High life
Buttons for barbarians
Taki
Ihad an opportunity to test that old maxim that man was made in God's image. I went to the Whitney Museum of Ameri- can Art and came out an atheist! As you go into the big biennial art show, a little chap at the cash register shoves a pin over for you to wear. Mine said, 'I can't imagine ever wanting to be white'. Now look here, old boy,' I said to him, holding up the line of barbarians trying to get cultured, 'I came here of my own free will, paid my money, and I do not need lessons in political cor- rectness from the likes of you.'
The trouble was the little chap was black, and needless to say took umbrage. The bar- barians were even worse. 'Get a move on, ya bum' was by far the nicest remark directed towards me. I shoulda stayed in bed, as they say in the Big Bagel, and it got worse. The catalogue informed us that `whiteness is a signifier of power' and wear- ing that pin lets whites 'absolve themselves of some of the privileges of cultural imperi- alism'. Dr Goebbels is back and doing very well among the trash that makes up Ameri- can culture today.
If you think the button gimmick was out- rageous, you should have seen the show. One exhibit consisted of jars full of pieces from jigsaw puzzles, each with the face of a non-white person. The current standard in the Whitney is that almost any angry state- ment against Western whites qualifies as art. There was even a one-paragraph news clipping pinned on the wall in giant letters announcing, 'In the rich man's house, the only place to spit is in his face'. Near it, in the women's rage section, a large piece of plastic vomit lay on the floor.
Now there's something obviously very wrong here. This makes Nazi anti-Jewish propaganda seem to possess dignity. Either the numskulls who have financed such crap are great cowards, having caved in to pres- sure from PC groups, or those very groups have managed to infiltrate the museums and are using the cultural wars to desta- bilise and break the mainstream. Whatever the case, one thing is for sure: in American artistic circles today, women, non-whites, homosexuals, transvestites and people with Aids are good; straight white males, family, religion, honour, country, duty and strength are despicable. George Orwell got it wrong by only nine years.
Mind you, these are untalented hustlers who know that any publicity is good public- ity, and are being outrageous in order to get grants from the state. With the draft- dodger in the White House, sewer art might just become mainstream. But I'm not surprised. The young in America today are so ignorant and self-absorbed, they cannot tell the difference between Hermes of Praxiteles and Nosferatu. In a recent poll, half the students of Ivy League colleges could not name their home-state Senators and more than a third had no idea who a man by the name of John Major was; 23 per cent did not know how many justices comprised the Supreme Court, and more than ten per cent did not know that Thomas Jefferson had written the Declara- tion of Independence. These are the elite of American education, so imagine what the ones who couldn't get into an Ivy League college must be like.
Worst of all, 60 percent of these dunder- heads said they had never had sexual inter- course. And, as the wise man said, show me a man who doesn't do it and I'll show you a man who can't think straight. Americans have obviously rejected intellect. What they need now is Lady Thatcher in the White House, and a suspended Constitution for the duration.
Next week I will tell you about a murder of a beautiful young girl from a prominent family and the connection of another prominent family with the murder and cover-up. And you thought art in America was bad.
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