Category Archive 'Ressentiment'
20 Dec 2020
The New York Post reports that Dalton may be about to go Woke and therefore go broke.
One of NYC’s poshest private schools is in an uproar over an anti-racist manifesto signed by dozens of faculty members with a sweeping list of demands.
The Dalton School — which boasts stars Anderson Cooper, Christian Slater and Claire Danes as alumni — is wrestling with eight pages of “proposals” to overhaul the staffing, curriculum and treatment of black students.
Yearly tuition for grades K-12 at the Upper East Side institution is $54,180 a year.
The proposals — first reported this week by The Naked Dollar blog — grew out of the George Floyd police-brutality protests and long-simmering student complaints of racism at the prestigious school.
But some parents say the backlash has become oppressive.
“My ancestors experienced white supremacy by being slaughtered,” a Jewish parent told The Post. “The idea that being white automatically means you are privileged or a white supremacist is ridiculous. My child comes from people who had to fight for everything they got.
“It’s just about skin color now.”
Those who disagree remain silent, the insider said. “Parents are terrified to speak up for fear of retribution. Parents are acting like spineless wimps.”
One Dalton father, who said he’s removed his children from the school as a result of the manifesto, said Dalton “has totally failed in its mission to uplift the very people it professes to help.
“It’s completely absurd and a total step backwards,” the father, who did not want to be identified, told the Post.
“This supposed anti-racist agenda is asking everyone to look at black kids and treat them differently because of the color of their skin,” he said. “The school is more focused on virtue-signaling this nonsense than it is in actually helping students of color. More parents are going to be pulling their kids out.”
The wide-ranging faculty demands include:
Hiring 12 full-time diversity officers, and multiple psychologists to support students “coping with race-based traumatic stress.”
Assigning a staffer dedicated to black students who have “complaints or face disciplinary action,” and a full-time advocate to help black kids “navigate a predominantly white institution.”
Paying the student debt of black staffers upon hiring them.
Requiring courses that focus on “Black liberation” and “challenges to white supremacy.”
Compensating any student of color who appears in Dalton promotional material.
Abolishing high-level academic courses by 2023 if the performance of black students is not on par with non-blacks.
Requiring “anti-racism” statements from all staffers.
Overhauling the entire curriculum, reading lists and student plays to reflect diversity and social justice themes.
Divesting from companies that “criminalize or dehumanize” black people, including private prisons and tech firms that manufacture police equipment or weapons.
Donating 50 percent of all fundraising dollars to NYC public schools if Dalton is not representative of the city in terms of gender, race, socioeconomic background, and immigration status by 2025.
Dalton officials said the document is just “a set of thought-starters created last summer by a group of faculty and staff responding to Dalton’s commitment to becoming an anti-racist institution.
“The school does not support all the language or actions it contains.” it added.
“Dalton’s commitment to diversity, equity, inclusion and anti-racism is grounded in our deep appreciation for the dignity of all community members, an understanding of differing life backgrounds, empathy for one another, and the ability to engage and listen with respect across differences,” the school said in a statement to The Post.
But Naked Dollar blogger Scott Johnston, who first revealed the manifesto Thursday, said of the demands: “Dalton’s teachers are refusing to come back until they are met.”
The Dalton spokesman rebutted, “We’re expecting all teachers to return after winter break.”
Johnston — the author of “Campusland,” a humorous novel about the “woke” college climate — said the “meltdown” at Dalton reflects the angst and self-imposed guilt of elite private schools across the country. …
the Dalton parent who spoke to The Post predicted that 30 to 40 percent of parents of kids in the Class of 2025 will pull them out of the school and transfer them as a result of the manifesto.
Making the situation more tense, some Dalton parents are fuming over the school’s resistance to reopening classrooms since the COVID-19 outbreak, remaining fully remote while other private and public schools have resumed some or all in-person instruction.
07 Dec 2020
The Virginia Military Institute began work Monday to remove a prominent statue of Confederate Gen. Thomas “Stonewall” Jackson, an effort initiated this fall after allegations of systemic racism roiled the school.
A crew was inspecting the statue at the public military college in Lexington, poised to haul away the figure of Jackson that some cadets were required to salute until several years ago. A small crowd gathered amid snow flurries to look on.
VMI’s board voted to remove the statue in late October after The Washington Post published a story that described an “atmosphere of hostility and cultural insensitivity” at VMI. …
VMI’s board voted to remove the statue in late October after The Washington Post published a story that described an “atmosphere of hostility and cultural insensitivity” at VMI. …
The Post’s story also led to the ouster of VMI’s superintendent, retired Army Gen. J.H. Binford Peay III, and prompted state officials to commit to hiring an outside firm to investigate the students’ allegations.
The statue had been a subject of controversy for years, but the school had committed to keeping it in place in front of VMI’s historic barracks as recently as July. VMI said it will be relocated to a nearby Civil War museum at a battlefield where dozens of VMI cadets were killed or wounded.
Amid a wave of Confederate monument removals around the country in the wake of George Floyd’s killing in Minneapolis, some VMI students and graduates called for the statue’s removal.
Peay said at the time that the school would change some of its longstanding traditions, such as relocating an oath ceremony from the Civil War battlefield. But he said it would not remove the statue of Jackson, who owned enslaved people, or rethink the names of buildings honoring Confederate leaders.
“Unlike many communities who are grappling with icons of the past, VMI has direct ties to many of the historical figures that are the subject of the current unrest. Stonewall Jackson was a professor at VMI, a West Point graduate who served in combat in the Mexican War, a military genius, a staunch Christian, and yes, a Confederate General,” Peay wrote in July. …
Since Peay’s departure, VMI announced Cedric Wins, a retired U.S. Army major general, will serve as its interim superintendent. Wins will be the first Black leader to serve in that role. The school’s board has also committed to other changes, including creating a permanent diversity office.
Wins said in a statement on Monday that “it is an understatement to say the relocation of the statue has evoked strong opinions on both sides of the issue.”
“The history of VMI over the past 181 years is well documented. Stonewall Jackson’s ties to Lexington and the Institute as an instructor are part of that history,” Wins said. But “VMI does not define itself by this statue and that is why this move is appropriate,” he added.
The contemporary American establishment would rather define itself by its groveling to adolescent snowflakes with a headful of phony grievances. What an utter disgrace!
08 Aug 2020
The Daily Beast reports on academic activists rallying to the defense of the latest recognized marginalized minority.
Michael Eisen, editor of eLifeâ€”a well-regarded open access scientific journal for the biomedical and life sciencesâ€”made a joke about a humble roundworm, thereby cracking open the seventh seal and ushering forth… wormageddon. …
Most people took the joke in stride, or used it as an opportunity to spread the good word about nematodes. But the worm gang runs deep. Multiple researchers were not amused by Dr. Eisenâ€™s joke, and their responses spiraled off in increasingly disproportionate directions. Some of these were scoldings about the propriety of using the word â€œfuckâ€ in a public context, and whether â€œAcademic Twitterâ€ upholds appropriate levels of professionalism by accepting â€œfrat boyâ€ humor. One team went so far as to publicly reconsider submitting a paper to eLife. Others complained that the editor of a journal was publicly disparaging a study species. …
[A] day after Eisen had opened the can of titular worms, and amid the flood of C. elegans jokes washing around Twitterâ€”things had escalated in a bizarre direction. As mystified observers raised the question over whether C. elegans researchers were taking the whole thing a bit seriously, a small handful of researchers responded by arguing that jokes about worms were in some way equivalent to jokes about women and people of color. …
By far the most prolific poster in this vein was Ahna Skop, associate professor of genetics at the University of Wisconsin-Madison and previous recipient of a Diversity, Equality and Inclusion-based award in 2018. Dr. Skopâ€”who did not respond to a request for comment by The Daily Beastâ€”argued extensively that making jokes about worms was merely the tip of the iceberg when it came to making jokes about marginalized identities, or an example of a â€˜bystander effectâ€™, a psychological theory arguing that individuals are less likely to offer help to a victim in a crowd. (For is it not said: First they came for the worm people, and I said nothing, as I was not a worm person?)
In the resulting threads, Dr. Skopâ€”who identifies as â€œpart Eastern Band Cherokeeâ€ and â€œdisabled with EDSâ€â€”and others consistently failed to publicly respond to Black scientists like herpetologist Chelsea Connor, who tried to point out that this was a ridiculous conflation. In a private communication Connor shared with The Daily Beast, Skop doubled down, arguing that as she had previously been harmed by entrenched sexism, her concerns regarding the worm joke were justified.
17 Jul 2020
NYT Classical Music Critic Anthony Tommasini says “ensembles [need] to reflect the communities they serve, [and] the [hiring] audition process [for musicians] should take into account race, gender and other factors.”
During the tumultuous summer of 1969, two Black musicians accused the New York Philharmonic of discrimination. Earl Madison, a cellist, and J. Arthur Davis, a bassist, said they had been rejected for positions because of their race.
The cityâ€™s Commission on Human Rights decided against the musicians, but found that aspects of the orchestraâ€™s hiring system, especially regarding substitute and extra players, functioned as an old boysâ€™ network and were discriminatory. The ruling helped prod American orchestras, finally, to try and deal with the biases that had kept them overwhelmingly white and male. The Philharmonic, and many other ensembles, began to hold auditions behind a screen, so that factors like race and gender wouldnâ€™t influence strictly musical appraisals.
Blind auditions, as they became known, proved transformative. The percentage of women in orchestras, which hovered under 6 percent in 1970, grew. Today, women make up a third of the Boston Symphony Orchestra, and they are half the New York Philharmonic. Blind auditions changed the face of American orchestras.
But not enough.
American orchestras remain among the nationâ€™s least racially diverse institutions, especially in regard to Black and Latino artists. In a 2014 study, only 1.8 percent of the players in top ensembles were Black; just 2.5 percent were Latino. At the time of the Philharmonicâ€™s 1969 discrimination case, it had one Black player, the first it ever hired: Sanford Allen, a violinist. Today, in a city that is a quarter Black, just one out of 106 full-time players is Black: Anthony McGill, the principal clarinet.
The status quo is not working. 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.
Can there be any notion more preposterous, more incapable of surviving intellectual scrutiny, than today’s liberal shibboleth of “Diversity”?
Diversity requires abandonment of standards of merit, achievement, and genuine equality of opportunity, accompanied by lots of rationalizations, denial, and outright lying about what is needed to produce sufficient representation of members of various privileged victim identity groups. Note how Mr. Tommasini assures NYT readers that there is
remarkably little difference between players at the top tier. There is an athletic component to playing an instrument, and as with sprinters, gymnasts and tennis pros, the basic level of technical skill among American instrumentalists has steadily risen. A typical orchestral audition might end up attracting dozens of people who are essentially indistinguishable in their musicianship and technique.
But this begs the question: are there actually many representatives of underclass minorities in that “top tier”? Obviously, there are not, because, if there were, then blind auditions would work to achieve their hiring just fine.
Mr. Tommasini fails also to explain why “diversity” in the sense of more African-Americans in classical orchestras is an urgent problem, while massive over-representation of African-Americans in professional sports is no problem at all.
Why, I often wonder, are blacks, Mexicans and Puerto Ricans, and homosexuals important for “Diversity” but not Finns, Ukrainians, or Belgians? If the answer is that a sob story about past hardships is required, then how come Jews, Appalachian hillbillies, and all those ethnic Catholic blue collar communities count for nothing in the Diversity sweepstakes? Tell us, Mr. Tommasini: what percentage of classical orchestra ensembles are made up of Southern Italians from the Outer Boroughs of New York?
You can imagine what I thought when I looked up Mr. Tommasini and found that he is a Yale classmate of mine.
05 Jul 2020
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 havenâ€™t encountered abusive relationships, you may support the abuser, or wonder why the victim doesnâ€™t just leave. But you donâ€™t know what itâ€™s like to live in a world where you canâ€™t tell truth from myth.
For the victims who arenâ€™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 abuserâ€™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 â€œAm I Not a Minority?â€ to explain the everyday racism people of color experience and how it manifests on an institutional level. If you havenâ€™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 whiteâ€“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, â€œEscaping the Mold of Oriental Fantasyâ€œâ€“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, â€œIâ€™m Learning Middle Eastern Music the Wrong Way,â€ 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. Itâ€™s about whiteness. Itâ€™s a combination of European traditions which serve the specious belief that whiteness has a cultureâ€”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.
18 Feb 2020
The late Vincent Scully lecturing Eurocentrically years ago.
Heather MacDonald, BK ’70, demolishes the cant being used to justify remodeling Yale’s once-illustrious History of Art Department into a distribution center for Marxist agitprop and Multicultural Identity Stroking.
By 1974, when I enrolled at Yale, its faculty had long since abdicated one of its primary intellectual responsibilities. It observed a chaste silence about what undergraduates needed to study in order to have any hope of becoming even minimally educated; curricular selections, outside of a few broad distribution requirements, were left to students, who by definition did not know enough to choose wisely, except by accident. So it was that I graduated without having taken a single history course (outside of one distribution-fulfilling intellectual history class), despite easy access to arguably the strongest American history faculty in the country. Scullyâ€™s fall semester introductory art history course has been my anchor to the past, providing visual grounding in the development of Western civilization, around which it is possible to develop a broader sense of history.
But now, the art history department is junking the entire two-semester sequence, as the Yale Daily News reported last month. Given the role that these two courses have played in exposing Yale undergraduates to the joys of scholarship and knowledge, one would think that the department would have amassed overwhelmingly compelling grounds for eliminating them. To the contrary, the reasons given are either laughably weak or at odds with the facts. The first reason is the most absurd: the course titles (â€œIntroduction to the History of Art: Prehistory to the Renaissanceâ€ and â€œIntroduction to the History of Art: Renaissance to the Presentâ€). Art history chair Tim Barringer apparently thinks students will be fooled by those titles into thinking that other traditions donâ€™t exist. â€œI donâ€™t mistake a history of European painting for the history of all art in all places,â€ he primly told the Daily News. No one else would, either. But if the titles are such a trap for the Eurocentric unwary, the department could have simply added the word â€œEuropeanâ€ before â€œArtâ€ and been done with it. (Barringer, whose specialities include post-colonial and gender studies as well as Victorian visual culture, has been teaching the doomed second semester courseâ€”a classic example of the fox guarding the henhouse.)
Barringer also claims that it was â€œproblematicâ€ to put European art on a pedestal when so many other regions and traditions were â€œequally deserving of study.â€ The courses that will replace the surveys will not claim to â€œbe the mainstream with everything else pushed to the margins,â€ he told the Daily News. Leave aside for the moment whether the European tradition may legitimately form the core of an art history education in an American university. The premise of Barringerâ€™s statementâ€”that previously European art was put on a pedestal and everything else was pushed to the marginsâ€”is blatantly false. The department requires art history majors to take two introductory-level one-semester survey courses. Since at least 2012, the department has offered courses in non-Western art that can fulfill that requirement in lieu of the European surveys. Those classes include â€œIntroduction to the History of Art: Buddhist Art and Architectureâ€; â€œIntroduction to the History of Art: Sacred Art and Architectureâ€; â€œGlobal Decorative Artsâ€; â€œThe Politics of Representationâ€; and â€œThe Classical Buddhist World.â€ No one was forced into the two Western art courses.
Nor would anyone surveying the art history catalogue think that Yale was â€œprivilegingâ€ the West, as they say in theoryspeak. That catalogue is awash in non-European courses. In addition to the introductory classes mentioned above, the department offers â€œJapanâ€™s Classics in Text and Imageâ€; â€œIntroduction to Islamic Architectureâ€; â€œThe Migrant Imageâ€; â€œSacred Space in South Asiaâ€; â€œVisual Storytelling in South Asiaâ€; â€œAztec Art & Architectureâ€; â€œBlack Atlantic Photographyâ€; â€œBlack British Art and Cultureâ€; â€œArt and Architecture of Mesoamericaâ€; â€œThe Mexican Cultural Renaissance, 1920â€“ 1940â€; â€œPainting and Poetry in Islamic Artâ€; â€œAesthetics and Meaning in African Arts and Culturesâ€; â€œKorean Art and Cultureâ€; â€œAfrican American Art, 1963 to the Presentâ€; â€œArt and Architecture of Japanâ€; â€œTextiles of Asia, 800â€“1800 C.E.â€; and â€œArt and Politics in the Modern Middle East,â€ among other courses. The Western tradition is just one among many. Nevertheless, Marissa Bass, the director of undergraduate studies in the department, echoed Barringerâ€™s accusation of Eurocentrism. The changes recognize â€œan essential truth: that there has never been just one story of the history of art,â€ Bass told the Daily News. But Yale does not tell just one story of the history of art. Department leaders have created a parody of their own department simply in order to kill off the Western survey courses.
Those courses must also be sacked because it is impossible to cover the â€œentire fieldâ€”and its varied cultural backgroundsâ€”in one course,â€ as the Daily News put it. If this statement means that the span of time covered in each of the one-semester Western art classes is too large, non-Western survey courses are as broad or broader. â€œChinese Painting and Cultureâ€ covers 16 centuries. â€œPower, Gender, and Ritual in African Artâ€ covers nearly two millennia. â€œIntroduction to the History of Art: Buddhist Art and Architectureâ€ covers seven centuries. â€œIntroduction to the History of Art: Sacred Art and Architectureâ€ covers several millennia. None of these courses is facing extinction.
Barringer promises that the replacement surveys will subject European art to a variety of deconstructive readings designed to pull that tradition down from its alleged pedestal. The new classes will consider Western art in relation to â€œquestions of gender, class, and â€˜race,â€™â€ he told the Daily News in an email, carefully putting scare quotes around â€œraceâ€ to signal his adherence to the creed that race is a social construct. The new courses will discuss the involvement of Western art with capitalism. Most intriguingly, the relationship between Western art and climate change will be a â€œkey theme,â€ he wrote.
Barringerâ€™s proposed deconstruction of Western art illustrates a central feature of modern academia: The hermeneutics of suspicion (Paul Ricoeurâ€™s term for the demystifying impulse that took over the humanities in the late 20 century) applies only to the Western canon. Western academics continue to interpret non-Western traditions with sympathy and respect; those interpreters seek to faithfully convey the intentions of non-Western creators and to help students understand what makes non-Western works great. So, while the replacement European art survey courses will, in Marissa Bassâ€™s words, â€œchallenge, rethink, and rewriteâ€ art historical narratives, the department will not be cancelling its Buddhist art and architecture class due to the low representation of female artists and architects, nor will it â€œinterrogateâ€ (as High Theory puts it) African arts and cultures for their relationship to genocidal tribal warfare, or Aztec art and architecture for their relationship to murderous misogyny.
29 Jan 2020
Thomas Cole, The Course of Empire: Destruction, 1833-1836, New York Historical Society.
James Panero tells us that Yale imported a Cambridge bolshie to “decolonize” the History of Art Department.
Are we in our own revolutionary moment? Many of our leading institutions clearly believe so. Yale University has been working overtime to prove it is on the right side of history. â€˜Problematicâ€™ colleges have been renamed. â€˜Offensiveâ€™ stained-glass windows have been knocked out. Only the leadership of an Ivy League school could spread such a poisonous rash. Heading the charge against the Dead White Male has been a progressive Yale bureaucracy that is, for the most part, pale and stale.
Now the task of dismantling Yaleâ€™s famous art history survey course has fallen to a scholar I respect, Tim Barringer. British-born, Barringer is the Paul Mellon Professor of the History of Art at Yale University and has been a leading curator at the Metropolitan Museum. He even mounted the Metâ€™s exceptional 2018 exhibition on Thomas Cole.
Following a 2017 mandate to â€˜decolonizeâ€™ Yaleâ€™s Department of English, Barringer is giving over the keys of Yaleâ€™s famous art survey course to the identity vandals. According to the Yale Daily News, instead of one class that will tell the story of art from â€˜Renaissance to the Presentâ€™, new courses will, Barringer says, be devised to consider art in relation to a five-step history lesson, â€˜questions of gender, class and raceâ€™, with further discussion of artâ€™s â€˜involvement with Western capitalismâ€™. Of course, â€˜climate changeâ€™ will also be a â€˜key themeâ€™.
Art doesnâ€™t fare well in revolutionary times. Likewise, revolutionary sentiments are often revealed in the treatment of art. If only Professor Barringer had looked more carefully at another five-step history lesson, Thomas Coleâ€™s â€˜Course of Empireâ€™ tableau (1833-36), he might have seen how civilizations burn down from decadence as well as assault.
That whirring sound you hear in the background is grand old Yale Art History professors, men like Sumner Crosby who taught the Gothic Cathedral course and Charles Seymour who taught the Italian Renaissance Art course, who fished for salmon together every summer on the Upsalquitch, spinning in their graves at 78 RPM.
15 Dec 2019
In a must-read article in Claremont Review, Mike Gonzalez explains how the Marxist Left successfully created a second imaginary racial category of victims and turned White Mexicans brown.
I know a Spanish count, a grandee of Spain and a descendant of the Hapsburgs, who got into Yale as a Hispanic victim of White European Oppression. He thought it was hilarious.
Americaâ€™s surging politics of victimhood and identitarian division did not emerge organically or inevitably, as many believe. Nor are these practices the result of irrepressible demands by minorities for recognition, or for redress of past wrongs, as we are constantly told. Those explanations are myths, spread by the activists, intellectuals, and philanthropists who set out deliberately, beginning at mid-century, to redefine our country. Their goal was mass mobilization for political ends, and one of their earliest targets was the Mexican-American community. These activists strived purposefully to turn Americans of this community (who mostly resided in the Southwestern states) against their countrymen, teaching them first to see themselves as a racial minority and then to think of themselves as the core of a pan-ethnic victim group of â€œHispanicsâ€â€”a fabricated term with no basis in ethnicity, culture, or race.
This transformation took effortâ€”because many Mexican Americans had traditionally seen themselves as white. When the 1930 Census classified â€œMexican Americanâ€ as a race, leaders of the community protested vehemently and had the classification changed back to white in the very next census. …
They had the law on their side: a federal district court ruled in In Re Ricardo RodrÃguez (1896) that Mexican Americans were to be considered white for the purposes of citizenship concerns. …
And so as late as 1947, the judge in another federal case (Mendez v. Westminster) ruled that segregating Mexican-American students in remedial schools in Orange County was unconstitutional because it represented social disadvantage, not racial discrimination. At that time Mexican Americans were as white before the law as they were in their own estimation.
Half a century later, many Mexican Americans had been persuaded of a very different origin story. Among the persuaders-in-chief was Paul Ylvisaker, head of the Public Affairs Program at New Yorkâ€™s wealthy Ford Foundation during the 1950s and â€™60s. Though little-known today, he wielded great power and influence to advance a particular vision of social justice inspired partly by socialism and its politics of resentment. Ylvisaker hoped, as he later put it in a 1991 essay, â€œThe Future of Hispanic Nonprofits,â€ that Mexican Americans could be organized into a â€œunited front.â€ That concept, formulated in 1922 by the Comintern, implied a union of disparate groups on the Left into what the Cominternâ€™s 4th World Congress called â€œa common struggle to defend the immediate, basic interests of the working class against the bourgeoisie.â€
Ylvisaker, who saw philanthropy as â€œthe passing gearâ€ of social change, set off to find out if something similar was possible with Mexican Americans. In 1968, he poured $2.2 million in seed funding into the Mexican American Legal Defense and Educational Fund (MALDEF), a national advocacy conglomerate whose headquarters still buzz with activity in Los Angeles today.
He built on foundations laid by the organizing guru Saul Alinsky, who had begun the effort to consolidate the Mexican-American vote during Ed Roybalâ€™s 1949 L.A. City Council election. Roybal, an army veteran and distant descendant of New Mexicoâ€™s Spanish settlers, was one of many Democrats at the time whose success in local politics owed much to Alinskyâ€™s organizing tactics. Alinskyâ€™s groups also trained men like Herman Gallegos, Julian Samora, and Ernesto Galarzaâ€”Chicano Movement intellectuals who used Ylvisakerâ€™s Ford Foundation money (starting with a one-year grant of $630,000) to found the interest group La Raza in 1968.
What all these radicals soughtâ€”and were quite successful at eventually achievingâ€”was to analogize the experience of black Americans to that of Latinos. The term La Raza, literally â€œthe race,â€ by itself epitomized this process of racialization. Ylvisaker was direct on this point. In 1964 he handed UCLA researchers the then-goodly sum of $647,999 for a deep survey of Mexican Americans in the Southwest. One of the things he wanted this survey to find out was in what respect the Mexican-American experience was comparable to that of â€œNegroes today.â€
If you look at any university today, you’ll find that the same bad guys have also got Asian kids brainwashed into signing on as another whiny victim group fighting against White Male Oppression, quite ironically since the only real modern discrimination against Asians consists of college admission quotas created and enforced by the very same Left-Wing Establishment that leads them around by the nose.
22 Nov 2019
The Crimson reports on the latest vital and totally relevant administrative initiative up there at the little commuter school of the Charles.
University President Lawrence S. Bacow announced the creation of a University-wide initiative to address and further research the schoolâ€™s ties to slavery in an email sent to Harvard affiliates Thursday.
Bacow selected Radcliffe Institute for Advanced Study Dean Tomiko Brown-Nagin to be the head of a new University-wide faculty committee that will lead the initiative. The University has designated $5 million for the program, according to Bacowâ€™s email.
â€œIt is my hope that the work of this new initiative will help the university gain important insights about our past and the enduring legacy of slavery â€” while also providing an ongoing platform for our conversations about our present and our future as a university community committed to having our minds opened and improved by learning,â€ Bacow wrote.
Bacow wrote that the Radcliffe Institute will work closely with library and museum staff to host both programs and academic opportunities related to the issue.
â€œBy engaging a wide array of interests and expertise, as Radcliffe is uniquely suited to do, this initiative will reflect the remarkable power of bringing together individuals from across Harvard in pursuit of a common purpose,â€ he wrote.
Other faculty on the 12-person committee include former Law School Dean Martha L. Minow and former Dean of the College Evelynn M. Hammonds.
Bacowâ€™s announcement comes as the University continues to grapple with its ties to slavery. In March, Connecticut resident Tamara K. Lanier filed a lawsuit against Harvard alleging the University unlawfully owns and profits off photos of enslaved people who she says are her ancestors.
Earlier this month, the prime minister of Antigua and Barbuda penned a letter to Bacow demanding reparations from Harvard for its historical ties to slavery.
In his letter, Bacow also wrote about efforts that former University President Drew G. Faust spearheaded several years ago like installing memorials commemorating enslaved individuals at Wadsworth House and Harvard Law School, and creating a faculty committee to study the Universityâ€™s ties to slavery.
In February 2016, former Dean of the Faculty of Arts and Sciences Michael D. Smith announced that faculty leaders of the 12 undergraduate houses would be renamed â€œFaculty Deansâ€ â€” a shift away from the former term â€œHouse Master,â€ which some students associated with slavery.
A month later, the Harvard Corporation â€” the Universityâ€™s highest governing body â€” agreed to remove the Law Schoolâ€™s controversial seal, which featured the crest of a slaveholding family. The decision came after pieces of black tape were found over the portraits of black Law School professors in November 2015 and months of student protests.
The initiative announced Thursday will focus on researching further the connections Harvard has to the slave trade and to abolition movements, Bacow said in his email.
â€œHarvard has a unique role in the history of our country, and we have a distinct obligation to understand how our traditions and our culture here are shaped by our past and by our surroundings â€” from the ways the university benefitted from the Atlantic slave trade to the debates and advocacy for abolition on camp,â€ Bacow wrote.
After all, hey! it’s only been a mere 236 years since Massachusetts abolished Slavery in 1783!
The great discovery of our Enlightened Age is the principle that the Universe revolves around left-wing sob stories.
14 Nov 2019
The current issue of the Yale Alumni Magazine features a chin-stroking article identifying a PROBLEM and wondering whether or not SOMETHING MUST BE DONE.
The problem? 55 portraits hanging in Yale Medical Schoolâ€™s Sterling Hall of Medicine, honoring distinguished former faculty feature the images of 52 white men and three white women.
Walls lined with portraits of past Yale medical luminariesâ€”almost all of them white menâ€”lead some medical students to feel that they themselves donâ€™t belong at the school, a recent study found.
Two students interviewed 15 of their peers, asking them open-ended questions about their thoughts on the paintings in the Sterling Hall of Medicine. The portraits feature 52 white men and 3 white women.
Some students said the portraits displayed values of whiteness, elitism, maleness, and power. Some felt â€œjudged and unwelcomeâ€; one said, â€œIf these portraits could speak, they would not be so excited about me . . . being a student here.â€ Some reported joking about the portraits or avoiding Sterling altogether.
â€œFor many interviewed students, the portraiture signified that they did not fit the model of the ideal Yale physician,â€ wrote coauthors Nientara Anderson â€™06, â€™20MD, and Elizabeth Fitzsousa â€™21MD. (The study is online in the Journal of General Internal Medicine.) To many women students and students of color, the portraits represent a constant force of disapproval, says Anderson. Medical students of color, she adds, often already face challenges to their right to care for patients in the hospital. Other researchers have found that students who feel theyâ€™re on the margins may experience greater stress, potentially eroding their ability to succeed.
What should become of the portraits? Itâ€™s hard to know, but the conversation has begun, Anderson says. â€œIn recent years, this is the first time this question is being raised with such force,â€ she adds. â€œThereâ€™s no road map.â€
Actually, Springer wants $39.95 for you to download and read the article. Nor is it available through a major research library like Yale University’s main library journal subscription service (accessible to alumni). You can only access that particular journal through Medical School libraries.
How worthwhile it would be to take the trouble to read the entire article is rather questionable. Why would anyone take seriously a “study” which consisted of soliciting the personal opinions of a mere 15 people?
Nonetheless, all three authors now sit on the Yale School of Medicine Committee on Art in Public Spaces, “work[ing] to ensure that artwork hung in public areas of the medical school reflects the mission, history, and diversity of the Yale medical community.” Anna Reisman M.D., who co-chairs the committee, says “this study is an important step in effecting institutional change.” And the Yale Alumni Magazine has joined in promoting it as “the beginning of a conversation” about just what’s going to happen to all those portraits of Dead, White Men.
I think we all know just how this kind of “conversation” always ends.
15 Sep 2019
Pascal Bruckner, in a must-read essay in Quillette, describes how Europe is allowing its own virtue to destroy it.
Western Europeans dislike themselves. They are unable to overcome their self-disgust and feel the pride in their heritage and the self-respect that is so strikingly evident in the United States. Modern Europe is instead mired in shame shrouded in moralizing discourse. It has convinced itself that, since all the evils of the twentieth century arose from its feverish bellicosity, itâ€™s about time it redeemed itself and sought something like a reawakened sense of the sacred in its guilty conscience.
What better example of this proclivity exists than Angela Merkelâ€™s embrace of about a million refugees fleeing war-torn Syria in 2015? Even though this gesture that would help replenish a shrinking labor force was not strictly disinterested, for this pastorâ€™s daughter it was also a spectacular way to repudiate Nazism and escape its shadow. After the catastrophe of the Second World War, the Federal Republic would now offer itself as an ostentatious example to the world. Germany would practice open-heartedness in a single country, just as Stalin in the USSR had once practiced socialism in a single country. Already pre-eminent in Europe, Berlin would call the shots, whether exercising toughness or kindness. Merciless with the Greeks in July, when the Chancellery wanted to eject them from the eurozone, but beneficent with the Syrians in September, it could demonstrate severity or an ever so imperial charity. …
Many people are wondering why it is only Europe that feels guilty, not only for its own past crimes, but also for the faults of others? The answer is simple: we dominated the world for four centuries. The empires have collapsed but their memory remains, and this has given rise to an ever-expanding discipline: post-colonial studies. We have become the continent of the uneasy conscience and we wish to show the rest of the world the face of moral law in all its purity. Europe sees itself as a sacrificial offering, through which the entire world can expiate its sins. It offers to assume the shame for every misfortune that befalls the planet: famine in Africa, drowning in the Mediterranean, terrorism, natural disasters, they are all directly or indirectly our handiwork. And when we are attackedâ€”by terrorists, for exampleâ€”itâ€™s still our fault; we had it coming and are undeserving of compassion. Since we are overcome by such a torrent of sins, all we can do is bear up and attempt to correct and atone for them all, one by one. An unctuous discourse intended to edify is replacing what was once political and historical analysis; an ideal society must replace the existing one of ordinary men, and be cleansed of its impurities. Two areas in particular reveal this delusion of sanctityâ€”immigration and ecology.
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