mob by giving them a willow tree instead of a sycamore from which to condemn the hanged?). That is the sacred knowledge that Assata Shakur prophesied for the flock to receive. What is required is a reevaluation, a dismantling. And no nation will go down quietly—especially not one whose character is no different than that of a tick, sucking the blood of the warm body to which it has attached its mandibles until it’s engorged, leaving disease in its wake. When I was a child, I was told that one way to remove a tick was to light a match and hold it near.

So, the reader might suppose that the author is a poor, constantly persecuted minority, living in fear, forced to do hard labor, and surviving barely above starvation level in some hovel.

Not really. Robert Jones, Jr. is actually a comfortable haute bourgeois homosexual living in Brooklyn, writing for ethnic magazines and the New York Times, and travelling nationally and internationally.

He got a B.F.A. and an M.F.A. at Brooklyn College, and he has a literary agent and his first novel will be being published by Putnam’s next January 5th.

This particular “editorial” is, of course, one of countless pieces of current African-American political manifestos comprised of totally hyperbolic, utterly paranoid, self-indulgent, malicious, fantastical nonsense, peddling limitlessly inflated historical grievances and expressing the most pernicious, offensive and insolent sorts of racial animosity and group chauvinism.

Reading it the second time, in the light of my just-acquired familiarity with the author’s bio, I could not help but smile, as I recognized that all this hypertrophied ebullition of hysterical complaint and rabid racial hatred was nothing real at all.

All this essay is is a classic example of over-the-top homosexual self-indulgent emotional dramaturgy. The homosexual struggles with identity and views the world in terms of theatrical scenes and roles. Mr. Jones is not really oppressed. Black blood is not really flowing down his gentrified Brooklyn street. Mr. Jones does not really hate America or hate white people. He is just pouring all of his ever-too-available emotional energy into a role: the role of the Angry Black Man.

Take that, whitey! You were afraid that the Big Bad Black Man was going to start the Revolution, waving a machete, and coming after you with a big Kalashnikov. In reality, if you looked Robert Jones, Jr. in the eye, and cried: Boo! The fierce guerilla fighter would instantly wilt and melt into tears.

So, the question becomes: how naive, how stupid, how infantile has the elite American establishment become when the editor of Paris Review cannot distinguish a ridiculous piece of homosexual role-playing fantasy from a serious statement of supposed factual observation and political analysis and intent?

10 Jun 2020

Gone With the Woke

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The international hysteria over the unfortunate death of “Five-Felony-Convictions” George Floyd has produced the last straw we could all see coming: HBO-Max is pulling “Gone With the Wind” (1939) from circulation. GWTW will be joining “Song of the South” (1946) and television’s “The Amos and Andy Show” (1951-1953) on the Index Prohibitorum. Though HBO does claim the film will return in a redacted version carefully denouncing all of its sins against politically correct history. (Hollywood Reporter:)

Long considered controversial for its depiction of Black people and its positive view of slavery, Gone With the Wind faced renewed scrutiny after an op-ed by 12 Years A Slave screenwriter John Ridley published in the Los Angeles Times on Tuesday. In the op-ed, Ridley called on HBO Max to “consider removing” Gone With the Wind from its platform as the film had its “own unique problem.” “It doesn’t just “fall short” with regard to representation. It is a film that glorifies the antebellum south. It is a film that, when it is not ignoring the horrors of slavery, pauses only to perpetuate some of the most painful stereotypes of people of color,” Ridley wrote.

He added: “It is a film that, as part of the narrative of the “Lost Cause,” romanticizes the Confederacy in a way that continues to give legitimacy to the notion that the secessionist movement was something more, or better, or more noble than what it was — a bloody insurrection to maintain the “right” to own, sell and buy human beings.”

HBO Max said Gone With the Wind will eventually return to the service with a “discussion of its historical context and a denouncement of those very depictions” of Black people and slavery.

In a statement to The Hollywood Reporter, a HBO spokesperson said: “Gone With The Wind is a product of its time and depicts some of the ethnic and racial prejudices that have, unfortunately, been commonplace in American society. These racist depictions were wrong then and are wrong today, and we felt that to keep this title up without an explanation and a denouncement of those depictions would be irresponsible. These depictions are certainly counter to WarnerMedia’s values, so when we return the film to HBO Max, it will return with a discussion of its historical context and a denouncement of those very depictions, but will be presented as it was originally created, because to do otherwise would be the same as claiming these prejudices never existed. If we are to create a more just, equitable and inclusive future, we must first acknowledge and understand our history.”

GWTW is wrong, you see, because it takes the former (now-discredited in Academia by Marxist revisionist historians) national consensus view that the South was Wrong But Romantic, fighting for a fore-doomed cause that would inevitably fail, but that Southerners’ motives were patriotic and sincere, and their conduct gallant. Even worse, GWTW portrays happy African American servants exercising plenty of domestic power and responsibility and treated as members of the family. And, on top of that, they have quaint accents, speak in distinctive and amusing vernaculars (condescension!), and all the prominent ones remain loyal to their white family, even after Emancipation! HBO knows that all this is morally unconscionable and must be factually dead wrong. Eric Fone and Ta-Nehisi Coates told them so.

Margaret Mitchell’s portrait of the Lost Antebellum South, of course, was produced by a woman born in 1900, old enough to have known personally, lived beside, and heard all her life the reminiscences of the older generation which actually lived before, fought in, and survived both the War and the glorious, now so-deeply-regretted to have ever ended, Reconstruction Period. She couldn’t possibly be right. Those Marxist historians know better.

06 Jun 2020

New York Mag Has Andrew Sullivan Hog-Tied and Muzzled in the Closet

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The once-conservative Andrew Sullivan is now paying the turncoat’s price. New York Magazine pays his salary presently, and it has become clear that New York Magazine is keeping Andrew muzzled and on a tight leash.

There is, you see, always some danger that Andrew may reflexively lapse and produce an honest and well-reasoned appraisal of current events. This week’s current events consist of nation-wide violence and looting produced by well-financed and well-organized radical agitation, abetted by the national media, with the death of “Five Felony Convictions” George Floyd while in the hands of the police as the pretext.

Andrew will fight like a tiger for the honor of Sodomy, and he ankle bites real conservatives like a hydrophobic chihuahua but, even Andrew has to live, and he would transgress the Left’s sacred taboos concerning racial grievance at his own peril. That comfortable seat at the Establishment Table comes with a price: his integrity, his soul.

(Cockburn, at the Spectator, is mercilessly derisive.)

What has happened to New York media? Just as the New York Times was experiencing its own Inner Mongolia Moment over the now notorious Sen. Tom Cotton ‘Send in the Troops’ op-ed, the Maoists at New York magazine were going after their best columnist, Andrew Sullivan.

Sullivan revealed on Twitter yesterday that his column wouldn’t be appearing. The reason? His editors are not allowing him to write about the riots.

What has happened to New York media? Just as the New York Times was experiencing its own Inner Mongolia Moment over the now notorious Sen. Tom Cotton ‘Send in the Troops’ op-ed, the Maoists at New York magazine were going after their best columnist, Andrew Sullivan.

Sullivan revealed on Twitter yesterday that his column wouldn’t be appearing. The reason? His editors are not allowing him to write about the riots.

Presumably Sullivan’s editors are frightened that he might make the radically bourgeois point that looting and violence are wrong.

Cockburn understands that Sullivan is not just forbidden from writing for the New York magazine about the riots; his contract means he cannot write on the topic for another publication. He is therefore legally unable to write anything about the protests without losing his job — at the magazine that, in 1970, published Radical Chic, Tom Wolfe’s brilliant and controversial excoriation of progressive piety. It’s the bonfire of the liberals!

Who cares about the First Amendment? Not the Maoists who are marching through NYC’s media institutions. Safetyism is their creed. Sullivan may be a very small ‘c’ conservative, in some ways, but he is really a committed liberal — an Obama-loving gay man who thinks that Trump’s ‘dangerous fantasies’ threaten America. …

Sullivan, a source close to New York magazine reveals, has to have his work vetted by sensitive junior editors to make sure it doesn’t trigger them. If it passes their sniff testing, it can be published.


04 Jun 2020

The Ethnicity of Looting


I was accused of racism on Facebook for observing that disproportionate attention by police to African Americans was a natural result of the disproportionate commission of crimes by members of that group. Condemning “racial profiling” essentially amounts to contending that applying Empiricism to police work is morally wrong. My liberal interlocutor actually denied that any group was more prominently involved in the recent incidents of looting and brutal violence than any other group, which seems preposterous to me.

Just for the record, Instapundit commenter Pierre Legrand compiled more than 70 short video clips from all over the country. Judge for yourself.

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