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From the New York Times opinion page:

The Dominance of the White Male Critic

Conversations about our monuments, museums, screens and stages have the same blind spots as our political discourse.

By Elizabeth Méndez Berry and Chi-hui Yang
Ms. Méndez Berry and Mr. Yang started a program to amplify the work of critics of color.

July 5, 2019

The six most influential art critics in the country, as selected by their peers, are all white, the writer Mary Louise Schumacher found in a recent survey of more than 300 working visual arts critics. Almost all of them are men who have written for legacy publications for at least 20 years. That’s true of other genres, like film reviews, where there are 27 white male film critics for each woman of color, a study from the Annenberg Inclusion Initiative found.

Yet the most dynamic art in America today is being made by artists of color and indigenous artists. Consider the work of two artists in the Biennial: Alexandra Bell, whose incisive newspaper layouts illustrate the media’s complicity in racist stereotypes. And the gorgeous mixed-media banners of Jeffrey Gibson, which demand a rethinking of laws like “Stand Your Ground” from an indigenous perspective.

Sounds not just dynamic, but vibrant!

Elizabeth Méndez Berry (@mendezberry) is a director at the Nathan Cummings Foundation. Chi-hui Yang (@chihuiyang) is a program officer at the Ford Foundation.

A New York Times headline: “The Dominance of the White Male Critic.”

Not a New York Times headline: “The Dominance of the Jewish Male Critic.”

 
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  1. “Ms. Méndez Berry and Mr. Yang started a program to amplify the work of critics of color…” such as themselves and their chums.

  2. Who is “whiter,” Western or Eastern European Jewry?

  3. OT:

    ESPN with the obligatory tongue bath for our new, vibrant messiah Cori Gauff:

    https://www.espn.com/tennis/story/_/id/27127529/coco-gauff-soaking-cinderella-run-wimbledon

    • Replies: @Altai
    There is a very real potential for female tennis to be dominated by black women, only socio-cultural factors of tennis participation hold the numbers down.
  4. The Nathan Cummings Foundation was endowed by Nathan Cummings (1896–1985), founder of Consolidated Foods, later renamed Sara Lee. Cummings was also a prominent art collector and supporter of Jewish causes. [Wiki]

    “A Teenager With Promise” by Alexandra Bell

    Truly inspirational. Use this to cover the Washington Monument in diversity and inclusion America.

    • Replies: @Lot
    “Nathan Cummings Foundation”

    They fund far-left/pro-Pali groups in Israel through the New Israel Fund.

    This includes efforts to stop deportations of illegal African migrants.

    I’d say boycott Sara Lee, but I was already doing that. Sara Lee somehow has found a way to make chocolate and sugar taste like crap.

    http://prod.shopwell.com/gladson/00032100020367_full.jpg
    , @Anonymous
    The only promise that particular teenager evinced was the promise of getting put in prison and costing society millions by the time he died of old age. These people know that and revel in it.
  5. Lot says:

    They offer two examples for “Yet the most dynamic art in America today is being made by artists of color”

    First, Alexandra Bell’s art consists of crossing out words from newspaper articles:

    Sometimes she doodles on them too:

    Jeffrey Gibson’s main technique is to decorate punching bags. Really.

    To quote an over-represented Jewish critic —

    • Replies: @Anonymous
    It seems Alexandra Bell and the NYTimes are still unaware that the officer in the Ferguson case was shown to be completely in the right and the witnesses who claimed otherwise were proven to be lying through their teeth.

    Somebody should write a letter or something and give them the news.
    , @Peripatetic Commenter

    First, Alexandra Bell’s art consists of crossing out words from newspaper articles
     
    She can have a great future at the FBI or the DoJ!
    , @Counterinsurgency
    Way back in the late 1960s I spent some time visiting the Museum of Modern Art (MOMA), and noticed that many of the paintings were simply political cartoons executed with more technique. One depicted an evil looking man in black holding a black umbrella while blood fell as rain. I'd started to follow an art critic (of some sort) who was taking a middle aged women (not his wife, he was apparently acting in a professional capacity) from painting to painting and explicating up on them -- "this evil figure is a capitalist, and the blood raining is from the workers). I told him that I'd expected more from painting than simple propaganda, and he advised me that I "wanted to be inspired" and that art didn't do that anymore. Much later I read Rieff's _Deathworks_ and saw what art actually did. Tom Wolfe, I think, but it best -- art after WW I was largely an attempt to demil art -- to make the population capable of understanding art or being "inspired" by art. The theory was (according to T. Wolfe) was that art that motivated people to voluntarily join something like WW I was evil per se (part of an evil Western society that could have something like WW I). Perhaps society would be replaced by something better; it could hardly be replaced by something worse.

    So now we see the result. Any idiot can deface old art, or so something _not_ inspirational (e.g. the urinal exhibit) and call it art because it is _not_ inspirational. We're down to defacing newspapers and social awards, and it's OK because (bluntly here) stupid is good.

    What these the theory did not include is that mobs don't have to be inspired; neither do armies. They just have to know who the enemy is. While WW I was pretty bad, the depopulation of Germany during the 30 Years War was worst, and that depopulation had (in practice) no beliefs whatsoever except that the tercios had no logistics system beyond black powder supply and they had to eat. Actually, the French Army during the Napoleonic Wars was just as bad, although more thoroughly controlled by the French central government: with no logistic support save weapons they took everything the local population had. Upset the local population no end (those who survived), one of the reasons France never did take Spain.

    So: As things stand, social structure prevents the sort of confused Warre (as Hobbes called it) that characterized, say, Western Europe in the latter stages of WW I. Historically, when social structure stands in the way of survival, it's dropped. Weaker social structure is dropped more easily, and destruction of social identity symbols (_NYT_, the Betsy Ross Flag) weakens society. I'll leave the rest to the reader.

    Counterinsurgency
  6. I imagine that a “legacy publication” is one which doesn’t hand out fees to the sistahs.

    Is Lapham’s Quarterly among them? I hope so.

    https://www.laphamsquarterly.org/

    • Replies: @Malcolm X-Lax
    One of the first insights I had into how awful contemporary American art had become was when I was in college in 1993. I was reading then editor Lewis Lapham's Editors Note in Harper's Magazine concerning the celebration of the Whitney Biennial and his experience of it. As guests entered the museum, each person was given a wristband with a single word on it. 8 words total were given out. Initially, the guests were unaware of the significance of the words. Slowly it got pieced together that the wristbands were themselves part of the art exhibit and together formed the following sentence: "I Can't Ever Imagine Wanting To Be White". Lapham expressed his contempt for the biennial and this exhibit specifically with two words. Oh dear.
  7. The dominant culture today is not white, European or middle latitude. The culturally/socially dominant groups are tropical, non-white and non-European.

    • Replies: @dfordoom

    The dominant culture today is not white, European or middle latitude. The culturally/socially dominant groups are tropical, non-white and non-European.
     
    The dominant culture today is homosexual.
  8. Elizabeth Mendez Berry is an award-winning journalist who writes on hip-hop, gender, politics and criminal justice.

    Such dead eyes!!

    • Replies: @Lot
    As a woman of color, she kindly asks you to stop oppressing her and ask the MacArthur foundation to genius grant her. You never would have heard of provocative artists like Bell and Gibson if it weren’t for WOCies like her courageously promoting them.
    , @Feryl
    Good thing the "Mendez" is in her name, gots to add some "vibrancy" to this pallid chick. And can we decide if it's "hip-hop" or "rap" already?
    , @J1234
    She really ought to have that mole removed....or is that the extent of her "color"?
    , @International Jew

    who writes on hip-hop, gender, politics and criminal justice
     
    My head is spinning as I think of the kind of towering intellect it must take to master all those subjects. I suppose it helps if she can bring to bear a unifying theory of some sort.
    , @SunBakedSuburb
    "Such dead eyes!!"

    Exposing the ears to hip-hop has that effect.
  9. Dear God-Emperor Trump:
    The source of all Heresy is the “Foundations”. Cleanse them with Fire!
    Hail Imperator!
    Redneck Farmer

    • Replies: @Desiderius
    Hari Seldon would never have put up with this nonsense, Ill tell you that much.
  10. Lot says:
    @CCZ
    The Nathan Cummings Foundation was endowed by Nathan Cummings (1896–1985), founder of Consolidated Foods, later renamed Sara Lee. Cummings was also a prominent art collector and supporter of Jewish causes. [Wiki]

    "A Teenager With Promise" by Alexandra Bell

    https://nieman.harvard.edu/wp-content/uploads/2019/06/A-Teenager-with-Promise_2017_SincerelyTommy-e1559786672415.jpg

    Truly inspirational. Use this to cover the Washington Monument in diversity and inclusion America.

    “Nathan Cummings Foundation”

    They fund far-left/pro-Pali groups in Israel through the New Israel Fund.

    This includes efforts to stop deportations of illegal African migrants.

    I’d say boycott Sara Lee, but I was already doing that. Sara Lee somehow has found a way to make chocolate and sugar taste like crap.

  11. Off Topic from Jewish Telegraphic Agency — jta.org:

    A Filipino-American dancer turned rabbi wants to change the conversation about Jews of color

    BY JOSEFIN DOLSTEN

    JULY 2, 2019 4:46 PM

    NEW YORK (JTA) — There’s a small framed sign in Rabbi Mira Rivera’s office that reads “mizrach,” the Hebrew word for “east,” so she knows how to face Jerusalem when praying.

    On the opposite wall hangs a bright blue sign with the word “peace” written in four languages — English, Arabic, Hebrew and Sanskrit. Rivera made it from a cardboard box for a solidarity event at the Islamic Cultural Center here following deadly shooting attacks at two mosques in Christchurch, New Zealand.

    On a third wall hangs a colorful Tibetan silk cloth that displays symbols associated with peace, fertility and unity.

    Though an unexpected combination, the three somehow mesh in Rivera’s small office, similar to how her identities — a Filipino-American yoga teacher turned dancer turned rabbi — seem to meld effortlessly.

    But it wasn’t always the case.

    Rivera, who attended Catholic school but started practicing yoga as a teen, came to Judaism through her two lifelong passions: meditation and dance.

    A Detroit native, she was raised in the Philippines by her grandmother from the age of 2. After finishing high school, Rivera went to India to study meditation and yoga. She studied there with Jewish teachers from around the world and had her first exposure to social justice teachings rooted in the Jewish precept to heal the world.

    Rivera later moved to Israel to teach yoga, where a visit to the Western Wall had a profound impact. She recalls seeing the Kotel lit up by the sun and having an urge to “plaster my body against the wall.”

    “I had this feeling of emptying, emptying, emptying, emptying, until there were no more tears to come out, and I just felt a total sense of calm,” she recalled. “Then this really subversive thought in my brain, ‘I am home.’”

    Eventually that thought would lead her to convert to Judaism, raise a Jewish family and become a rabbi. She and her husband, Jerome Korman, the music director for the National Dance Institute, have two children and would often lead musical programs at B’nai Jeshurun, an unaffiliated synagogue on the Upper West Side.

    Following her ordination in 2015, Rivera worked as a chaplain for Mount Sinai Hospital and Dorot, an organization that provides services to Jewish elders, before eventually landing at Romemu in 2017.

    With Romemu, Rivera has found a spiritual home where she feels welcome. She wants other Jews of color to find one, too, whether in a congregation or through connections — physical or virtual — with others who share their identity.

    “I think in many ways we are possibly where the LGBTQ community was attempting years and years and decades ago,” she said. “Now we have language and we can find each other.”

    🙂

  12. @CCZ
    Elizabeth Mendez Berry is an award-winning journalist who writes on hip-hop, gender, politics and criminal justice.

    Such dead eyes!!

    http://assets.feministing.com/wp-content/uploads/2012/06/feministing-photo1.jpg

    As a woman of color, she kindly asks you to stop oppressing her and ask the MacArthur foundation to genius grant her. You never would have heard of provocative artists like Bell and Gibson if it weren’t for WOCies like her courageously promoting them.

    • Replies: @Redneck farmer
    I didn't know Finns were POCs. It doesn't sound like a Finnish name, though.
  13. Attention, Elizabeth Méndez Berry and Chi-hui Yang:

    Take the Jews out of “White privilege” and see how much White privilege is left.

    You can start with your Jew York Times.

    We await your findings…
    🙂

  14. Anonymous[427] • Disclaimer says:
    @CCZ
    The Nathan Cummings Foundation was endowed by Nathan Cummings (1896–1985), founder of Consolidated Foods, later renamed Sara Lee. Cummings was also a prominent art collector and supporter of Jewish causes. [Wiki]

    "A Teenager With Promise" by Alexandra Bell

    https://nieman.harvard.edu/wp-content/uploads/2019/06/A-Teenager-with-Promise_2017_SincerelyTommy-e1559786672415.jpg

    Truly inspirational. Use this to cover the Washington Monument in diversity and inclusion America.

    The only promise that particular teenager evinced was the promise of getting put in prison and costing society millions by the time he died of old age. These people know that and revel in it.

  15. And the really not the NY Times headline:

    “The dominance of the anti-American, left wing, Jewish Faggot critic”.

    Who have to be less than 1/2 of 1 % of the population, but AT LEAST 50 % of the critics.

  16. Lots of these (((White))) male critics are from the Tribe.

  17. THIS is art.

    • LOL: Redneck farmer
    • Replies: @trelane
    How Genghis of you. The proper quote is:

    “The greatest happiness is to vanquish your enemies, to chase them before you, to rob them of their wealth, to see those dear to them bathed in tears, to clasp to your bosom their wives and daughters.”

    , @Hypnotoad666
    Pepe the Barbarian.
    , @Sean

    In the works of McLuhan we repeatedly hear that “the medium is the message.” What does this mean? The core program of McLuhan’s media theory is found in the assertion that the content of any medium is of no importance in comparison with its deep and invisible background. As McLuhan puts it, in his typically lively interview in Playboy, the content of any medium is no more important than the graffiti on the casing of the atomic bomb.2 The much-debated difference between good and bad television shows is actually pointless. Of much greater significance is the fact that we watch television rather than listening to radio.
     
    , @Autochthon
    Well, it certainly evinces more art (i.e. skill; talent; effort...) than displaying two clippings from newspapers does....
  18. >Jews want to use informational trickery to defend themselves in the long term.
    Honesty is less hassle but this is fine in theory.
    >Jews want to deceive dumb people who could easily see through their lies with minimal research.
    Having trouble feeling bad about this.
    >The plan is to misdirect anger toward them to an innocent unrelated people.
    That’s gettin’ a little bit snidely.
    >The unrelated people are your people.
    Hey, wait a minute!
    >These are the same Jews who spend every waking moment babbling about how unforgivable it is that anybody ever defamed them, usually citing cases that aren’t defamation.
    And people ask where the hate comes from.

  19. @Lot
    As a woman of color, she kindly asks you to stop oppressing her and ask the MacArthur foundation to genius grant her. You never would have heard of provocative artists like Bell and Gibson if it weren’t for WOCies like her courageously promoting them.

    I didn’t know Finns were POCs. It doesn’t sound like a Finnish name, though.

    • Replies: @Lot
    She’s a Mendez bro, the blood of Montezuma runs thick in her veins.
  20. Anonymous[147] • Disclaimer says:
    @Lot
    They offer two examples for “Yet the most dynamic art in America today is being made by artists of color”

    First, Alexandra Bell’s art consists of crossing out words from newspaper articles:

    https://news.artnet.com/app/news-upload/2017/05/IMG_6611-1024x745.jpg

    Sometimes she doodles on them too:

    https://news.artnet.com/app/news-upload/2017/05/IMG_5834-e1495195202432-768x1024.jpg

    Jeffrey Gibson’s main technique is to decorate punching bags. Really.

    https://trendland.com/wp-content/uploads/2017/02/jeffrey-gibson-24.jpg

    To quote an over-represented Jewish critic —

    http://www.thegeekedgods.com/wp-content/uploads/2017/07/the-critic-season-1-_alt_-cover.jpg

    It seems Alexandra Bell and the NYTimes are still unaware that the officer in the Ferguson case was shown to be completely in the right and the witnesses who claimed otherwise were proven to be lying through their teeth.

    Somebody should write a letter or something and give them the news.

    • Replies: @ic1000
    > Somebody should write a letter or something and give them the news.

    Oh, those letters have been written and sent. The NYT’s Winstons knew just which hole to route them to.

    Anon, stop presuming that you have the privileges of an Inner Party member. Something might happen. Just sayin.
  21. @Lot
    They offer two examples for “Yet the most dynamic art in America today is being made by artists of color”

    First, Alexandra Bell’s art consists of crossing out words from newspaper articles:

    https://news.artnet.com/app/news-upload/2017/05/IMG_6611-1024x745.jpg

    Sometimes she doodles on them too:

    https://news.artnet.com/app/news-upload/2017/05/IMG_5834-e1495195202432-768x1024.jpg

    Jeffrey Gibson’s main technique is to decorate punching bags. Really.

    https://trendland.com/wp-content/uploads/2017/02/jeffrey-gibson-24.jpg

    To quote an over-represented Jewish critic —

    http://www.thegeekedgods.com/wp-content/uploads/2017/07/the-critic-season-1-_alt_-cover.jpg

    First, Alexandra Bell’s art consists of crossing out words from newspaper articles

    She can have a great future at the FBI or the DoJ!

  22. @Cortes
    I imagine that a “legacy publication” is one which doesn’t hand out fees to the sistahs.

    Is Lapham’s Quarterly among them? I hope so.

    https://www.laphamsquarterly.org/

    One of the first insights I had into how awful contemporary American art had become was when I was in college in 1993. I was reading then editor Lewis Lapham’s Editors Note in Harper’s Magazine concerning the celebration of the Whitney Biennial and his experience of it. As guests entered the museum, each person was given a wristband with a single word on it. 8 words total were given out. Initially, the guests were unaware of the significance of the words. Slowly it got pieced together that the wristbands were themselves part of the art exhibit and together formed the following sentence: “I Can’t Ever Imagine Wanting To Be White”. Lapham expressed his contempt for the biennial and this exhibit specifically with two words. Oh dear.

    • Replies: @Dan Hayes
    Malcolm X-Lax:

    It was only until now with your "insight" that I've understood how long white self-hatred has been practiced by our ruling class.
    , @guest
    Whoever put that sentence together doesn't have much imagination. Heck, I could imagine wanting to be paraplegic or a victim of shark attack.
  23. @Lot
    THIS is art.

    https://i0.kym-cdn.com/photos/images/facebook/001/258/480/0bd.jpg

    How Genghis of you. The proper quote is:

    “The greatest happiness is to vanquish your enemies, to chase them before you, to rob them of their wealth, to see those dear to them bathed in tears, to clasp to your bosom their wives and daughters.”

    • Replies: @Bardon Kaldian
    Of course, but it seems...not:

    https://en.wikiquote.org/wiki/Genghis_Khan#Disputed

    The greatest joy for a man is to defeat his enemies, to drive them before him, to take from them all they possess, to see those they love in tears, to ride their horses, and to hold their wives and daughters in his arms.

    As quoted in Genghis Khan & the Mongols (1973) by Michael Gibson, p. 3; this has been disputed with the statement that it was "not recorded until a century after his death and is surprisingly out of character."
     
    , @Redneck farmer
    Meme Warrior, not Steppe Warrior.
    , @SunBakedSuburb
    Sounds like he is paraphrasing dialog from Conan the Barbarian (1982). Although the writers of the screenplay, John Milius and Oliver Stone, were echoing ol' Genghis.
  24. Anonymous[427] • Disclaimer says:

    “I Can’t Ever Imagine Wanting To Be White”

    Maybe you can’t, but sales of skin lightening creams and the mating habits of mestizas and mulattas and subcons (when freed from caste restrictions) world wide say that a hell of a lot of people can and do.

  25. Alexandra Bell, whose incisive newspaper layouts illustrate the media’s complicity in racist stereotypes.

    I’ve heard this my whole life, yet I don’t see it. I’ve been told that blacks used to be portrayed on TV as thugs and killers and such. Yet when I watch classic tv shows from Perry Mason to Mannix and others from the same period, I don’t see it. If anything I don’t see blacks which ties into another theme I was told, namely that blacks in the past were invisible because they were not included in the media.

    I think the invisible complaint is much more valid than the stereotyping complaint, at least from what I’ve see from classic TV. Of course with contemporary TV it seems blacks are always portrayed in the most positive light, and Whites are the ones who commit the majority of violent crime.

    As for the news media, they seem to frequently avoid mentioning any useful description of the perp, unless they are looking for a White male. If they have a photo of a black perp, it’s usually buried down the page.

    • Replies: @Feryl
    The white audience wants to see white characters. Not really that difficult to figure out. When crime got really bad in the 70's and 80's, I do believe that two-bit thugs were often portrayed as white in order to dodge accusations of racism (e.g., In Death Wish, Charles Bronson's wife is raped by several white hoodlums, although later in the movie he kills several black criminals). Overall, though, when America was mostly white it typically lost interest if too much diversity was on screen (heavily black movies were called "blacksploitation" movies in the 70's because they typically were regarded as "urban" fodder).
    , @Anonymous

    I think the invisible complaint is much more valid than the stereotyping complaint, at least from what I’ve see from classic TV.
     
    Do you mean "valid" or do you mean "true"?

    If "valid," why should a population that is only 13 percent of the poplulation--and even at that low percentage is underrepresented in decisional nodes in the country--have any significant share in the casting for a small number of parts?
    , @Anon
    More recently the Arabs and Russians are the go to Bad Guys, for obvious reasons. It satisfies the flyover yahoos (Rooskies! A-rabs!) while obfuscating the embarrassing fact that the "evil corporate guys" of the 70s-80s are now fully on board the progressive train. The Dems are supported by GloboCorps just like the Reps; sometimes, the same GloboCorps.

    So rather than "Soros is rigging the elections" we have RussiaGate.

    Ned Beatty's character in Network turned out to be Zuckerberg, so today he'd be a Russian or and Arab (I haven't paid attention to Cranston's Broadway version).
  26. To demonstrate its open-mindedness and good faith, the New York Times could hire Hanan Ashrawi, an activist of a Palestinian Christian background, as a critic. She has a Ph.D. in literature from the University of Virginia. That also would shift slightly the huge Jewish/Arab imbalance.

  27. @Redneck farmer
    I didn't know Finns were POCs. It doesn't sound like a Finnish name, though.

    She’s a Mendez bro, the blood of Montezuma runs thick in her veins.

    • Replies: @Redneck farmer
    Looks like she'd fit in Montezuma, Iowa before the Hispanic influx.
  28. She looks pretty White to me. Blue eyes are recessive.

    Like most White women she loathes most White men. Being equal is being inferior. No woman anywhere ever wanted a man her equal or equal to other men.

    • Replies: @Anonymous
    Plenty of brown people with blue eyes in Latin America and South Asia.
  29. Chi-hui Yang should work on getting more Uighur critics in China and getting more than one million Uighurs out of the government internment camps.

  30. @Malcolm X-Lax
    One of the first insights I had into how awful contemporary American art had become was when I was in college in 1993. I was reading then editor Lewis Lapham's Editors Note in Harper's Magazine concerning the celebration of the Whitney Biennial and his experience of it. As guests entered the museum, each person was given a wristband with a single word on it. 8 words total were given out. Initially, the guests were unaware of the significance of the words. Slowly it got pieced together that the wristbands were themselves part of the art exhibit and together formed the following sentence: "I Can't Ever Imagine Wanting To Be White". Lapham expressed his contempt for the biennial and this exhibit specifically with two words. Oh dear.

    Malcolm X-Lax:

    It was only until now with your “insight” that I’ve understood how long white self-hatred has been practiced by our ruling class.

  31. @CCZ
    Elizabeth Mendez Berry is an award-winning journalist who writes on hip-hop, gender, politics and criminal justice.

    Such dead eyes!!

    http://assets.feministing.com/wp-content/uploads/2012/06/feministing-photo1.jpg

    Good thing the “Mendez” is in her name, gots to add some “vibrancy” to this pallid chick. And can we decide if it’s “hip-hop” or “rap” already?

    • Replies: @Sean
    By ancestry, Jacqueline Bouvier Kennedy was hardy French at all and more Irish than JFK. She spoke the language and was educated there for a while and played up that tiny fragment of her DNA because it made her seem more stylish. Even the word used for 'fashionable' became the French chic.

    Just as there are very changing fashions in art, originated by the theories of superbrains like Clement Greenberg, exponents of critical theory overthrew the previous dispensation of ethnicity. It is always something the elite aspire to, but do not possess as birthright, such as supposed upper class English aplomb. Now there has been major watershed and the white elite have went one step beyond to play up their alleged non European-ness.
    , @guest
    I believe rap is a subset of hip-hop. One including spoken word in some sort of rhythmic pattern. You can have hip-hop with no rap, but not rap free of hip-hop. Because that would be like when Elvis talked in the middle of his songs.

    What exactly defines hip-hop eludes me at the moment, but I believe it involves r&b over "sampled" recordings. Which can be recordings of music or whatever you want.

    The genre was born of kids talking over records at parties. It has grown to suck a surprising amount of creativity out of popular culture.
  32. @istevefan

    Alexandra Bell, whose incisive newspaper layouts illustrate the media’s complicity in racist stereotypes.
     
    I've heard this my whole life, yet I don't see it. I've been told that blacks used to be portrayed on TV as thugs and killers and such. Yet when I watch classic tv shows from Perry Mason to Mannix and others from the same period, I don't see it. If anything I don't see blacks which ties into another theme I was told, namely that blacks in the past were invisible because they were not included in the media.

    I think the invisible complaint is much more valid than the stereotyping complaint, at least from what I've see from classic TV. Of course with contemporary TV it seems blacks are always portrayed in the most positive light, and Whites are the ones who commit the majority of violent crime.

    As for the news media, they seem to frequently avoid mentioning any useful description of the perp, unless they are looking for a White male. If they have a photo of a black perp, it's usually buried down the page.

    The white audience wants to see white characters. Not really that difficult to figure out. When crime got really bad in the 70’s and 80’s, I do believe that two-bit thugs were often portrayed as white in order to dodge accusations of racism (e.g., In Death Wish, Charles Bronson’s wife is raped by several white hoodlums, although later in the movie he kills several black criminals). Overall, though, when America was mostly white it typically lost interest if too much diversity was on screen (heavily black movies were called “blacksploitation” movies in the 70’s because they typically were regarded as “urban” fodder).

    • Replies: @Anon
    Ah yes, who can forget Jeff Goldblum's inspired turn as Freak #1 in Death Wish:

    https://www.youtube.com/watch?v=WepSpYTU1F0
    , @Anon
    Not entirely true. The guy at castefootball.us has written about how every group but Whites wants to see their own people on the team (their own "team" as it were). When the Dodgers were in Brooklyn, they had Jewish players; when they moved to LA, suddenly Jews couldn't throw a ball, but we started hearing about all those great Hispanic players. Whites, however, love to see diversity (virtue signaling?). Hence all the hoopla about Jackie Robinson.

    Needless to say, the logic of "whites will watch anyone, blacks etc. will only come out to watch their own inexorably leads to the non-white dominance of sports we see today.

    In a book on Cioran, I first learned of the Romanian/Transylvania hatreds. In the thirties, the "fascists" complained about all the Transylvanians (Trannies?) on the "Romanian" Olympic team, saying "It is not about winning, it is about winning with your own people." Americans, by contrast, still love Jessie Owens, and think he proves our moral superiority.
  33. Sean says:

    A successful critic is a superb prose stylist whose writing can put across his theories about art. Jewish Males happened to be the best–not just about art–they are the best writers.

    amusing line from Clement Greenberg
    On the origin of modern art in the basically psychotic personalities of Henri Rousseau, Cézanne, and especially Van Gogh:

    https://doctorzamalek2.wordpress.com/?s=Clement+Greenberg“Modern art is now practiced by such relatively cold, hard heads as Matisse and Picasso, who produce it out of their sense of contemporary experience. But it needed mental cases to show them the way, to cut through to the ultimate truth of life as it is lived at present.”

    Much like the modernists who are his favorites, Greenberg also seems like someone who capitalizes on the condition of his medium. His best skill is the ability to make extremely intricate statements in very compressed paragraphs and still pull it off much of the time. And of course, he was required to do this by his task of writing extremely short pieces.

    https://www.theartstory.org/critics-greenberg-rosenberg.htm

    Privately, Rosenberg and Greenberg are said to have come close to fist fights on a couple of occasions. In public – or on the page – they were more circumspect, though Greenberg made no secret of his contempt for Rosenberg’s writing. His most famous attack on his rival came in his 1962 essay “How Art Writing Earns Its Bad Name,” in which he slyly remarked that he had never wanted to comment on the apparent subject matter of artworks (as Rosenberg was wont to do), since he found that he could easily assert the opposite and feel on equally safe ground.

  34. @The Wild Geese Howard
    OT:

    ESPN with the obligatory tongue bath for our new, vibrant messiah Cori Gauff:

    https://www.espn.com/tennis/story/_/id/27127529/coco-gauff-soaking-cinderella-run-wimbledon

    There is a very real potential for female tennis to be dominated by black women, only socio-cultural factors of tennis participation hold the numbers down.

  35. A New York Times headline: “The Dominance of the White Male Critic.”

    Not a New York Times headline: “The Dominance of the Jewish Male Critic.”

    We’re rapidly approaching the point where “White Male” means “Jewish Male”–so long as no one dares mention any names of course. For example, in the interest of genuine inclusion we’ll always have some spots left over for “White Males”–and they’ll be filled by “Jewish Males”. Got a problem with that, nazi boy?

  36. @Lot
    THIS is art.

    https://i0.kym-cdn.com/photos/images/facebook/001/258/480/0bd.jpg

    Pepe the Barbarian.

    • Replies: @Counterinsurgency
    Pepe the Barbarian.

    Yep. That's kind of the point. Pepe bypasses the defacement and devaluing of classical art by not being classical art, but still being art (in the sense of being inspirational). The subtext of the Pepe poster shown in Lot's http://www.unz.com/isteve/nyt-the-dominance-of-the-white-male-critic/#comment-3312646 says: "Destroy the enemy!", nothing more. Standard barbarian fare. Moreover, it shows one way to do so, _and_ does it in a way that the opposition can't jam or devalue.

    Purpose is to "free the barbarian" in the opposition to the current social system in the West. As I said earlier (sorry, no link yet) if you destroy all art, it doesn't prevent people from being inspired to fight, it merely makes the fight bloodier. The Pepe poster takes full cognizance of that, which is one of the reasons it works (its primitive brutalist / untrained look is another reason).

    "That's a very proper gander." -- from an attempted parable by Stewart Chase, propagandist.

    Counterinsurgency
  37. Sean says:
    @Feryl
    Good thing the "Mendez" is in her name, gots to add some "vibrancy" to this pallid chick. And can we decide if it's "hip-hop" or "rap" already?

    By ancestry, Jacqueline Bouvier Kennedy was hardy French at all and more Irish than JFK. She spoke the language and was educated there for a while and played up that tiny fragment of her DNA because it made her seem more stylish. Even the word used for ‘fashionable’ became the French chic.

    Just as there are very changing fashions in art, originated by the theories of superbrains like Clement Greenberg, exponents of critical theory overthrew the previous dispensation of ethnicity. It is always something the elite aspire to, but do not possess as birthright, such as supposed upper class English aplomb. Now there has been major watershed and the white elite have went one step beyond to play up their alleged non European-ness.

  38. Sean says:
    @Lot
    THIS is art.

    https://i0.kym-cdn.com/photos/images/facebook/001/258/480/0bd.jpg

    In the works of McLuhan we repeatedly hear that “the medium is the message.” What does this mean? The core program of McLuhan’s media theory is found in the assertion that the content of any medium is of no importance in comparison with its deep and invisible background. As McLuhan puts it, in his typically lively interview in Playboy, the content of any medium is no more important than the graffiti on the casing of the atomic bomb.2 The much-debated difference between good and bad television shows is actually pointless. Of much greater significance is the fact that we watch television rather than listening to radio.

  39. @Feryl
    The white audience wants to see white characters. Not really that difficult to figure out. When crime got really bad in the 70's and 80's, I do believe that two-bit thugs were often portrayed as white in order to dodge accusations of racism (e.g., In Death Wish, Charles Bronson's wife is raped by several white hoodlums, although later in the movie he kills several black criminals). Overall, though, when America was mostly white it typically lost interest if too much diversity was on screen (heavily black movies were called "blacksploitation" movies in the 70's because they typically were regarded as "urban" fodder).

    Ah yes, who can forget Jeff Goldblum’s inspired turn as Freak #1 in Death Wish:

    • Replies: @guest
    I thought he was playing Jughead, who skidded off the straight and narrow after moving to the Big Apple and getting hooked on junk.
  40. Anon[140] • Disclaimer says:

    Critical clout tends to flow to those who 1) Bother to express their opinion, 2) Make sense, and 3) Have the most insight. In other words, it goes to those who do the work necessary to earn your respect. If it goes to persons of a certain sex or skin color, it’s because they did the work necessary to earn that respect.

    There’s nothing stopping any person who is female or dark skinned from becoming a critic when we have free internet that allows everyone to talk. But you need to actually start being a critic in your internet space and say something worth listening to. If you’re a black woman who just talks about her hair problems, no one is going to give a damn about except for black women. She won’t be taken seriously if all she does is express an occasional random reaction to literature or music or art. Being a good critic means you produce a constant stream of reactions to the work of others. You have to give people a reason to come by and pay attention to what you say. You have to earn it.

    • Replies: @William Badwhite

    You have to earn it.
     
    That's pretty racist. Just by being black women, everything they have to say is worthwhile and interesting. You need to check your privilege and listen. Preferably while nodding rapidly in agreement.
  41. @CCZ
    Elizabeth Mendez Berry is an award-winning journalist who writes on hip-hop, gender, politics and criminal justice.

    Such dead eyes!!

    http://assets.feministing.com/wp-content/uploads/2012/06/feministing-photo1.jpg

    She really ought to have that mole removed….or is that the extent of her “color”?

  42. Anonymous[133] • Disclaimer says:
    @istevefan

    Alexandra Bell, whose incisive newspaper layouts illustrate the media’s complicity in racist stereotypes.
     
    I've heard this my whole life, yet I don't see it. I've been told that blacks used to be portrayed on TV as thugs and killers and such. Yet when I watch classic tv shows from Perry Mason to Mannix and others from the same period, I don't see it. If anything I don't see blacks which ties into another theme I was told, namely that blacks in the past were invisible because they were not included in the media.

    I think the invisible complaint is much more valid than the stereotyping complaint, at least from what I've see from classic TV. Of course with contemporary TV it seems blacks are always portrayed in the most positive light, and Whites are the ones who commit the majority of violent crime.

    As for the news media, they seem to frequently avoid mentioning any useful description of the perp, unless they are looking for a White male. If they have a photo of a black perp, it's usually buried down the page.

    I think the invisible complaint is much more valid than the stereotyping complaint, at least from what I’ve see from classic TV.

    Do you mean “valid” or do you mean “true”?

    If “valid,” why should a population that is only 13 percent of the poplulation–and even at that low percentage is underrepresented in decisional nodes in the country–have any significant share in the casting for a small number of parts?

  43. ‘…Consider the work of two artists in the Biennial: Alexandra Bell, whose incisive newspaper layouts illustrate the media’s complicity in racist stereotypes. And the gorgeous mixed-media banners of Jeffrey Gibson, which demand a rethinking of laws like “Stand Your Ground” from an indigenous perspective…’

    In what way this demonstrates that either piece is art at all, much less good art, escapes me.

    • Replies: @Desiderius
    Good = facilitates snobbery, which is equal parts vanity and prejudice. The non-white mascots feed the vanity, while stand-your-ground is something important to the objects of their prejudice, so they get off on denigrating it.

    Garden variety decadence.
  44. Of those top six “white male” art critics, how many are Jewish? How many are gay? Just curious.

  45. @Lot
    She’s a Mendez bro, the blood of Montezuma runs thick in her veins.

    Looks like she’d fit in Montezuma, Iowa before the Hispanic influx.

  46. Blindspots? That’s ableist. Try White malespots.

  47. @Malcolm X-Lax
    One of the first insights I had into how awful contemporary American art had become was when I was in college in 1993. I was reading then editor Lewis Lapham's Editors Note in Harper's Magazine concerning the celebration of the Whitney Biennial and his experience of it. As guests entered the museum, each person was given a wristband with a single word on it. 8 words total were given out. Initially, the guests were unaware of the significance of the words. Slowly it got pieced together that the wristbands were themselves part of the art exhibit and together formed the following sentence: "I Can't Ever Imagine Wanting To Be White". Lapham expressed his contempt for the biennial and this exhibit specifically with two words. Oh dear.

    Whoever put that sentence together doesn’t have much imagination. Heck, I could imagine wanting to be paraplegic or a victim of shark attack.

  48. @CCZ
    Elizabeth Mendez Berry is an award-winning journalist who writes on hip-hop, gender, politics and criminal justice.

    Such dead eyes!!

    http://assets.feministing.com/wp-content/uploads/2012/06/feministing-photo1.jpg

    who writes on hip-hop, gender, politics and criminal justice

    My head is spinning as I think of the kind of towering intellect it must take to master all those subjects. I suppose it helps if she can bring to bear a unifying theory of some sort.

    • Replies: @CCZ
    Her "unifying theory" seems to be, from her Cummings Foundation biography:

    "She believes that artists and journalists are the soothsayers of our time, revealing the truths that spur societies toward justice and move hearts and minds toward compassion."

    And in her own words:

    "Now more than ever, it’s critical to harness the power of culture and storytelling to stir compassion and challenge fear and hatred."

    So succinct, so profound, worth a full PhD thesis.
  49. @Feryl
    Good thing the "Mendez" is in her name, gots to add some "vibrancy" to this pallid chick. And can we decide if it's "hip-hop" or "rap" already?

    I believe rap is a subset of hip-hop. One including spoken word in some sort of rhythmic pattern. You can have hip-hop with no rap, but not rap free of hip-hop. Because that would be like when Elvis talked in the middle of his songs.

    What exactly defines hip-hop eludes me at the moment, but I believe it involves r&b over “sampled” recordings. Which can be recordings of music or whatever you want.

    The genre was born of kids talking over records at parties. It has grown to suck a surprising amount of creativity out of popular culture.

    • Replies: @SunBakedSuburb
    "... but I believe it involves r&b over 'sampled' recordings."

    In other words, stolen beats and melodies.

    "It has grown to suck a surprising amount of creativity out of popular culture."

    From Scott Joplin to hip-hop. The path of black musical achievement degrades as it returns to Afrobeat.
    , @Sextus Empiricus
    I tell my musician friends that Black music (maybe all pop music?) is played out, artistically. After a 20th century during which our dusky fellow citizens gave us Ragtime, Blues, numerous genres of Jazz of varying complexity, R&B, (arguably) Rock ‘n’ Roll, Soul, Funk, Disco, Reggae, Ska and countless sub-genres flowering with every decade, it has pretty much been mired in Rap/Hip Hop for 30-40 years. And it seems to have run aground on the least rhythmically, harmonically and melodically (morally?) sophisticated shoals in a century of Black music. The same can probably be said for all forms of American popular music - maybe we just hit the end of a burst of innovation and it’s gonna be a stagnant pond for awhile. Thank God for streaming music services so we can savor all the rich variety of 20th music.

    I know this can be dismissed a old man grumbling, but periods of exceptional innovation do indeed come to an end sometimes.
  50. @Anon
    Ah yes, who can forget Jeff Goldblum's inspired turn as Freak #1 in Death Wish:

    https://www.youtube.com/watch?v=WepSpYTU1F0

    I thought he was playing Jughead, who skidded off the straight and narrow after moving to the Big Apple and getting hooked on junk.

  51. @Redneck farmer
    Dear God-Emperor Trump:
    The source of all Heresy is the "Foundations". Cleanse them with Fire!
    Hail Imperator!
    Redneck Farmer

    Hari Seldon would never have put up with this nonsense, Ill tell you that much.

  52. @Colin Wright
    '...Consider the work of two artists in the Biennial: Alexandra Bell, whose incisive newspaper layouts illustrate the media’s complicity in racist stereotypes. And the gorgeous mixed-media banners of Jeffrey Gibson, which demand a rethinking of laws like “Stand Your Ground” from an indigenous perspective...'

    In what way this demonstrates that either piece is art at all, much less good art, escapes me.

    Good = facilitates snobbery, which is equal parts vanity and prejudice. The non-white mascots feed the vanity, while stand-your-ground is something important to the objects of their prejudice, so they get off on denigrating it.

    Garden variety decadence.

  53. CCZ says:
    @International Jew

    who writes on hip-hop, gender, politics and criminal justice
     
    My head is spinning as I think of the kind of towering intellect it must take to master all those subjects. I suppose it helps if she can bring to bear a unifying theory of some sort.

    Her “unifying theory” seems to be, from her Cummings Foundation biography:

    “She believes that artists and journalists are the soothsayers of our time, revealing the truths that spur societies toward justice and move hearts and minds toward compassion.”

    And in her own words:

    “Now more than ever, it’s critical to harness the power of culture and storytelling to stir compassion and challenge fear and hatred.”

    So succinct, so profound, worth a full PhD thesis.

  54. By Elizabeth Méndez Berry and Chi-hui Yang

  55. Yeah, this one’s pretty straightforward.

    *Cues clip of Mike Wallace saying “Jewish” to Morgan Freeman*

  56. @trelane
    How Genghis of you. The proper quote is:

    “The greatest happiness is to vanquish your enemies, to chase them before you, to rob them of their wealth, to see those dear to them bathed in tears, to clasp to your bosom their wives and daughters.”

    Of course, but it seems…not:

    https://en.wikiquote.org/wiki/Genghis_Khan#Disputed

    The greatest joy for a man is to defeat his enemies, to drive them before him, to take from them all they possess, to see those they love in tears, to ride their horses, and to hold their wives and daughters in his arms.

    As quoted in Genghis Khan & the Mongols (1973) by Michael Gibson, p. 3; this has been disputed with the statement that it was “not recorded until a century after his death and is surprisingly out of character.”

  57. Seriously, I appreciate Mr. Sailer’s direct manner of putting to the NY Times this simple question: If it is all right to print articles in which blacks assail whites for racism and jews assail whites for antisemitism, not to mention all the articles where some white “privilege” or another is lamented, then why is it impermissible to write articles in which some generalized complaint about Jews is made? Who sets such rules? Now, we know it couldn’t be Jews, because any suggestion that they have power in the media is hate speech. So who does it? Who is keeping the NY Times from treating Jews fairly and letting them be criticized now and then?

  58. Who cares? Visual arts in mentally sane way do not exist anymore. They ceased to be somewhere around 1940s. After that, all painting – including such “luminaries” alike Jackson Pollock – is trash; sculpture- a joke; performing arts- moronic nothing, a Western Zen (which itself,in artistic expressions, is highly overrated).

    So-who cares about nothing?

    Literary critics who write about- nothing?

    This is Basquiat (https://en.wikipedia.org/wiki/Jean-Michel_Basquiat) painting sold at $57.3 million:

    Here is $110.5 million:

    Spit.

    • Replies: @Counterinsurgency
    Again, art since WW I has been an attempt to destroy the capability of the public to be inspired by pre-WW I art. Tom Wolfe "The painter word", Rieff _Deathworks_. Original idea was that if the State had no ideals to appeal to, it wouldn't be able to have armies "What if they gave a war and nobody came" sort of thing. The "spitting on soldiers" bit started with the Italian Futurists during WW I and was revived during the Vietnam War. Modern art was an attempt to make military action, at least in the form of mass armies, impossible.
    And were stil in the same post WW I rut! No new ideas since the 1930s! people come up with brand new ideas that were old decades before I was born and say "this has never been tried, so let's try it". New! The elevation of POC because they are POC and "haven't had a chance" is a straight steal from Reconstruction, and is enforced about the same way Reconstruction was enforced (raw force plus propaganda), and is 1930s by way of Nazi "place in the sun" propaganda.
    This 1930s stuff never ends, but it really really should. It's getting old and its getting boring.

    Counterinsurgency
    , @Autochthon

    They ceased to be somewhere around [the] 1940s.
     
    Here you go. I found your missing definite article hanging out with some chick named Autumn. Keep a closer eye on it from now on.
    , @Autochthon

    ...performing arts- moronic nothing...
     
    Now you've over-egged the pudding.

    The Crucible (1953)
    Rosencrantz & Guildenstern Are Dead (1966)
    The Lamb Lies Down on Broadway (1974)
    Fences (1985)
    Disintegration (1989)
    Closer (1998)
    Smile (2004)

    (An arbitrary and small sampling of great plays and albums since the 1940s; many great filma could be included, too, but cinema is less inarguably a performing art than drama or music.)

    I cannot as easily argue that painting and sculpture haven't gone straight to Hell, though actual talent (ironically?) remained but was confined to so-called low-brow fare: that of Frank Frazetta, Roger Dean, Dave Gibbons, etc. is superiour to most anything you'll find in a museum of "contemporary" art, just as John McLaughlin and Yngwie Malmsteen gave us music far superior to dreck like the New York City Opera's Stonewall....
    , @SunBakedSuburb
    The art works of Basquiat and the absurd Jeff Koons are often used to launder the ill-gotten gains of the Luciferian rich.
    , @dfordoom

    Who cares? Visual arts in mentally sane way do not exist anymore. They ceased to be somewhere around 1940s.
     
    That's obviously true. But a society that accepts disgusting trash like those Basquiat paintings as art is not mentally sane.

    The rose of Modernist art in the early 20th century was one of the first signs that our culture was degenerating.
    , @MBlanc46
    I’ll buy that sculpture pretty much lost its raison d’etre with the decline of representational public monuments. I’d say that painting made it into the seventies, ending with photorealism. Now, everything that can be done has been done. There’s nothing left but pastiche.
  59. “This is not the warm embrace of family. This one man squeezing the white guilt out of another.”

  60. Conversations about our monuments, museums, screens and stages …

    There’s that word again – ‘conversation’. Always a dead giveaway and your cue to stop reading and move on; because of course it no longer means what it used to, but a rant, a stream of bile aimed at polluting and belittling you and yours and all you hold dear.

  61. @Lot
    They offer two examples for “Yet the most dynamic art in America today is being made by artists of color”

    First, Alexandra Bell’s art consists of crossing out words from newspaper articles:

    https://news.artnet.com/app/news-upload/2017/05/IMG_6611-1024x745.jpg

    Sometimes she doodles on them too:

    https://news.artnet.com/app/news-upload/2017/05/IMG_5834-e1495195202432-768x1024.jpg

    Jeffrey Gibson’s main technique is to decorate punching bags. Really.

    https://trendland.com/wp-content/uploads/2017/02/jeffrey-gibson-24.jpg

    To quote an over-represented Jewish critic —

    http://www.thegeekedgods.com/wp-content/uploads/2017/07/the-critic-season-1-_alt_-cover.jpg

    Way back in the late 1960s I spent some time visiting the Museum of Modern Art (MOMA), and noticed that many of the paintings were simply political cartoons executed with more technique. One depicted an evil looking man in black holding a black umbrella while blood fell as rain. I’d started to follow an art critic (of some sort) who was taking a middle aged women (not his wife, he was apparently acting in a professional capacity) from painting to painting and explicating up on them — “this evil figure is a capitalist, and the blood raining is from the workers). I told him that I’d expected more from painting than simple propaganda, and he advised me that I “wanted to be inspired” and that art didn’t do that anymore. Much later I read Rieff’s _Deathworks_ and saw what art actually did. Tom Wolfe, I think, but it best — art after WW I was largely an attempt to demil art — to make the population capable of understanding art or being “inspired” by art. The theory was (according to T. Wolfe) was that art that motivated people to voluntarily join something like WW I was evil per se (part of an evil Western society that could have something like WW I). Perhaps society would be replaced by something better; it could hardly be replaced by something worse.

    So now we see the result. Any idiot can deface old art, or so something _not_ inspirational (e.g. the urinal exhibit) and call it art because it is _not_ inspirational. We’re down to defacing newspapers and social awards, and it’s OK because (bluntly here) stupid is good.

    What these the theory did not include is that mobs don’t have to be inspired; neither do armies. They just have to know who the enemy is. While WW I was pretty bad, the depopulation of Germany during the 30 Years War was worst, and that depopulation had (in practice) no beliefs whatsoever except that the tercios had no logistics system beyond black powder supply and they had to eat. Actually, the French Army during the Napoleonic Wars was just as bad, although more thoroughly controlled by the French central government: with no logistic support save weapons they took everything the local population had. Upset the local population no end (those who survived), one of the reasons France never did take Spain.

    So: As things stand, social structure prevents the sort of confused Warre (as Hobbes called it) that characterized, say, Western Europe in the latter stages of WW I. Historically, when social structure stands in the way of survival, it’s dropped. Weaker social structure is dropped more easily, and destruction of social identity symbols (_NYT_, the Betsy Ross Flag) weakens society. I’ll leave the rest to the reader.

    Counterinsurgency

  62. @Hypnotoad666
    Pepe the Barbarian.

    Pepe the Barbarian.

    Yep. That’s kind of the point. Pepe bypasses the defacement and devaluing of classical art by not being classical art, but still being art (in the sense of being inspirational). The subtext of the Pepe poster shown in Lot’s http://www.unz.com/isteve/nyt-the-dominance-of-the-white-male-critic/#comment-3312646 says: “Destroy the enemy!”, nothing more. Standard barbarian fare. Moreover, it shows one way to do so, _and_ does it in a way that the opposition can’t jam or devalue.

    Purpose is to “free the barbarian” in the opposition to the current social system in the West. As I said earlier (sorry, no link yet) if you destroy all art, it doesn’t prevent people from being inspired to fight, it merely makes the fight bloodier. The Pepe poster takes full cognizance of that, which is one of the reasons it works (its primitive brutalist / untrained look is another reason).

    “That’s a very proper gander.” — from an attempted parable by Stewart Chase, propagandist.

    Counterinsurgency

  63. Chasing White men out of a job that legitimizes trash people showing off their trash creations is great.

  64. @Bardon Kaldian
    Who cares? Visual arts in mentally sane way do not exist anymore. They ceased to be somewhere around 1940s. After that, all painting - including such "luminaries" alike Jackson Pollock - is trash; sculpture- a joke; performing arts- moronic nothing, a Western Zen (which itself,in artistic expressions, is highly overrated).

    So-who cares about nothing?

    Literary critics who write about- nothing?

    This is Basquiat (https://en.wikipedia.org/wiki/Jean-Michel_Basquiat) painting sold at $57.3 million:

    http://p8.storage.canalblog.com/83/11/119589/110143478.jpg

    Here is $110.5 million:

    https://static01.nyt.com/images/2017/05/18/arts/19basquiat_web1/19basquiat_web1-facebookJumbo-v3.jpg

    Spit.

    Again, art since WW I has been an attempt to destroy the capability of the public to be inspired by pre-WW I art. Tom Wolfe “The painter word”, Rieff _Deathworks_. Original idea was that if the State had no ideals to appeal to, it wouldn’t be able to have armies “What if they gave a war and nobody came” sort of thing. The “spitting on soldiers” bit started with the Italian Futurists during WW I and was revived during the Vietnam War. Modern art was an attempt to make military action, at least in the form of mass armies, impossible.
    And were stil in the same post WW I rut! No new ideas since the 1930s! people come up with brand new ideas that were old decades before I was born and say “this has never been tried, so let’s try it”. New! The elevation of POC because they are POC and “haven’t had a chance” is a straight steal from Reconstruction, and is enforced about the same way Reconstruction was enforced (raw force plus propaganda), and is 1930s by way of Nazi “place in the sun” propaganda.
    This 1930s stuff never ends, but it really really should. It’s getting old and its getting boring.

    Counterinsurgency

    • Replies: @Bardon Kaldian
    No, you're too ideologizing everything. True, there were many currents, yet they stemmed from the very nature of Western idea of Art (too long to expatiate upon).

    In my book, Klee, Picasso, Kandinsky, Schiele, Delaunay, Vlaminck, Brancusi, Malevich, de Chirico, Rouault, Dali, .. are still significant visual artists, although it would be absurd to compare them to old masters like El Greco, Titian or Rembrandt. They belong to different universes.

    Just, it all ended in complete breakdown in communication. Basically, painters became masturbators of junkies, walled in their personal worlds not possible to communicate to others.

    The same with music (Cage etc.).

    Literature was spared just because experiments in that direction (Joyce's Wake) proved to be a complete failure. With something like Dada...well, no literary critic will, eventually, tolerate your private mumbo-jumbo. Nor could he write in mumbojumboese.
  65. @Anonymous
    It seems Alexandra Bell and the NYTimes are still unaware that the officer in the Ferguson case was shown to be completely in the right and the witnesses who claimed otherwise were proven to be lying through their teeth.

    Somebody should write a letter or something and give them the news.

    > Somebody should write a letter or something and give them the news.

    Oh, those letters have been written and sent. The NYT’s Winstons knew just which hole to route them to.

    Anon, stop presuming that you have the privileges of an Inner Party member. Something might happen. Just sayin.

  66. @Lot
    THIS is art.

    https://i0.kym-cdn.com/photos/images/facebook/001/258/480/0bd.jpg

    Well, it certainly evinces more art (i.e. skill; talent; effort…) than displaying two clippings from newspapers does….

  67. @Bardon Kaldian
    Who cares? Visual arts in mentally sane way do not exist anymore. They ceased to be somewhere around 1940s. After that, all painting - including such "luminaries" alike Jackson Pollock - is trash; sculpture- a joke; performing arts- moronic nothing, a Western Zen (which itself,in artistic expressions, is highly overrated).

    So-who cares about nothing?

    Literary critics who write about- nothing?

    This is Basquiat (https://en.wikipedia.org/wiki/Jean-Michel_Basquiat) painting sold at $57.3 million:

    http://p8.storage.canalblog.com/83/11/119589/110143478.jpg

    Here is $110.5 million:

    https://static01.nyt.com/images/2017/05/18/arts/19basquiat_web1/19basquiat_web1-facebookJumbo-v3.jpg

    Spit.

    They ceased to be somewhere around [the] 1940s.

    Here you go. I found your missing definite article hanging out with some chick named Autumn. Keep a closer eye on it from now on.

  68. @Bardon Kaldian
    Who cares? Visual arts in mentally sane way do not exist anymore. They ceased to be somewhere around 1940s. After that, all painting - including such "luminaries" alike Jackson Pollock - is trash; sculpture- a joke; performing arts- moronic nothing, a Western Zen (which itself,in artistic expressions, is highly overrated).

    So-who cares about nothing?

    Literary critics who write about- nothing?

    This is Basquiat (https://en.wikipedia.org/wiki/Jean-Michel_Basquiat) painting sold at $57.3 million:

    http://p8.storage.canalblog.com/83/11/119589/110143478.jpg

    Here is $110.5 million:

    https://static01.nyt.com/images/2017/05/18/arts/19basquiat_web1/19basquiat_web1-facebookJumbo-v3.jpg

    Spit.

    …performing arts- moronic nothing…

    Now you’ve over-egged the pudding.

    The Crucible (1953)
    Rosencrantz & Guildenstern Are Dead (1966)
    The Lamb Lies Down on Broadway (1974)
    Fences (1985)
    Disintegration (1989)
    Closer (1998)
    Smile (2004)

    (An arbitrary and small sampling of great plays and albums since the 1940s; many great filma could be included, too, but cinema is less inarguably a performing art than drama or music.)

    I cannot as easily argue that painting and sculpture haven’t gone straight to Hell, though actual talent (ironically?) remained but was confined to so-called low-brow fare: that of Frank Frazetta, Roger Dean, Dave Gibbons, etc. is superiour to most anything you’ll find in a museum of “contemporary” art, just as John McLaughlin and Yngwie Malmsteen gave us music far superior to dreck like the New York City Opera’s Stonewall….

    • Replies: @MBlanc46
    I’m with you on R&G Are Dead. Most of the rest I’ve never heard of, and Mme B and I are pretty avid theater goers. For Wilson, I’d pick Jitney, although I realize that’s what G.H. Hardy would have called an “old brandy” choice. I also quite like Two Trains Running. I’d add Margaret Edson’s W;t. For Miller I’d certainly prefer Willy. What, no O’Neill or Williams? I can’t imagine a list of the best drama since 1945 without Godot and Endgame, although I concede that they may a bit too avant garde.
  69. @trelane
    How Genghis of you. The proper quote is:

    “The greatest happiness is to vanquish your enemies, to chase them before you, to rob them of their wealth, to see those dear to them bathed in tears, to clasp to your bosom their wives and daughters.”

    Meme Warrior, not Steppe Warrior.

  70. Anon[817] • Disclaimer says:
    @Feryl
    The white audience wants to see white characters. Not really that difficult to figure out. When crime got really bad in the 70's and 80's, I do believe that two-bit thugs were often portrayed as white in order to dodge accusations of racism (e.g., In Death Wish, Charles Bronson's wife is raped by several white hoodlums, although later in the movie he kills several black criminals). Overall, though, when America was mostly white it typically lost interest if too much diversity was on screen (heavily black movies were called "blacksploitation" movies in the 70's because they typically were regarded as "urban" fodder).

    Not entirely true. The guy at castefootball.us has written about how every group but Whites wants to see their own people on the team (their own “team” as it were). When the Dodgers were in Brooklyn, they had Jewish players; when they moved to LA, suddenly Jews couldn’t throw a ball, but we started hearing about all those great Hispanic players. Whites, however, love to see diversity (virtue signaling?). Hence all the hoopla about Jackie Robinson.

    Needless to say, the logic of “whites will watch anyone, blacks etc. will only come out to watch their own inexorably leads to the non-white dominance of sports we see today.

    In a book on Cioran, I first learned of the Romanian/Transylvania hatreds. In the thirties, the “fascists” complained about all the Transylvanians (Trannies?) on the “Romanian” Olympic team, saying “It is not about winning, it is about winning with your own people.” Americans, by contrast, still love Jessie Owens, and think he proves our moral superiority.

    • Agree: Cortes
  71. Anon[817] • Disclaimer says:
    @istevefan

    Alexandra Bell, whose incisive newspaper layouts illustrate the media’s complicity in racist stereotypes.
     
    I've heard this my whole life, yet I don't see it. I've been told that blacks used to be portrayed on TV as thugs and killers and such. Yet when I watch classic tv shows from Perry Mason to Mannix and others from the same period, I don't see it. If anything I don't see blacks which ties into another theme I was told, namely that blacks in the past were invisible because they were not included in the media.

    I think the invisible complaint is much more valid than the stereotyping complaint, at least from what I've see from classic TV. Of course with contemporary TV it seems blacks are always portrayed in the most positive light, and Whites are the ones who commit the majority of violent crime.

    As for the news media, they seem to frequently avoid mentioning any useful description of the perp, unless they are looking for a White male. If they have a photo of a black perp, it's usually buried down the page.

    More recently the Arabs and Russians are the go to Bad Guys, for obvious reasons. It satisfies the flyover yahoos (Rooskies! A-rabs!) while obfuscating the embarrassing fact that the “evil corporate guys” of the 70s-80s are now fully on board the progressive train. The Dems are supported by GloboCorps just like the Reps; sometimes, the same GloboCorps.

    So rather than “Soros is rigging the elections” we have RussiaGate.

    Ned Beatty’s character in Network turned out to be Zuckerberg, so today he’d be a Russian or and Arab (I haven’t paid attention to Cranston’s Broadway version).

    • Replies: @Cortes
    When you’re right you’re right.

    But here you’re wrong. Check out the Comments on most of Lars, the Dane behind the Survival Russia channel and get back to me if you don’t believe that the majority of the folks making their points and subscribing are deplorable...

    https://m.youtube.com/watch?v=X9eCoh3O-zg
  72. @Counterinsurgency
    Again, art since WW I has been an attempt to destroy the capability of the public to be inspired by pre-WW I art. Tom Wolfe "The painter word", Rieff _Deathworks_. Original idea was that if the State had no ideals to appeal to, it wouldn't be able to have armies "What if they gave a war and nobody came" sort of thing. The "spitting on soldiers" bit started with the Italian Futurists during WW I and was revived during the Vietnam War. Modern art was an attempt to make military action, at least in the form of mass armies, impossible.
    And were stil in the same post WW I rut! No new ideas since the 1930s! people come up with brand new ideas that were old decades before I was born and say "this has never been tried, so let's try it". New! The elevation of POC because they are POC and "haven't had a chance" is a straight steal from Reconstruction, and is enforced about the same way Reconstruction was enforced (raw force plus propaganda), and is 1930s by way of Nazi "place in the sun" propaganda.
    This 1930s stuff never ends, but it really really should. It's getting old and its getting boring.

    Counterinsurgency

    No, you’re too ideologizing everything. True, there were many currents, yet they stemmed from the very nature of Western idea of Art (too long to expatiate upon).

    In my book, Klee, Picasso, Kandinsky, Schiele, Delaunay, Vlaminck, Brancusi, Malevich, de Chirico, Rouault, Dali, .. are still significant visual artists, although it would be absurd to compare them to old masters like El Greco, Titian or Rembrandt. They belong to different universes.

    Just, it all ended in complete breakdown in communication. Basically, painters became masturbators of junkies, walled in their personal worlds not possible to communicate to others.

    The same with music (Cage etc.).

    Literature was spared just because experiments in that direction (Joyce’s Wake) proved to be a complete failure. With something like Dada…well, no literary critic will, eventually, tolerate your private mumbo-jumbo. Nor could he write in mumbojumboese.

    • Replies: @Counterinsurgency
    You seem to be saying that you know that answer, but won't tell. Strange things happened for unexplained reasons.

    A standard "sit down and shut up" response. Not very informative.

    Could you give a reference to your book?

    Counterinsurgency
  73. “Critics of color”! Ha ha ha ha ha.

    Let’s stop the pretending. The USA is for Caucasians. Can’t deal with that? Pack up your yak and goat and go back where you came from. Period. Full. Stop.

  74. @CCZ
    Elizabeth Mendez Berry is an award-winning journalist who writes on hip-hop, gender, politics and criminal justice.

    Such dead eyes!!

    http://assets.feministing.com/wp-content/uploads/2012/06/feministing-photo1.jpg

    “Such dead eyes!!”

    Exposing the ears to hip-hop has that effect.

  75. @guest
    I believe rap is a subset of hip-hop. One including spoken word in some sort of rhythmic pattern. You can have hip-hop with no rap, but not rap free of hip-hop. Because that would be like when Elvis talked in the middle of his songs.

    What exactly defines hip-hop eludes me at the moment, but I believe it involves r&b over "sampled" recordings. Which can be recordings of music or whatever you want.

    The genre was born of kids talking over records at parties. It has grown to suck a surprising amount of creativity out of popular culture.

    “… but I believe it involves r&b over ‘sampled’ recordings.”

    In other words, stolen beats and melodies.

    “It has grown to suck a surprising amount of creativity out of popular culture.”

    From Scott Joplin to hip-hop. The path of black musical achievement degrades as it returns to Afrobeat.

  76. @trelane
    The dominant culture today is not white, European or middle latitude. The culturally/socially dominant groups are tropical, non-white and non-European.

    The dominant culture today is not white, European or middle latitude. The culturally/socially dominant groups are tropical, non-white and non-European.

    The dominant culture today is homosexual.

  77. @Bardon Kaldian
    Who cares? Visual arts in mentally sane way do not exist anymore. They ceased to be somewhere around 1940s. After that, all painting - including such "luminaries" alike Jackson Pollock - is trash; sculpture- a joke; performing arts- moronic nothing, a Western Zen (which itself,in artistic expressions, is highly overrated).

    So-who cares about nothing?

    Literary critics who write about- nothing?

    This is Basquiat (https://en.wikipedia.org/wiki/Jean-Michel_Basquiat) painting sold at $57.3 million:

    http://p8.storage.canalblog.com/83/11/119589/110143478.jpg

    Here is $110.5 million:

    https://static01.nyt.com/images/2017/05/18/arts/19basquiat_web1/19basquiat_web1-facebookJumbo-v3.jpg

    Spit.

    The art works of Basquiat and the absurd Jeff Koons are often used to launder the ill-gotten gains of the Luciferian rich.

  78. @Bardon Kaldian
    Who cares? Visual arts in mentally sane way do not exist anymore. They ceased to be somewhere around 1940s. After that, all painting - including such "luminaries" alike Jackson Pollock - is trash; sculpture- a joke; performing arts- moronic nothing, a Western Zen (which itself,in artistic expressions, is highly overrated).

    So-who cares about nothing?

    Literary critics who write about- nothing?

    This is Basquiat (https://en.wikipedia.org/wiki/Jean-Michel_Basquiat) painting sold at $57.3 million:

    http://p8.storage.canalblog.com/83/11/119589/110143478.jpg

    Here is $110.5 million:

    https://static01.nyt.com/images/2017/05/18/arts/19basquiat_web1/19basquiat_web1-facebookJumbo-v3.jpg

    Spit.

    Who cares? Visual arts in mentally sane way do not exist anymore. They ceased to be somewhere around 1940s.

    That’s obviously true. But a society that accepts disgusting trash like those Basquiat paintings as art is not mentally sane.

    The rose of Modernist art in the early 20th century was one of the first signs that our culture was degenerating.

    • Replies: @Kevin O'Keeffe

    ...a society that accepts disgusting trash like those Basquiat paintings as art is not mentally sane.
     
    The only thing wrong with those Bisquick paintings, is the fact they are revered (and HUGELY overpriced, of course). As posters in some college dorm room replete with a bhong, they'd be very appropriate. They just don't belong in a museum.
  79. @trelane
    How Genghis of you. The proper quote is:

    “The greatest happiness is to vanquish your enemies, to chase them before you, to rob them of their wealth, to see those dear to them bathed in tears, to clasp to your bosom their wives and daughters.”

    Sounds like he is paraphrasing dialog from Conan the Barbarian (1982). Although the writers of the screenplay, John Milius and Oliver Stone, were echoing ol’ Genghis.

    • Agree: Lot
  80. The Dominance of the Jewish Movie Critic is long standing. In the 60s and 70s the most important critics were:

    Pauline Kael – New Yorker Jewish
    Judith Crist – Jewish
    Stanley Kauffmann – New Republic Jewish
    Retna Aldler – NYT’s Jewish
    Gene Shalit – NBC Today Show Jewish
    Richard Schickel – Time Jewish
    Gene Siskel – Jewish

    John Simon – Self described atheist
    Roger Ebert – Self described atheist (culturally Catholic)
    Rex Reed – ?
    Sarris – ?

  81. Vibrant good and hard.

  82. • Replies: @Sextus Empiricus
    If you (or your people) can’t make or create it, then either it doesn’t really exist, or it has no real value, or somehow, behind everyone’s back, you DID actually create it, but the credit was stolen from you and now for some reason, you can’t recreate or even maintain your historical innovations.
    , @Autochthon
    Our tax dollars at work.

    (What was it Anthony Daniels pointed out about the purpose of the sign in the grocer's window...?)
    , @eah
    https://pbs.twimg.com/media/D-zFy6DXkAANa98.jpg
  83. @Anon
    Critical clout tends to flow to those who 1) Bother to express their opinion, 2) Make sense, and 3) Have the most insight. In other words, it goes to those who do the work necessary to earn your respect. If it goes to persons of a certain sex or skin color, it's because they did the work necessary to earn that respect.

    There's nothing stopping any person who is female or dark skinned from becoming a critic when we have free internet that allows everyone to talk. But you need to actually start being a critic in your internet space and say something worth listening to. If you're a black woman who just talks about her hair problems, no one is going to give a damn about except for black women. She won't be taken seriously if all she does is express an occasional random reaction to literature or music or art. Being a good critic means you produce a constant stream of reactions to the work of others. You have to give people a reason to come by and pay attention to what you say. You have to earn it.

    You have to earn it.

    That’s pretty racist. Just by being black women, everything they have to say is worthwhile and interesting. You need to check your privilege and listen. Preferably while nodding rapidly in agreement.

    • Replies: @CCZ
    Yes, black women have much to say, so join them for dinner and listen:

    “Dear white women, you have caused immeasurable pain and damage to Brown and Black women.

    We are not here to change anything. We are here to express the pain you have caused, white women. WE don’t care about your feelings. SIT WITH THAT FOR A MINUTE. Your feelings pale in comparison to the violence you have caused Black and Brown women.

    Our mission is simple - reveal the naked truth about RACISM in America and YOUR COMPLICITY as white women.

    white women: We are talking about YOU. We are talking about your complicity in upholding white supremacy and keeping us Brown and Black women down.

    Making white women comfortable isn’t our goal.”

    Schedule your dinner at: https://race2dinner.com/
  84. @dfordoom

    Who cares? Visual arts in mentally sane way do not exist anymore. They ceased to be somewhere around 1940s.
     
    That's obviously true. But a society that accepts disgusting trash like those Basquiat paintings as art is not mentally sane.

    The rose of Modernist art in the early 20th century was one of the first signs that our culture was degenerating.

    …a society that accepts disgusting trash like those Basquiat paintings as art is not mentally sane.

    The only thing wrong with those Bisquick paintings, is the fact they are revered (and HUGELY overpriced, of course). As posters in some college dorm room replete with a bhong, they’d be very appropriate. They just don’t belong in a museum.

  85. @Bardon Kaldian
    No, you're too ideologizing everything. True, there were many currents, yet they stemmed from the very nature of Western idea of Art (too long to expatiate upon).

    In my book, Klee, Picasso, Kandinsky, Schiele, Delaunay, Vlaminck, Brancusi, Malevich, de Chirico, Rouault, Dali, .. are still significant visual artists, although it would be absurd to compare them to old masters like El Greco, Titian or Rembrandt. They belong to different universes.

    Just, it all ended in complete breakdown in communication. Basically, painters became masturbators of junkies, walled in their personal worlds not possible to communicate to others.

    The same with music (Cage etc.).

    Literature was spared just because experiments in that direction (Joyce's Wake) proved to be a complete failure. With something like Dada...well, no literary critic will, eventually, tolerate your private mumbo-jumbo. Nor could he write in mumbojumboese.

    You seem to be saying that you know that answer, but won’t tell. Strange things happened for unexplained reasons.

    A standard “sit down and shut up” response. Not very informative.

    Could you give a reference to your book?

    Counterinsurgency

    • Replies: @Bardon Kaldian
    No, that was just a metaphor. What I said is broadly accepted & actually trivial: if we all talked in musical notes or in brush strokes, then radical deconstruction of all elements of these arts would had been impossible because of the breakdown in communication, which is essential for a human society, would make such "experiments" short-lived & absolutely marginal. On the other hand, language-based communication, such as imaginative literature, has constraining mechanisms essential to the very structure of the language (grammar, syntax, word-formation,..), so that Cages & Pollocks in literature, at that yet non-degenerate stage, just don't exist. In short, noise would destroy the message.

    Visual arts & music are not under such basic constrictions; they produce purely subjective noise no one- except the author &, for purely pecuniary reasons, vultures like art critics, art dealers, gallerists & similar parasites- get or know what the entire fuss is about at all - so they eventually end up where they truly belong- trash cans & post-modern galleries, two destinations that in reality don't differ that much.
  86. By the way, the article image.

    Seems more than a little inspired by the famous one by the white-ish Man Ray (Emmanuel Radnitzky, if you know what I mean).

  87. Anonymous[226] • Disclaimer says:
    @Whiskey
    She looks pretty White to me. Blue eyes are recessive.

    Like most White women she loathes most White men. Being equal is being inferior. No woman anywhere ever wanted a man her equal or equal to other men.

    Plenty of brown people with blue eyes in Latin America and South Asia.

  88. @Anon
    More recently the Arabs and Russians are the go to Bad Guys, for obvious reasons. It satisfies the flyover yahoos (Rooskies! A-rabs!) while obfuscating the embarrassing fact that the "evil corporate guys" of the 70s-80s are now fully on board the progressive train. The Dems are supported by GloboCorps just like the Reps; sometimes, the same GloboCorps.

    So rather than "Soros is rigging the elections" we have RussiaGate.

    Ned Beatty's character in Network turned out to be Zuckerberg, so today he'd be a Russian or and Arab (I haven't paid attention to Cranston's Broadway version).

    When you’re right you’re right.

    But here you’re wrong. Check out the Comments on most of Lars, the Dane behind the Survival Russia channel and get back to me if you don’t believe that the majority of the folks making their points and subscribing are deplorable…

  89. @Counterinsurgency
    You seem to be saying that you know that answer, but won't tell. Strange things happened for unexplained reasons.

    A standard "sit down and shut up" response. Not very informative.

    Could you give a reference to your book?

    Counterinsurgency

    No, that was just a metaphor. What I said is broadly accepted & actually trivial: if we all talked in musical notes or in brush strokes, then radical deconstruction of all elements of these arts would had been impossible because of the breakdown in communication, which is essential for a human society, would make such “experiments” short-lived & absolutely marginal. On the other hand, language-based communication, such as imaginative literature, has constraining mechanisms essential to the very structure of the language (grammar, syntax, word-formation,..), so that Cages & Pollocks in literature, at that yet non-degenerate stage, just don’t exist. In short, noise would destroy the message.

    Visual arts & music are not under such basic constrictions; they produce purely subjective noise no one- except the author &, for purely pecuniary reasons, vultures like art critics, art dealers, gallerists & similar parasites- get or know what the entire fuss is about at all – so they eventually end up where they truly belong- trash cans & post-modern galleries, two destinations that in reality don’t differ that much.

    • Replies: @Counterinsurgency
    OK, I think I understand that.
    After considerable experience, I have little respect for things that are broadly accepted (hence the "endlessly repeated 1930s" idea I often use), but the content of your message is interesting.

    a) To an extent, we all do talk in musical notes (courtship songs, war songs) and brush strokes (doodles if nothing else, metaphorically similar to brush strokes). Both produce responses, albeit emotional.
    The Catholic Church has in its long history, sponsored quite a bit of song and "art", paintings, statues, etc. even architecture. Most of it has significance in Catholicism. The pictures usually refer to specific events, and try to instill reverence for them as well as serving as memory aids for the illiterate. The statues remind people that figures prominent in Catholicism existed physically just like the viewer and in a way permit the viewer to imagine that the real figure is present, or that the viewer can see the figure in life. Statues, also, are a memory aid for the illiterate. Liturgical music has, for most of its history in Catholicism, attempted to induce a sense of eternity through regular beat, subdued tone, words consistent with Catholicism, and so on. The art forms that induce the feelings and memories that the Catholic Church thought helped Catholicism were not arbitrary -- they were developed as a feedback process that was driven in large part by the responses of the Catholic flock. In other words, they were a nonverbal speech that was to an extent understood by a large body of people.
    Taking the same problem from the other side, to date nobody has found even one universal rule for human grammar. One could therefore say that human speech (whatever that is, since we lack an abstract definition) is equivalent to nonverbal speech in that it appears to be innate in humans, seems to follow rules, but nobody knows what they are.
    Things fuzz up.

    However -- the Catholic example was taken for a reason. Its art/music/architecture was an attempt at _religions_ speech. By the same token, governmental buildings, statues of past leaders, even (Lord help us) PBS and BBC, are political speech (so are the schools).

    My original thesis was that, back in the day (early 1900s, intensifying after WW I) the Left attempted to (a) develop its own form of political speech art and (b) jam the political speech art of its opponents, the European governments. The Left therefore (a) sponsored Socialist Realism, street posters, graffiti and (b) sponsored semi-classical art that denigrated its opponents (the capitalist with umbrella under a blood rain), attempted to "deconstruct" (demolish) the rationalist thought that underlay Enlightenment governments (Dadaism), attempted to de-legitimize classical art forms as art forms ("Urinal" exhibit shown in a museum to delegitimize museums, the ugly oil paint shown in comment: http://www.unz.com/isteve/nyt-the-dominance-of-the-white-male-critic/#comment-3313143 , etc.) The thesis is better illustrated in Philip Rieff's _My Life among the Deathworks: Illustrations of the Aesthetics of Authority_, and (without the Catholic history part) described in other of his books. (Rieff was married to Susan Sontang, who sharply differed with Rieff.)

    So o much for a restatement of my initial post. Hope you found it interesting.

    Your comments about trash cans are much to the point. Jamming the signal from Enlightenment art forms would have been useless without a substitute art form. The substitute art form ended up, as you point out, in the trash can. The attempts at destroying Enlightenment art are maintined in museums because, well, because Enlightenment art can only be jammed by continued effort. Something like "The Golden Helmet" (https://en.wikipedia.org/wiki/The_Man_with_the_Golden_Helmet ) speaks too much of achievement and its cost to be ignored even by conformists if there weren't constant statements from the authorities (through museums) that the _best_ painting is like that in comment: http://www.unz.com/isteve/nyt-the-dominance-of-the-white-male-critic/#comment-3313143 . And that's neglecting the "Art is something to be pissed on" message of the urinal exhibit.

    So the Left's jamming has been largely successful, but there is no new art, and people are left with their nonverbal communication channel emitting noise. When people believe in nothing, they don't believe in the Left either, and the Left's art project has failed. Pepe The Green Frog is succeeding, though, in that it is not Enlightenment art and has not been jammed _and_ actually has a message.

    That's my thesis, anyway.

    Counterinsurgency
  90. CCZ says:
    @William Badwhite

    You have to earn it.
     
    That's pretty racist. Just by being black women, everything they have to say is worthwhile and interesting. You need to check your privilege and listen. Preferably while nodding rapidly in agreement.

    Yes, black women have much to say, so join them for dinner and listen:

    “Dear white women, you have caused immeasurable pain and damage to Brown and Black women.

    We are not here to change anything. We are here to express the pain you have caused, white women. WE don’t care about your feelings. SIT WITH THAT FOR A MINUTE. Your feelings pale in comparison to the violence you have caused Black and Brown women.

    Our mission is simple – reveal the naked truth about RACISM in America and YOUR COMPLICITY as white women.

    white women: We are talking about YOU. We are talking about your complicity in upholding white supremacy and keeping us Brown and Black women down.

    Making white women comfortable isn’t our goal.”

    Schedule your dinner at: https://race2dinner.com/

    • Replies: @Sextus Empiricus
    God how sick do you have to be to sit through that AND pay for it?

    Anyways, have you ever eaten with black women? Only second to the Chinese in lip-smacking, bone-sucking, open-mouthed, non-stop talking while masticating and belching. I don’t even want to know what pathogens are growing up under those three inch acrylic nails...

    Disgusting even without the berating.
  91. @guest
    I believe rap is a subset of hip-hop. One including spoken word in some sort of rhythmic pattern. You can have hip-hop with no rap, but not rap free of hip-hop. Because that would be like when Elvis talked in the middle of his songs.

    What exactly defines hip-hop eludes me at the moment, but I believe it involves r&b over "sampled" recordings. Which can be recordings of music or whatever you want.

    The genre was born of kids talking over records at parties. It has grown to suck a surprising amount of creativity out of popular culture.

    I tell my musician friends that Black music (maybe all pop music?) is played out, artistically. After a 20th century during which our dusky fellow citizens gave us Ragtime, Blues, numerous genres of Jazz of varying complexity, R&B, (arguably) Rock ‘n’ Roll, Soul, Funk, Disco, Reggae, Ska and countless sub-genres flowering with every decade, it has pretty much been mired in Rap/Hip Hop for 30-40 years. And it seems to have run aground on the least rhythmically, harmonically and melodically (morally?) sophisticated shoals in a century of Black music. The same can probably be said for all forms of American popular music – maybe we just hit the end of a burst of innovation and it’s gonna be a stagnant pond for awhile. Thank God for streaming music services so we can savor all the rich variety of 20th music.

    I know this can be dismissed a old man grumbling, but periods of exceptional innovation do indeed come to an end sometimes.

    • Replies: @Cortes
    Daniel Cassidy’s interesting “The Secret Language of the Crossroads: How the Irish Invented Slang” has a persuasive entry about Jazz.

    Deas or “jaz” = South or Heat.
    , @Autochthon
    I don't mean to presume, but yours sound like words from a fellow who might should turn off the radio and the teevee and seek out what talented musicians are doing. A good technique is to investigate what the most recent talented folks you recall are excited about. Read interviews of theirs. If they are still working, find out who they collaborate with. For that matter, if they are still working, it's probably worth still paying attention to them; sure, few sustain their peak success into age, but true geniuses usually don't wind up churning out turds, either: F for Fake and Super Colossal are not Touch of Evil or Surfing with the Alien ... but they are not chopped liver, either; still better than, say, ninety per cent of all contemporaneous cinema or music.

    Just as the old quip attributed to Zelda Fitzgerald ("She refused to be bored because she was not boring."), so, too, I find most who lament in absolutes there are no good [books, songs, poems, films...] being produced (or "art-form X is dead") are usually lazy about identifying good art, not qualified to identify it, or both. That's not meant as a condescending insult to you or anyone else; rather, as a challenge to inspire you to support the worthy artists toiling in relative obscurity as GloboHomo heaps adulation, cash, and prizes on newspaper-scribbler-lady, Taylor Swift, and Negro Little Mermaid....

  92. @CCZ
    Yes, black women have much to say, so join them for dinner and listen:

    “Dear white women, you have caused immeasurable pain and damage to Brown and Black women.

    We are not here to change anything. We are here to express the pain you have caused, white women. WE don’t care about your feelings. SIT WITH THAT FOR A MINUTE. Your feelings pale in comparison to the violence you have caused Black and Brown women.

    Our mission is simple - reveal the naked truth about RACISM in America and YOUR COMPLICITY as white women.

    white women: We are talking about YOU. We are talking about your complicity in upholding white supremacy and keeping us Brown and Black women down.

    Making white women comfortable isn’t our goal.”

    Schedule your dinner at: https://race2dinner.com/

    God how sick do you have to be to sit through that AND pay for it?

    Anyways, have you ever eaten with black women? Only second to the Chinese in lip-smacking, bone-sucking, open-mouthed, non-stop talking while masticating and belching. I don’t even want to know what pathogens are growing up under those three inch acrylic nails…

    Disgusting even without the berating.

    • Replies: @Autochthon
    The Hindoos I have to endure eat with their hands – grown men and women who write programming languages all day eat slop and rice with their bare hands, curved into the semblance of a scoop. I kid you not. One wonders if they use toilet paper....
    , @William Badwhite
    A useful invention would be the "Black Woman Mute Button".
  93. @eah
    https://pbs.twimg.com/media/D-vTxAmWsAADtR0.jpg

    If you (or your people) can’t make or create it, then either it doesn’t really exist, or it has no real value, or somehow, behind everyone’s back, you DID actually create it, but the credit was stolen from you and now for some reason, you can’t recreate or even maintain your historical innovations.

  94. @Sextus Empiricus
    I tell my musician friends that Black music (maybe all pop music?) is played out, artistically. After a 20th century during which our dusky fellow citizens gave us Ragtime, Blues, numerous genres of Jazz of varying complexity, R&B, (arguably) Rock ‘n’ Roll, Soul, Funk, Disco, Reggae, Ska and countless sub-genres flowering with every decade, it has pretty much been mired in Rap/Hip Hop for 30-40 years. And it seems to have run aground on the least rhythmically, harmonically and melodically (morally?) sophisticated shoals in a century of Black music. The same can probably be said for all forms of American popular music - maybe we just hit the end of a burst of innovation and it’s gonna be a stagnant pond for awhile. Thank God for streaming music services so we can savor all the rich variety of 20th music.

    I know this can be dismissed a old man grumbling, but periods of exceptional innovation do indeed come to an end sometimes.

    Daniel Cassidy’s interesting “The Secret Language of the Crossroads: How the Irish Invented Slang” has a persuasive entry about Jazz.

    Deas or “jaz” = South or Heat.

  95. @Sextus Empiricus
    I tell my musician friends that Black music (maybe all pop music?) is played out, artistically. After a 20th century during which our dusky fellow citizens gave us Ragtime, Blues, numerous genres of Jazz of varying complexity, R&B, (arguably) Rock ‘n’ Roll, Soul, Funk, Disco, Reggae, Ska and countless sub-genres flowering with every decade, it has pretty much been mired in Rap/Hip Hop for 30-40 years. And it seems to have run aground on the least rhythmically, harmonically and melodically (morally?) sophisticated shoals in a century of Black music. The same can probably be said for all forms of American popular music - maybe we just hit the end of a burst of innovation and it’s gonna be a stagnant pond for awhile. Thank God for streaming music services so we can savor all the rich variety of 20th music.

    I know this can be dismissed a old man grumbling, but periods of exceptional innovation do indeed come to an end sometimes.

    I don’t mean to presume, but yours sound like words from a fellow who might should turn off the radio and the teevee and seek out what talented musicians are doing. A good technique is to investigate what the most recent talented folks you recall are excited about. Read interviews of theirs. If they are still working, find out who they collaborate with. For that matter, if they are still working, it’s probably worth still paying attention to them; sure, few sustain their peak success into age, but true geniuses usually don’t wind up churning out turds, either: F for Fake and Super Colossal are not Touch of Evil or Surfing with the Alien … but they are not chopped liver, either; still better than, say, ninety per cent of all contemporaneous cinema or music.

    Just as the old quip attributed to Zelda Fitzgerald (“She refused to be bored because she was not boring.”), so, too, I find most who lament in absolutes there are no good [books, songs, poems, films…] being produced (or “art-form X is dead”) are usually lazy about identifying good art, not qualified to identify it, or both. That’s not meant as a condescending insult to you or anyone else; rather, as a challenge to inspire you to support the worthy artists toiling in relative obscurity as GloboHomo heaps adulation, cash, and prizes on newspaper-scribbler-lady, Taylor Swift, and Negro Little Mermaid….

  96. @eah
    https://pbs.twimg.com/media/D-vTxAmWsAADtR0.jpg

    Our tax dollars at work.

    (What was it Anthony Daniels pointed out about the purpose of the sign in the grocer’s window…?)

  97. @Sextus Empiricus
    God how sick do you have to be to sit through that AND pay for it?

    Anyways, have you ever eaten with black women? Only second to the Chinese in lip-smacking, bone-sucking, open-mouthed, non-stop talking while masticating and belching. I don’t even want to know what pathogens are growing up under those three inch acrylic nails...

    Disgusting even without the berating.

    The Hindoos I have to endure eat with their hands – grown men and women who write programming languages all day eat slop and rice with their bare hands, curved into the semblance of a scoop. I kid you not. One wonders if they use toilet paper….

  98. @Bardon Kaldian
    No, that was just a metaphor. What I said is broadly accepted & actually trivial: if we all talked in musical notes or in brush strokes, then radical deconstruction of all elements of these arts would had been impossible because of the breakdown in communication, which is essential for a human society, would make such "experiments" short-lived & absolutely marginal. On the other hand, language-based communication, such as imaginative literature, has constraining mechanisms essential to the very structure of the language (grammar, syntax, word-formation,..), so that Cages & Pollocks in literature, at that yet non-degenerate stage, just don't exist. In short, noise would destroy the message.

    Visual arts & music are not under such basic constrictions; they produce purely subjective noise no one- except the author &, for purely pecuniary reasons, vultures like art critics, art dealers, gallerists & similar parasites- get or know what the entire fuss is about at all - so they eventually end up where they truly belong- trash cans & post-modern galleries, two destinations that in reality don't differ that much.

    OK, I think I understand that.
    After considerable experience, I have little respect for things that are broadly accepted (hence the “endlessly repeated 1930s” idea I often use), but the content of your message is interesting.

    a) To an extent, we all do talk in musical notes (courtship songs, war songs) and brush strokes (doodles if nothing else, metaphorically similar to brush strokes). Both produce responses, albeit emotional.
    The Catholic Church has in its long history, sponsored quite a bit of song and “art”, paintings, statues, etc. even architecture. Most of it has significance in Catholicism. The pictures usually refer to specific events, and try to instill reverence for them as well as serving as memory aids for the illiterate. The statues remind people that figures prominent in Catholicism existed physically just like the viewer and in a way permit the viewer to imagine that the real figure is present, or that the viewer can see the figure in life. Statues, also, are a memory aid for the illiterate. Liturgical music has, for most of its history in Catholicism, attempted to induce a sense of eternity through regular beat, subdued tone, words consistent with Catholicism, and so on. The art forms that induce the feelings and memories that the Catholic Church thought helped Catholicism were not arbitrary — they were developed as a feedback process that was driven in large part by the responses of the Catholic flock. In other words, they were a nonverbal speech that was to an extent understood by a large body of people.
    Taking the same problem from the other side, to date nobody has found even one universal rule for human grammar. One could therefore say that human speech (whatever that is, since we lack an abstract definition) is equivalent to nonverbal speech in that it appears to be innate in humans, seems to follow rules, but nobody knows what they are.
    Things fuzz up.

    However — the Catholic example was taken for a reason. Its art/music/architecture was an attempt at _religions_ speech. By the same token, governmental buildings, statues of past leaders, even (Lord help us) PBS and BBC, are political speech (so are the schools).

    My original thesis was that, back in the day (early 1900s, intensifying after WW I) the Left attempted to (a) develop its own form of political speech art and (b) jam the political speech art of its opponents, the European governments. The Left therefore (a) sponsored Socialist Realism, street posters, graffiti and (b) sponsored semi-classical art that denigrated its opponents (the capitalist with umbrella under a blood rain), attempted to “deconstruct” (demolish) the rationalist thought that underlay Enlightenment governments (Dadaism), attempted to de-legitimize classical art forms as art forms (“Urinal” exhibit shown in a museum to delegitimize museums, the ugly oil paint shown in comment: http://www.unz.com/isteve/nyt-the-dominance-of-the-white-male-critic/#comment-3313143 , etc.) The thesis is better illustrated in Philip Rieff’s _My Life among the Deathworks: Illustrations of the Aesthetics of Authority_, and (without the Catholic history part) described in other of his books. (Rieff was married to Susan Sontang, who sharply differed with Rieff.)

    So o much for a restatement of my initial post. Hope you found it interesting.

    Your comments about trash cans are much to the point. Jamming the signal from Enlightenment art forms would have been useless without a substitute art form. The substitute art form ended up, as you point out, in the trash can. The attempts at destroying Enlightenment art are maintined in museums because, well, because Enlightenment art can only be jammed by continued effort. Something like “The Golden Helmet” (https://en.wikipedia.org/wiki/The_Man_with_the_Golden_Helmet ) speaks too much of achievement and its cost to be ignored even by conformists if there weren’t constant statements from the authorities (through museums) that the _best_ painting is like that in comment: http://www.unz.com/isteve/nyt-the-dominance-of-the-white-male-critic/#comment-3313143 . And that’s neglecting the “Art is something to be pissed on” message of the urinal exhibit.

    So the Left’s jamming has been largely successful, but there is no new art, and people are left with their nonverbal communication channel emitting noise. When people believe in nothing, they don’t believe in the Left either, and the Left’s art project has failed. Pepe The Green Frog is succeeding, though, in that it is not Enlightenment art and has not been jammed _and_ actually has a message.

    That’s my thesis, anyway.

    Counterinsurgency

  99. @Sextus Empiricus
    God how sick do you have to be to sit through that AND pay for it?

    Anyways, have you ever eaten with black women? Only second to the Chinese in lip-smacking, bone-sucking, open-mouthed, non-stop talking while masticating and belching. I don’t even want to know what pathogens are growing up under those three inch acrylic nails...

    Disgusting even without the berating.

    A useful invention would be the “Black Woman Mute Button”.

  100. @eah
    https://pbs.twimg.com/media/D-vTxAmWsAADtR0.jpg

  101. I bet mr.mckenna ain’t mr. mckenna

  102. @Autochthon

    ...performing arts- moronic nothing...
     
    Now you've over-egged the pudding.

    The Crucible (1953)
    Rosencrantz & Guildenstern Are Dead (1966)
    The Lamb Lies Down on Broadway (1974)
    Fences (1985)
    Disintegration (1989)
    Closer (1998)
    Smile (2004)

    (An arbitrary and small sampling of great plays and albums since the 1940s; many great filma could be included, too, but cinema is less inarguably a performing art than drama or music.)

    I cannot as easily argue that painting and sculpture haven't gone straight to Hell, though actual talent (ironically?) remained but was confined to so-called low-brow fare: that of Frank Frazetta, Roger Dean, Dave Gibbons, etc. is superiour to most anything you'll find in a museum of "contemporary" art, just as John McLaughlin and Yngwie Malmsteen gave us music far superior to dreck like the New York City Opera's Stonewall....

    I’m with you on R&G Are Dead. Most of the rest I’ve never heard of, and Mme B and I are pretty avid theater goers. For Wilson, I’d pick Jitney, although I realize that’s what G.H. Hardy would have called an “old brandy” choice. I also quite like Two Trains Running. I’d add Margaret Edson’s W;t. For Miller I’d certainly prefer Willy. What, no O’Neill or Williams? I can’t imagine a list of the best drama since 1945 without Godot and Endgame, although I concede that they may a bit too avant garde.

  103. @Bardon Kaldian
    Who cares? Visual arts in mentally sane way do not exist anymore. They ceased to be somewhere around 1940s. After that, all painting - including such "luminaries" alike Jackson Pollock - is trash; sculpture- a joke; performing arts- moronic nothing, a Western Zen (which itself,in artistic expressions, is highly overrated).

    So-who cares about nothing?

    Literary critics who write about- nothing?

    This is Basquiat (https://en.wikipedia.org/wiki/Jean-Michel_Basquiat) painting sold at $57.3 million:

    http://p8.storage.canalblog.com/83/11/119589/110143478.jpg

    Here is $110.5 million:

    https://static01.nyt.com/images/2017/05/18/arts/19basquiat_web1/19basquiat_web1-facebookJumbo-v3.jpg

    Spit.

    I’ll buy that sculpture pretty much lost its raison d’etre with the decline of representational public monuments. I’d say that painting made it into the seventies, ending with photorealism. Now, everything that can be done has been done. There’s nothing left but pastiche.

    • Replies: @Anonymous
    The march of progress. It's funny to see professional photographers griping about all the amateurs with smartphones. A 100 years ago it was painters griping about photographers. Artists had to go abstract or die. Photographers will have to do something similar.
  104. Anonymous[151] • Disclaimer says:
    @MBlanc46
    I’ll buy that sculpture pretty much lost its raison d’etre with the decline of representational public monuments. I’d say that painting made it into the seventies, ending with photorealism. Now, everything that can be done has been done. There’s nothing left but pastiche.

    The march of progress. It’s funny to see professional photographers griping about all the amateurs with smartphones. A 100 years ago it was painters griping about photographers. Artists had to go abstract or die. Photographers will have to do something similar.

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