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From the New York Times:

The Problem With Broadway Revivals: They Revive Gender Stereotypes, Too
By MICHAEL PAULSON FEB. 22, 2018

Amid a national reckoning with sexual harassment and misconduct, Broadway is mounting a cluster of musicals this season and next that, some theatergoers already contend, romanticize problematic relationships between women and men.

When everybody knows they should be problematicizing romantic relationships between women and men.

The titles are beloved: “Carousel,” “My Fair Lady” and “Kiss Me, Kate” are classics of the canon, while “Pretty Woman,” a new musical, is adapted from a smash film. And each of their female protagonists has her own strength — strength that in some cases changes the men in their lives.

But elements of the stories — and the fact that all four productions are being directed and choreographed by men — are prompting new scrutiny at this #MeToo moment. …

And many of the best roles for women — those with the attention-getting songs, the compelling story lines, the showy dancing — are also loaded with stereotypes. “The characters are rich and changing,” Ms. Wolf said, “but the characters are also pathetic.” …

“It’s important to not shy away from our past, but there has to be an interrogation

“Interrogation” is a favorite word of SJWs, perhaps even more than “conversation.”

Ve haf vays of making you conversate!

, for all of us, about what kind of art we’re making now, and why,” said Leigh Silverman, the director of that rethought 2016 “Sweet Charity,” which rendered the heroine’s travails darker and less comic.

Sounds fun …

“Pretty Woman” faces parallel but different challenges, as a new musical with no pre-existing book or score. The show is adapted from the 1990 film, with songs by the rocker Bryan Adams and his longtime co-writer Jim Vallance; it will have a production in Chicago this spring and is then scheduled to open on Broadway in August, starring Samantha Barks as Vivian Ward, the prostitute made famous on film by Julia Roberts, and Steve Kazee as Edward Lewis, the businessman who introduces her to a new life.

The show’s creative team has already made what it views as significant changes to the story to strengthen Vivian’s self-determination — in particular, by making clear early in the show that she is eager to leave prostitution

But not just yet.

, and by reworking a scene in which she is assaulted so that she defends herself, rather than, as in the film, being rescued by Edward.

A buttkicking babe! After all, didn’t Weinsteingate prove that today’s actresses are all lean mean fighting machines like they are portrayed on film? They won’t let a big piece of blubber like Harvey Weinstein abuse them. Didn’t you watch Harvey and Quentin’s Kill Bill?

Anyway, Pretty Woman is all about how evil Rodeo Drive boutiques slutshame a streetwalker in thigh-high black leather boots. But in the climactic scene, social justice is finally served and they let her shop!

 
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  1. And while we are having this conversation we should also interrogate rocket scientists.

    As members of the patriarchy their day in the sun should have come to an end long ago.

    https://www.nbcnews.com/think/opinion/patriarchal-race-colonize-mars-just-another-example-male-entitlement-ncna849681

    Read More
    • Replies: @Daniel Chieh
    I used to write articles like that to troll on bulletin board systems("Interest in Mars is an example of pervasive sexism in language influencing thought and neglecting the unrealized potential and promise of Venus...")

    Clearly, I should have gone into truth and journalism instead.

    , @Eustace Tilley (not)
    Gynologues would have all understand
    That SpaceTech is well overmanned.
    Now the robots have dug
    Not a spore, not a bug:
    No Natives to rule by command.
    ReplyAgree/Disagree/Etc. More... This Commenter This Thread Hide Thread Display All Comments
  2. And I thought Kiss Me Kate had a 100% gay male audience.

    Read More
    • Replies: @Reg Cæsar

    And I thought Kiss Me Kate had a 100% gay male audience.
     
    When Cole Porter's ghost is the most masculine figure in the room, you'd be forgiven for feeling that way. But are you sure you're not thinking of Grey Gardens?
    ReplyAgree/Disagree/Etc. More... This Commenter This Thread Hide Thread Display All Comments
  3. Words fail.

    Read More
    ReplyAgree/Disagree/Etc. More... This Commenter Display All Comments
  4. A buttkicking babe! After all, didn’t Weinsteingate prove that today’s actresses are all lean mean fighting machines like they are portrayed on film? They won’t let a big piece of blubber like Harvey Weinstein abuse them. Didn’t you watch Harvey and Quentin’s Kill Bill?

    Classic Sailer. A great insight.

    Read More
    • Replies: @Father O'Hara
    "But not just yet."
    Very nice line,Leader.
    If Tanehesi Coates were here,he'd probably get a chuckle at the St. Augustine reference.
    ReplyAgree/Disagree/Etc. More... This Commenter This Thread Hide Thread Display All Comments
  5. yeah well you can pretty much shitcan all of shakespeare for that matter every play ever and every movie not made recently. all of literature too poetry is the worst. love songs oh my god dont even think about country.
    But we need to carve out a dispensation for makeup, fashion, heels, product, because none of your business mr

    Read More
    ReplyAgree/Disagree/Etc. More... This Commenter Display All Comments
  6. Looks like Big Sister’s here; time for you
    To interrogate un-Partyview.
    Leigh Silverman Thought
    Means to think as you ought,
    So don’t read #MeToo “PoundMeToo”.

    Read More
    ReplyAgree/Disagree/Etc. More... This Commenter Display All Comments
  7. There is a whole body PC work just waiting for a revival :

    Read More
    • Agree: jim jones
    • Replies: @Dube
    Thank you, Donut, for your deft archival skills.

    In the early days, I reviewed a local production of Streetcar Named Desire that was mounted by a significant representation of our women -- bright people and friends. They decided to make Stanley Kowalski a sensitive chap, despite the rape scene, and make Blanche a positive heroine rather than a crushed flower. In the last scene, Blanche walked out with her head high, as if acknowledging a temporary rest as a good idea. I mentioned here "early days," so long ago that I called it "a girl's school production." Oh, I paid for it, people wouldn't talk to me for a while and even crossed the street away from me in our little town. I began to wonder whether I was wrong, until I woke up one morning and remembered Tennesee William's line for Blanche about Stanley: "The moment I laid eyes on him, I knew this man is my executioner." I was relieved to realize that the proof is in the text. Try saying it without the near-literal profundity, and it vitiates into silliness.

    ReplyAgree/Disagree/Etc. More... This Commenter This Thread Hide Thread Display All Comments
  8. Speaking of Harvey Weinstein, do his “career issues” spell the end (at least for a time) of the apparently obligatory and, certainly discomfiting to watch, “sex scenes” shoe-horned into nearly every film?

    If starlets can no longer be screened for their sexual skills before being hired as actresses, there’s no longer a need to add sex scenes to films to justify the pre-hiring sexual performance evaluations.

    This would be a welcome side-effect of the #metoo movement.

    Read More
    • Replies: @Anonymous
    Thought it was just me. Always thought of myself as fairly normal sexually, but never understood why the gratuitous sex scenes were 'shoe-horned' (as you say) into virtually all Hollywood Product. Pervy film producers? Sure, but were there marketing studies which showed that this helped sell tickets? Make everything into a date movie by getting people horned up? Do these scenes actually get people horned up? I asked a couple friends but they looked at me as though I had three heads. Don't you like sex?! My feeling is that if I want to watch porn, I'll watch porn. Oh well. Might as well try sweeping the ocean with a broom.
    , @Anonymous
    cf. 2014 Heather Mac Donald, "Neo-Victorianism on Campus" for an intermural version of your theory (though its prediction of lessened college frivolity seems not to have worked out yet, for her at least)
    , @Buffalo Joe
    Coe, I heard that watching porn movies is just watching people at work.
    ReplyAgree/Disagree/Etc. More... This Commenter This Thread Hide Thread Display All Comments
  9. The Arc of Justice will reach the eschaton when every high school in the USA puts on ‘Hamilton’ every year for its school musical.

    But wait — how many butt-kicking babes can ‘Hamilton’ accommodate? Better keep on bending, I guess.

    Read More
    ReplyAgree/Disagree/Etc. More... This Commenter Display All Comments
  10. Anyway, Pretty Woman is all about how evil Rodeo Drive boutiques slutshame a streetwalker in thigh-high black leather boots.

    Eighties aesthetic — Pretty Woman meets American Psycho:

    Read More
    ReplyAgree/Disagree/Etc. More... This Commenter Display All Comments
  11. I’d bet a musical of American Psycho would be pretty popular, not the least in High School productions.

    The War of Women against Men is not going to end anytime soon. Until the real Patriarchy appears and women are treated in the manner they are literally begging for — utter domination.

    Read More
    ReplyAgree/Disagree/Etc. More... This Commenter Display All Comments
  12. So glad to see a nod to “Romy and Michele’s High School Reunion,” one of my all-time favorite comedies (written, incidentally, by a woman).

    Read More
    • Replies: @Steve Sailer
    It's pretty great.
    , @Anonymous
    My girlfriend made me watch it once. Jewish nerds get revenge on evil white Christians (sorry; redundant) by landing Super Big Money. Sure, okay. That's a new one.
    ReplyAgree/Disagree/Etc. More... This Commenter This Thread Hide Thread Display All Comments
  13. I smell an opportunity for Las Vegas or Branson, Missouri, to stage original, un-Bowdlerized versions of the old classics.

    “When a woman has a husband and you’ve got none, why should she take advice from you …”

    Read More
    • Replies: @njguy73

    I smell an opportunity for Las Vegas or Branson, Missouri, to stage original, un-Bowdlerized versions of the old classics.
     
    New Yorkers going to Branson to see real theater.

    Then we'll officially be in Bizarro World.
    ReplyAgree/Disagree/Etc. More... This Commenter This Thread Hide Thread Display All Comments
  14. @Simon
    So glad to see a nod to "Romy and Michele's High School Reunion," one of my all-time favorite comedies (written, incidentally, by a woman).

    It’s pretty great.

    Read More
    ReplyAgree/Disagree/Etc. More... This Commenter This Thread Hide Thread Display All Comments
  15. I hated “Pretty Woman”, but I have met several women who loved it. I even had a nanny tell me that her mom says that it is her favorite movie of all time!

    So it appears that a lot of women like those sexist stereotypes.

    Read More
    • Replies: @Buzz Mohawk
    Every woman loves Pretty Woman. It combines two of women's deepest archetypes: Cinderella and The Whore.

    Pretty Woman is a cynically brilliant product of Hollywood, because it is irresistible to women.

    No amount of social engineering will change the natures of men and women. Entertainment that ignores this truth will ultimately flop. Producers are going to find themselves in a state of cognitive/financial dissonance.
    ReplyAgree/Disagree/Etc. More... This Commenter This Thread Hide Thread Display All Comments
  16. Let us not ignore the white male supremacy of classical music and classic productions.

    How do supposedly intelligent or talented “white people” become so self-loathing, self-hating, guilt-ridden, and self-destructive??

    Classical Music’s White Male Supremacy is Overt, Pervasive, and a Problem
    Daniel Johanson on February 18, 2018 [[he is a prominent opera tenor]]

    Over the week, there have been waves of backlash at The Metropolitan Opera’s newest season announcement. A recent Washington Post [article] made the rounds, taking to task the institution’s insistence on an entirely white and male composer list, as well as a completely male roster of conductors taking the podium.

    As a white man, there have been and continue to be countless times in which I have needed to recognize that privilege, white supremacy, homophobia, toxic masculinity, and gender normativity are layered issues. It’s easy to call a Nazi a racist because they are so obviously a racist. Not all racists are willing to take up that mantle.

    Recognizing that Classical Music has implied White Supremacy for centuries is hard for those that study the art form. In fact, that correlating The Met’s continued programming of dead white men to the rise of White Supremacist tendencies in America is not a far stretch is starting to become apparent to those that follow and review the company’s season announcements.

    Where are White Folks and Why are they Not Qualifying and Actively Dismantling White Supremacy

    I quote [the book] Blackness in Opera here so heavily because it is not a new book. Compiled in 2012, the Met’s continued practice is evidence that although it can seem like consulting with a black person at all would be a simple task, White organizations are incapable of doing that in fear of confronting perceived standards that classical music imposes.

    In fact, The Met goes out of its way to celebrate its season. In the Washington Post article mentioned above, writer Anne Midgette notes that “The Metropolitan Opera’s announcement on Thursday capped a whole chain of seasons heavy on standard classics, like pantries laden with white bread, touting the appearance of a single piece of olive focaccia as if it demonstrated a commitment to range and variety.”

    That’s the problem. Classical Music is so Eurocentric that it sees Eastern European programming (or, GASP, Russians) as a commitment to diversity. It doesn’t recognize that promoting the works of the diverse people in its own country is what 2018 is actually craving.

    Really??

    Read More
    • Replies: @Steve Sailer
    Salvadorans are going to turn out in droves if only they the Met puts on an atonal opera by a Jewish lady composer from Buenos Aires.
    , @Anonymous

    Classical Music is so Eurocentric that it sees Eastern European programming (or, GASP, Russians) as a commitment to diversity.
     
    OMG! This guy is so right. I, for one, would be absolutely shocked if Russian composers were included in Classical Music programs. I mean, you can't help but notice the sharp intake of breath when bizarre, obscure names like, uh, Tchaikovsky, Stravinsky, Prokofiev, Mussorgsky, Rimsky-Korsakov, Rachmaninoff, Shostakovich, and Borodin are proposed, right?

    When oh when will these obscure, overlooked artists finally get their day in the sun? When the white male patriarchy is overthrown, that's when!


    It’s easy to call a Nazi a racist because they are so obviously a racist.
     
    True that, my man! Also you get fun and prizes.
    , @Escher

    Recognizing that Classical Music has implied White Supremacy for centuries is hard for those that study the art form. In fact, that correlating The Met’s continued programming of dead white men to the rise of White Supremacist tendencies in America is not a far stretch is starting to become apparent to those that follow and review the company’s season announcements.
     
    Numerous Arab and African Western classical music composers and performers languished in obscurity till the 21st century, when cheap air fares and the rise of the Merkel opened up Europe to their talents. I hear opera houses in Vienna and Berlin are packed with young Muslim Verdis and Puccinis.
    , @AndrewR
    I'll be generous and assume you meant to include the link:

    https://scapimag.com/2018/02/18/classical-musics-white-male-supremacy-is-overt-pervasive-and-a-problem/
    , @Old Palo Altan
    Look the fool up. He is in no way a "prominent opera tenor". His voice is weedy, if not without a certain fleeting charm.
    But it is clear, once you get a gander of him, that he hates white culture because he hates himself. He is physically hideous, as is his girl friend, as are most of their friends. Fat, slovenly, unkempt, utterly unfit: they are the opposite of what white supremacy used to mean, and they actually don't like it at all.
    But, since they are the way God and their inferior ancestors have made them, and there is thus nothing to be done about it, they have decided to glory in their ugliness, and to extend it to their ideas and emotions.
    They look to the European past and they see rigour, genius, pride, beauty, tragedy (of which they are incapable, because tragedy presupposes worth). Their response is despair and black-eyed envy.

    Bring it all down! is their only hope for a smidgeon of self-respect.
    Nothing to compare themselves with, you see, and therefore no more agonies of self-loathing. But they mistake themselves - the loathing is all that is left, and will remain when everything else is gone, until ultimately it consumes them too.
    , @Thea
    Isn't this advocating cultural appropriation?
    , @njguy73

    It’s easy to call a Nazi a racist because they are so obviously a racist. Not all racists are willing to take up that mantle.
     
    Well, racists need to start taking up the mantle. Quit being pikers. You're a racist? Don't do it half-assed. Go the full nine.
    ReplyAgree/Disagree/Etc. More... This Commenter This Thread Hide Thread Display All Comments
  17. @donut
    There is a whole body PC work just waiting for a revival :

    https://www.youtube.com/watch?v=vWoE6Wu_AJI

    Thank you, Donut, for your deft archival skills.

    In the early days, I reviewed a local production of Streetcar Named Desire that was mounted by a significant representation of our women — bright people and friends. They decided to make Stanley Kowalski a sensitive chap, despite the rape scene, and make Blanche a positive heroine rather than a crushed flower. In the last scene, Blanche walked out with her head high, as if acknowledging a temporary rest as a good idea. I mentioned here “early days,” so long ago that I called it “a girl’s school production.” Oh, I paid for it, people wouldn’t talk to me for a while and even crossed the street away from me in our little town. I began to wonder whether I was wrong, until I woke up one morning and remembered Tennesee William’s line for Blanche about Stanley: “The moment I laid eyes on him, I knew this man is my executioner.” I was relieved to realize that the proof is in the text. Try saying it without the near-literal profundity, and it vitiates into silliness.

    Read More
    ReplyAgree/Disagree/Etc. More... This Commenter This Thread Hide Thread Display All Comments
  18. @CCZ
    Let us not ignore the white male supremacy of classical music and classic productions.

    How do supposedly intelligent or talented “white people” become so self-loathing, self-hating, guilt-ridden, and self-destructive??

    Classical Music’s White Male Supremacy is Overt, Pervasive, and a Problem
    Daniel Johanson on February 18, 2018 [[he is a prominent opera tenor]]

    Over the week, there have been waves of backlash at The Metropolitan Opera’s newest season announcement. A recent Washington Post [article] made the rounds, taking to task the institution’s insistence on an entirely white and male composer list, as well as a completely male roster of conductors taking the podium.

    As a white man, there have been and continue to be countless times in which I have needed to recognize that privilege, white supremacy, homophobia, toxic masculinity, and gender normativity are layered issues. It’s easy to call a Nazi a racist because they are so obviously a racist. Not all racists are willing to take up that mantle.

    Recognizing that Classical Music has implied White Supremacy for centuries is hard for those that study the art form. In fact, that correlating The Met’s continued programming of dead white men to the rise of White Supremacist tendencies in America is not a far stretch is starting to become apparent to those that follow and review the company’s season announcements.

    Where are White Folks and Why are they Not Qualifying and Actively Dismantling White Supremacy

    I quote [the book] Blackness in Opera here so heavily because it is not a new book. Compiled in 2012, the Met’s continued practice is evidence that although it can seem like consulting with a black person at all would be a simple task, White organizations are incapable of doing that in fear of confronting perceived standards that classical music imposes.

    In fact, The Met goes out of its way to celebrate its season. In the Washington Post article mentioned above, writer Anne Midgette notes that “The Metropolitan Opera’s announcement on Thursday capped a whole chain of seasons heavy on standard classics, like pantries laden with white bread, touting the appearance of a single piece of olive focaccia as if it demonstrated a commitment to range and variety.”

    That’s the problem. Classical Music is so Eurocentric that it sees Eastern European programming (or, GASP, Russians) as a commitment to diversity. It doesn’t recognize that promoting the works of the diverse people in its own country is what 2018 is actually craving.
     
    Really??

    Salvadorans are going to turn out in droves if only they the Met puts on an atonal opera by a Jewish lady composer from Buenos Aires.

    Read More
    • Replies: @Anonymous

    Where are White Folks and Why are they Not Qualifying and Actively Dismantling White Supremacy
     
    This is just it. Why are there Fellow White Folks anywhere who are not Actively Dismantling their own culture? How can this even be?

    2018 (the year itself!) is actively demanding it. 2018 Will Not Be Denied!

    ReplyAgree/Disagree/Etc. More... This Commenter This Thread Hide Thread Display All Comments
  19. Anonymous • Disclaimer says:
    @Coemgen
    Speaking of Harvey Weinstein, do his "career issues" spell the end (at least for a time) of the apparently obligatory and, certainly discomfiting to watch, "sex scenes" shoe-horned into nearly every film?

    If starlets can no longer be screened for their sexual skills before being hired as actresses, there's no longer a need to add sex scenes to films to justify the pre-hiring sexual performance evaluations.

    This would be a welcome side-effect of the #metoo movement.

    Thought it was just me. Always thought of myself as fairly normal sexually, but never understood why the gratuitous sex scenes were ‘shoe-horned’ (as you say) into virtually all Hollywood Product. Pervy film producers? Sure, but were there marketing studies which showed that this helped sell tickets? Make everything into a date movie by getting people horned up? Do these scenes actually get people horned up? I asked a couple friends but they looked at me as though I had three heads. Don’t you like sex?! My feeling is that if I want to watch porn, I’ll watch porn. Oh well. Might as well try sweeping the ocean with a broom.

    Read More
    • Replies: @Steve Sailer
    Not for about 15 years. For example, there's barely a kiss in "Black Panther."
    , @stillCARealist
    One of many reasons I stopped watching movies. I think Tom Hanks movies were the worst. But lately it seems that movies are nothing but car chases, explosions, super-heroes, and absurd fights.
    ReplyAgree/Disagree/Etc. More... This Commenter This Thread Hide Thread Display All Comments
  20. @Simon
    So glad to see a nod to "Romy and Michele's High School Reunion," one of my all-time favorite comedies (written, incidentally, by a woman).

    My girlfriend made me watch it once. Jewish nerds get revenge on evil white Christians (sorry; redundant) by landing Super Big Money. Sure, okay. That’s a new one.

    Read More
    ReplyAgree/Disagree/Etc. More... This Commenter This Thread Hide Thread Display All Comments
  21. @Steve Sailer
    Salvadorans are going to turn out in droves if only they the Met puts on an atonal opera by a Jewish lady composer from Buenos Aires.

    Where are White Folks and Why are they Not Qualifying and Actively Dismantling White Supremacy

    This is just it. Why are there Fellow White Folks anywhere who are not Actively Dismantling their own culture? How can this even be?

    2018 (the year itself!) is actively demanding it. 2018 Will Not Be Denied!

    Read More
    ReplyAgree/Disagree/Etc. More... This Commenter This Thread Hide Thread Display All Comments
  22. @Anonym
    A buttkicking babe! After all, didn’t Weinsteingate prove that today’s actresses are all lean mean fighting machines like they are portrayed on film? They won’t let a big piece of blubber like Harvey Weinstein abuse them. Didn’t you watch Harvey and Quentin’s Kill Bill?

    Classic Sailer. A great insight.

    “But not just yet.”
    Very nice line,Leader.
    If Tanehesi Coates were here,he’d probably get a chuckle at the St. Augustine reference.

    Read More
    • Replies: @Ian M.
    Ha!
    , @Jim Don Bob

    If Tanehesi Coates were here,he’d probably get a chuckle at the St. Augustine reference.
     
    I'll be that the only St. Augustine t'Genius Coates has heard of is the one in Florida.
    ReplyAgree/Disagree/Etc. More... This Commenter This Thread Hide Thread Display All Comments
  23. @Anonymous
    Thought it was just me. Always thought of myself as fairly normal sexually, but never understood why the gratuitous sex scenes were 'shoe-horned' (as you say) into virtually all Hollywood Product. Pervy film producers? Sure, but were there marketing studies which showed that this helped sell tickets? Make everything into a date movie by getting people horned up? Do these scenes actually get people horned up? I asked a couple friends but they looked at me as though I had three heads. Don't you like sex?! My feeling is that if I want to watch porn, I'll watch porn. Oh well. Might as well try sweeping the ocean with a broom.

    Not for about 15 years. For example, there’s barely a kiss in “Black Panther.”

    Read More
    ReplyAgree/Disagree/Etc. More... This Commenter This Thread Hide Thread Display All Comments
  24. Anonymous • Disclaimer says:
    @CCZ
    Let us not ignore the white male supremacy of classical music and classic productions.

    How do supposedly intelligent or talented “white people” become so self-loathing, self-hating, guilt-ridden, and self-destructive??

    Classical Music’s White Male Supremacy is Overt, Pervasive, and a Problem
    Daniel Johanson on February 18, 2018 [[he is a prominent opera tenor]]

    Over the week, there have been waves of backlash at The Metropolitan Opera’s newest season announcement. A recent Washington Post [article] made the rounds, taking to task the institution’s insistence on an entirely white and male composer list, as well as a completely male roster of conductors taking the podium.

    As a white man, there have been and continue to be countless times in which I have needed to recognize that privilege, white supremacy, homophobia, toxic masculinity, and gender normativity are layered issues. It’s easy to call a Nazi a racist because they are so obviously a racist. Not all racists are willing to take up that mantle.

    Recognizing that Classical Music has implied White Supremacy for centuries is hard for those that study the art form. In fact, that correlating The Met’s continued programming of dead white men to the rise of White Supremacist tendencies in America is not a far stretch is starting to become apparent to those that follow and review the company’s season announcements.

    Where are White Folks and Why are they Not Qualifying and Actively Dismantling White Supremacy

    I quote [the book] Blackness in Opera here so heavily because it is not a new book. Compiled in 2012, the Met’s continued practice is evidence that although it can seem like consulting with a black person at all would be a simple task, White organizations are incapable of doing that in fear of confronting perceived standards that classical music imposes.

    In fact, The Met goes out of its way to celebrate its season. In the Washington Post article mentioned above, writer Anne Midgette notes that “The Metropolitan Opera’s announcement on Thursday capped a whole chain of seasons heavy on standard classics, like pantries laden with white bread, touting the appearance of a single piece of olive focaccia as if it demonstrated a commitment to range and variety.”

    That’s the problem. Classical Music is so Eurocentric that it sees Eastern European programming (or, GASP, Russians) as a commitment to diversity. It doesn’t recognize that promoting the works of the diverse people in its own country is what 2018 is actually craving.
     
    Really??

    Classical Music is so Eurocentric that it sees Eastern European programming (or, GASP, Russians) as a commitment to diversity.

    OMG! This guy is so right. I, for one, would be absolutely shocked if Russian composers were included in Classical Music programs. I mean, you can’t help but notice the sharp intake of breath when bizarre, obscure names like, uh, Tchaikovsky, Stravinsky, Prokofiev, Mussorgsky, Rimsky-Korsakov, Rachmaninoff, Shostakovich, and Borodin are proposed, right?

    When oh when will these obscure, overlooked artists finally get their day in the sun? When the white male patriarchy is overthrown, that’s when!

    It’s easy to call a Nazi a racist because they are so obviously a racist.

    True that, my man! Also you get fun and prizes.

    Read More
    ReplyAgree/Disagree/Etc. More... This Commenter This Thread Hide Thread Display All Comments
  25. @Roger
    I hated "Pretty Woman", but I have met several women who loved it. I even had a nanny tell me that her mom says that it is her favorite movie of all time!

    So it appears that a lot of women like those sexist stereotypes.

    Every woman loves Pretty Woman. It combines two of women’s deepest archetypes: Cinderella and The Whore.

    Pretty Woman is a cynically brilliant product of Hollywood, because it is irresistible to women.

    No amount of social engineering will change the natures of men and women. Entertainment that ignores this truth will ultimately flop. Producers are going to find themselves in a state of cognitive/financial dissonance.

    Read More
    • Replies: @International Jew

    Every woman loves Pretty Woman. It combines two of women’s deepest archetypes: Cinderella and The Whore.
     
    It also plays to a dangerous illusion shared by loser guys — that some prostitute they know "really" likes them, and is waiting to be "rescued".

    Robert DeNiro's character ("Casino", 1995) learns that lesson memorably.

    , @Jim Don Bob

    Every woman loves Pretty Woman. It combines two of women’s deepest archetypes: Cinderella and The Whore.
     
    Well said. Women loved that movie. I thought it blew dead dogs.
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  26. The minute you walked in the joint, I could see you were a man of darker, less comic interrogation

    Read More
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  27. “Anyway, Pretty Woman is all about how evil Rodeo Drive boutiques slutshame a streetwalker in thigh-high black leather boots. But in the climactic scene, social justice is finally served and they let her shop!”

    That’s what you took away from Pretty Woman?

    The film clearly showed that you could indeed lead a whore to culture and she would actually make you think.

    Read More
    • Replies: @Steve Sailer
    That’s what you took away from Pretty Woman?

    No, that's what I took away from "Romy and Michelle's High School Reunion."

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  28. @Coemgen
    Speaking of Harvey Weinstein, do his "career issues" spell the end (at least for a time) of the apparently obligatory and, certainly discomfiting to watch, "sex scenes" shoe-horned into nearly every film?

    If starlets can no longer be screened for their sexual skills before being hired as actresses, there's no longer a need to add sex scenes to films to justify the pre-hiring sexual performance evaluations.

    This would be a welcome side-effect of the #metoo movement.

    cf. 2014 Heather Mac Donald, “Neo-Victorianism on Campus” for an intermural version of your theory (though its prediction of lessened college frivolity seems not to have worked out yet, for her at least)

    Read More
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  29. “Hello, Nurse Ratched: The Musical”

    “La Cage aux Emotional Laborers”

    “A Funny Thing Happened On The Way to the Anti-Transmisic Forum”

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  30. @The Alarmist

    "Anyway, Pretty Woman is all about how evil Rodeo Drive boutiques slutshame a streetwalker in thigh-high black leather boots. But in the climactic scene, social justice is finally served and they let her shop!"
     
    That's what you took away from Pretty Woman?

    The film clearly showed that you could indeed lead a whore to culture and she would actually make you think.

    That’s what you took away from Pretty Woman?

    No, that’s what I took away from “Romy and Michelle’s High School Reunion.”

    Read More
    • Replies: @The Alarmist
    Did I misread your last paragraph, or are you taking the mickey out of me? I was out too late last night, so maybe I should re-check my cognitive abilities this morning.
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  31. @Steve Sailer
    That’s what you took away from Pretty Woman?

    No, that's what I took away from "Romy and Michelle's High School Reunion."

    Did I misread your last paragraph, or are you taking the mickey out of me? I was out too late last night, so maybe I should re-check my cognitive abilities this morning.

    Read More
    • Replies: @Glaivester
    Did you watch the embedded video after the last paragraph?

    Steve was referring to a scene in Romy where the two lead characters watch Pretty Woman and comment on it.
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  32. “Socialist realism” was the top-down, coerced aesthetic for decades in the Soviet Union and her satellites. What do we call the “fake” realism demanded by SJW’s who will never be happy until every production and manifestation of art, music and cinema meets the rigorous moral standards of the sociology department at Berkeley?

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  33. @wren
    And while we are having this conversation we should also interrogate rocket scientists.

    As members of the patriarchy their day in the sun should have come to an end long ago.

    https://www.nbcnews.com/think/opinion/patriarchal-race-colonize-mars-just-another-example-male-entitlement-ncna849681

    I used to write articles like that to troll on bulletin board systems(“Interest in Mars is an example of pervasive sexism in language influencing thought and neglecting the unrealized potential and promise of Venus…”)

    Clearly, I should have gone into truth and journalism instead.

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  34. @wren
    And while we are having this conversation we should also interrogate rocket scientists.

    As members of the patriarchy their day in the sun should have come to an end long ago.

    https://www.nbcnews.com/think/opinion/patriarchal-race-colonize-mars-just-another-example-male-entitlement-ncna849681

    Gynologues would have all understand
    That SpaceTech is well overmanned.
    Now the robots have dug
    Not a spore, not a bug:
    No Natives to rule by command.

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  35. The titles are beloved: “Carousel,” “My Fair Lady” and “Kiss Me, Kate” are classics of the canon,

    Well what I immediately wondered was how much blackwashing would there be in these once entirely white musicals? I only got as far as Carousel and then I couldn’t take it. Ladies and gentlemen, the great romance musical Carousel, now with your female star.

    And her male lover.

    Read More
    • Replies: @Reg Cæsar

    I only got as far as Carousel and then I couldn’t take it. Ladies and gentlemen, the great romance musical Carousel, now with your female star.
     
    Race aside, we should boycott anything sponsored by Tyson Foods.
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  36. Since any work written, composed, compiled before 2010BCE will ipso facto contain gender stereotypes, any such works must be excised from school and university curriculae. This will make it much easier for humanities students to master the reduced body of knowledge required for graduation and enable some of them to graduate in only four years as opposed to the average six – seven years today. It will have the added advantage of freeing humanities students from irksome study requirements and enable them to spend much more time engaging in on-and-off campus demos and riots. Win-win I’d say.

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  37. @Father O'Hara
    "But not just yet."
    Very nice line,Leader.
    If Tanehesi Coates were here,he'd probably get a chuckle at the St. Augustine reference.

    Ha!

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  38. @CCZ
    Let us not ignore the white male supremacy of classical music and classic productions.

    How do supposedly intelligent or talented “white people” become so self-loathing, self-hating, guilt-ridden, and self-destructive??

    Classical Music’s White Male Supremacy is Overt, Pervasive, and a Problem
    Daniel Johanson on February 18, 2018 [[he is a prominent opera tenor]]

    Over the week, there have been waves of backlash at The Metropolitan Opera’s newest season announcement. A recent Washington Post [article] made the rounds, taking to task the institution’s insistence on an entirely white and male composer list, as well as a completely male roster of conductors taking the podium.

    As a white man, there have been and continue to be countless times in which I have needed to recognize that privilege, white supremacy, homophobia, toxic masculinity, and gender normativity are layered issues. It’s easy to call a Nazi a racist because they are so obviously a racist. Not all racists are willing to take up that mantle.

    Recognizing that Classical Music has implied White Supremacy for centuries is hard for those that study the art form. In fact, that correlating The Met’s continued programming of dead white men to the rise of White Supremacist tendencies in America is not a far stretch is starting to become apparent to those that follow and review the company’s season announcements.

    Where are White Folks and Why are they Not Qualifying and Actively Dismantling White Supremacy

    I quote [the book] Blackness in Opera here so heavily because it is not a new book. Compiled in 2012, the Met’s continued practice is evidence that although it can seem like consulting with a black person at all would be a simple task, White organizations are incapable of doing that in fear of confronting perceived standards that classical music imposes.

    In fact, The Met goes out of its way to celebrate its season. In the Washington Post article mentioned above, writer Anne Midgette notes that “The Metropolitan Opera’s announcement on Thursday capped a whole chain of seasons heavy on standard classics, like pantries laden with white bread, touting the appearance of a single piece of olive focaccia as if it demonstrated a commitment to range and variety.”

    That’s the problem. Classical Music is so Eurocentric that it sees Eastern European programming (or, GASP, Russians) as a commitment to diversity. It doesn’t recognize that promoting the works of the diverse people in its own country is what 2018 is actually craving.
     
    Really??

    Recognizing that Classical Music has implied White Supremacy for centuries is hard for those that study the art form. In fact, that correlating The Met’s continued programming of dead white men to the rise of White Supremacist tendencies in America is not a far stretch is starting to become apparent to those that follow and review the company’s season announcements.

    Numerous Arab and African Western classical music composers and performers languished in obscurity till the 21st century, when cheap air fares and the rise of the Merkel opened up Europe to their talents. I hear opera houses in Vienna and Berlin are packed with young Muslim Verdis and Puccinis.

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  39. @Anonymous
    Thought it was just me. Always thought of myself as fairly normal sexually, but never understood why the gratuitous sex scenes were 'shoe-horned' (as you say) into virtually all Hollywood Product. Pervy film producers? Sure, but were there marketing studies which showed that this helped sell tickets? Make everything into a date movie by getting people horned up? Do these scenes actually get people horned up? I asked a couple friends but they looked at me as though I had three heads. Don't you like sex?! My feeling is that if I want to watch porn, I'll watch porn. Oh well. Might as well try sweeping the ocean with a broom.

    One of many reasons I stopped watching movies. I think Tom Hanks movies were the worst. But lately it seems that movies are nothing but car chases, explosions, super-heroes, and absurd fights.

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  40. @CCZ
    Let us not ignore the white male supremacy of classical music and classic productions.

    How do supposedly intelligent or talented “white people” become so self-loathing, self-hating, guilt-ridden, and self-destructive??

    Classical Music’s White Male Supremacy is Overt, Pervasive, and a Problem
    Daniel Johanson on February 18, 2018 [[he is a prominent opera tenor]]

    Over the week, there have been waves of backlash at The Metropolitan Opera’s newest season announcement. A recent Washington Post [article] made the rounds, taking to task the institution’s insistence on an entirely white and male composer list, as well as a completely male roster of conductors taking the podium.

    As a white man, there have been and continue to be countless times in which I have needed to recognize that privilege, white supremacy, homophobia, toxic masculinity, and gender normativity are layered issues. It’s easy to call a Nazi a racist because they are so obviously a racist. Not all racists are willing to take up that mantle.

    Recognizing that Classical Music has implied White Supremacy for centuries is hard for those that study the art form. In fact, that correlating The Met’s continued programming of dead white men to the rise of White Supremacist tendencies in America is not a far stretch is starting to become apparent to those that follow and review the company’s season announcements.

    Where are White Folks and Why are they Not Qualifying and Actively Dismantling White Supremacy

    I quote [the book] Blackness in Opera here so heavily because it is not a new book. Compiled in 2012, the Met’s continued practice is evidence that although it can seem like consulting with a black person at all would be a simple task, White organizations are incapable of doing that in fear of confronting perceived standards that classical music imposes.

    In fact, The Met goes out of its way to celebrate its season. In the Washington Post article mentioned above, writer Anne Midgette notes that “The Metropolitan Opera’s announcement on Thursday capped a whole chain of seasons heavy on standard classics, like pantries laden with white bread, touting the appearance of a single piece of olive focaccia as if it demonstrated a commitment to range and variety.”

    That’s the problem. Classical Music is so Eurocentric that it sees Eastern European programming (or, GASP, Russians) as a commitment to diversity. It doesn’t recognize that promoting the works of the diverse people in its own country is what 2018 is actually craving.
     
    Really??
    Read More
    • Agree: CCZ
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  41. @Buzz Mohawk
    Every woman loves Pretty Woman. It combines two of women's deepest archetypes: Cinderella and The Whore.

    Pretty Woman is a cynically brilliant product of Hollywood, because it is irresistible to women.

    No amount of social engineering will change the natures of men and women. Entertainment that ignores this truth will ultimately flop. Producers are going to find themselves in a state of cognitive/financial dissonance.

    Every woman loves Pretty Woman. It combines two of women’s deepest archetypes: Cinderella and The Whore.

    It also plays to a dangerous illusion shared by loser guys — that some prostitute they know “really” likes them, and is waiting to be “rescued”.

    Robert DeNiro’s character (“Casino”, 1995) learns that lesson memorably.

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    • Replies: @ThreeCranes
    Vincent Van Gogh tried to rescue a prostitute (with her child) by taking her into his simple bachelor quarters. It wasn't long before she had her fill of Vincent and left him for her life on the street but not before she upbraided him for being a loser.

    In the drama triangle, the victim inevitably turns on the rescuer, becoming their persecutor. I think what disgusted her about the Christlike Vincent was that he didn't rise to the bait of being victimized. He continued to see her as the one in need of rescuing even as she heaped scorn upon him. So frustrating for Power Players; they take their victims unresponsiveness as a sign of mental retardation--what Steve would call Aspergery behavior, a clueless persistence in the face of abusive insult.

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  42. A buttkicking babe! After all, didn’t Weinsteingate prove that today’s actresses are all lean mean fighting machines like they are portrayed on film?

    Where was the Screen Actors Guild during all that?

    Really, they’re the most useless union in the land. Their members suffer terrible Lotka-esque inequality. And what other union lets employers make their members work in the nude?

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  43. @George
    And I thought Kiss Me Kate had a 100% gay male audience.

    And I thought Kiss Me Kate had a 100% gay male audience.

    When Cole Porter’s ghost is the most masculine figure in the room, you’d be forgiven for feeling that way. But are you sure you’re not thinking of Grey Gardens?

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  44. @peterike

    The titles are beloved: “Carousel,” “My Fair Lady” and “Kiss Me, Kate” are classics of the canon,

     

    Well what I immediately wondered was how much blackwashing would there be in these once entirely white musicals? I only got as far as Carousel and then I couldn't take it. Ladies and gentlemen, the great romance musical Carousel, now with your female star.

    https://d2npu017ljjude.cloudfront.net/images/regular-43/w360/81949-24.jpg

    And her male lover.

    https://d2npu017ljjude.cloudfront.net/images/regular-43/w360/83282-9.jpg

    I only got as far as Carousel and then I couldn’t take it. Ladies and gentlemen, the great romance musical Carousel, now with your female star.

    Race aside, we should boycott anything sponsored by Tyson Foods.

    Read More
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  45. @Father O'Hara
    "But not just yet."
    Very nice line,Leader.
    If Tanehesi Coates were here,he'd probably get a chuckle at the St. Augustine reference.

    If Tanehesi Coates were here,he’d probably get a chuckle at the St. Augustine reference.

    I’ll be that the only St. Augustine t’Genius Coates has heard of is the one in Florida.

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    • Replies: @njguy73
    Please. He wouldn't know St. Augustine from St. Elsewhere.
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  46. @Buzz Mohawk
    Every woman loves Pretty Woman. It combines two of women's deepest archetypes: Cinderella and The Whore.

    Pretty Woman is a cynically brilliant product of Hollywood, because it is irresistible to women.

    No amount of social engineering will change the natures of men and women. Entertainment that ignores this truth will ultimately flop. Producers are going to find themselves in a state of cognitive/financial dissonance.

    Every woman loves Pretty Woman. It combines two of women’s deepest archetypes: Cinderella and The Whore.

    Well said. Women loved that movie. I thought it blew dead dogs.

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  47. Steve, you’re a genius.

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  48. @CCZ
    Let us not ignore the white male supremacy of classical music and classic productions.

    How do supposedly intelligent or talented “white people” become so self-loathing, self-hating, guilt-ridden, and self-destructive??

    Classical Music’s White Male Supremacy is Overt, Pervasive, and a Problem
    Daniel Johanson on February 18, 2018 [[he is a prominent opera tenor]]

    Over the week, there have been waves of backlash at The Metropolitan Opera’s newest season announcement. A recent Washington Post [article] made the rounds, taking to task the institution’s insistence on an entirely white and male composer list, as well as a completely male roster of conductors taking the podium.

    As a white man, there have been and continue to be countless times in which I have needed to recognize that privilege, white supremacy, homophobia, toxic masculinity, and gender normativity are layered issues. It’s easy to call a Nazi a racist because they are so obviously a racist. Not all racists are willing to take up that mantle.

    Recognizing that Classical Music has implied White Supremacy for centuries is hard for those that study the art form. In fact, that correlating The Met’s continued programming of dead white men to the rise of White Supremacist tendencies in America is not a far stretch is starting to become apparent to those that follow and review the company’s season announcements.

    Where are White Folks and Why are they Not Qualifying and Actively Dismantling White Supremacy

    I quote [the book] Blackness in Opera here so heavily because it is not a new book. Compiled in 2012, the Met’s continued practice is evidence that although it can seem like consulting with a black person at all would be a simple task, White organizations are incapable of doing that in fear of confronting perceived standards that classical music imposes.

    In fact, The Met goes out of its way to celebrate its season. In the Washington Post article mentioned above, writer Anne Midgette notes that “The Metropolitan Opera’s announcement on Thursday capped a whole chain of seasons heavy on standard classics, like pantries laden with white bread, touting the appearance of a single piece of olive focaccia as if it demonstrated a commitment to range and variety.”

    That’s the problem. Classical Music is so Eurocentric that it sees Eastern European programming (or, GASP, Russians) as a commitment to diversity. It doesn’t recognize that promoting the works of the diverse people in its own country is what 2018 is actually craving.
     
    Really??

    Look the fool up. He is in no way a “prominent opera tenor”. His voice is weedy, if not without a certain fleeting charm.
    But it is clear, once you get a gander of him, that he hates white culture because he hates himself. He is physically hideous, as is his girl friend, as are most of their friends. Fat, slovenly, unkempt, utterly unfit: they are the opposite of what white supremacy used to mean, and they actually don’t like it at all.
    But, since they are the way God and their inferior ancestors have made them, and there is thus nothing to be done about it, they have decided to glory in their ugliness, and to extend it to their ideas and emotions.
    They look to the European past and they see rigour, genius, pride, beauty, tragedy (of which they are incapable, because tragedy presupposes worth). Their response is despair and black-eyed envy.

    Bring it all down! is their only hope for a smidgeon of self-respect.
    Nothing to compare themselves with, you see, and therefore no more agonies of self-loathing. But they mistake themselves – the loathing is all that is left, and will remain when everything else is gone, until ultimately it consumes them too.

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  49. @CCZ
    Let us not ignore the white male supremacy of classical music and classic productions.

    How do supposedly intelligent or talented “white people” become so self-loathing, self-hating, guilt-ridden, and self-destructive??

    Classical Music’s White Male Supremacy is Overt, Pervasive, and a Problem
    Daniel Johanson on February 18, 2018 [[he is a prominent opera tenor]]

    Over the week, there have been waves of backlash at The Metropolitan Opera’s newest season announcement. A recent Washington Post [article] made the rounds, taking to task the institution’s insistence on an entirely white and male composer list, as well as a completely male roster of conductors taking the podium.

    As a white man, there have been and continue to be countless times in which I have needed to recognize that privilege, white supremacy, homophobia, toxic masculinity, and gender normativity are layered issues. It’s easy to call a Nazi a racist because they are so obviously a racist. Not all racists are willing to take up that mantle.

    Recognizing that Classical Music has implied White Supremacy for centuries is hard for those that study the art form. In fact, that correlating The Met’s continued programming of dead white men to the rise of White Supremacist tendencies in America is not a far stretch is starting to become apparent to those that follow and review the company’s season announcements.

    Where are White Folks and Why are they Not Qualifying and Actively Dismantling White Supremacy

    I quote [the book] Blackness in Opera here so heavily because it is not a new book. Compiled in 2012, the Met’s continued practice is evidence that although it can seem like consulting with a black person at all would be a simple task, White organizations are incapable of doing that in fear of confronting perceived standards that classical music imposes.

    In fact, The Met goes out of its way to celebrate its season. In the Washington Post article mentioned above, writer Anne Midgette notes that “The Metropolitan Opera’s announcement on Thursday capped a whole chain of seasons heavy on standard classics, like pantries laden with white bread, touting the appearance of a single piece of olive focaccia as if it demonstrated a commitment to range and variety.”

    That’s the problem. Classical Music is so Eurocentric that it sees Eastern European programming (or, GASP, Russians) as a commitment to diversity. It doesn’t recognize that promoting the works of the diverse people in its own country is what 2018 is actually craving.
     
    Really??

    Isn’t this advocating cultural appropriation?

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  50. Slightly OT, but I just read that historical feminist icon Elizabeth I was very keen on keeping black people out of England. In 1596 she informed all the Majors in England to expel all blacks living in their midst, declaring that there were enough mouths to feed in her kingdom without importing “blackamoores.” By 1601 she was livid that the landed gentry hadn’t followed up her demands and were still housing black servants.

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    • Replies: @Anonymous
    That was news to me. So I looked it up on "Establishment" type info sites and learned that it's 1) proof that England was multi-cultural back then and 2) there were very, very few black people in residence.

    an important document revealing that there must have been a significant proportion of people of different ethnic backgrounds living in Elizabethan England.

     


    In terms that might sound unnervingly familiar to a modern reader, the expulsion of black people was presented as a solution. In fact they were so small in number that their absence would have had done little to relieve English suffering.
     
    It's that 'cognitive dissonance' thing they do so well.
    https://www.bl.uk/collection-items/draft-proclamation-on-the-expulsion-of-negroes-and-blackamoors-1601
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  51. Hey, here’s an idea for a progressive, gay-friendly musical with an assertive female lead and great urban backdrops – The Marine Le Pen Story.

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  52. @Coemgen
    Speaking of Harvey Weinstein, do his "career issues" spell the end (at least for a time) of the apparently obligatory and, certainly discomfiting to watch, "sex scenes" shoe-horned into nearly every film?

    If starlets can no longer be screened for their sexual skills before being hired as actresses, there's no longer a need to add sex scenes to films to justify the pre-hiring sexual performance evaluations.

    This would be a welcome side-effect of the #metoo movement.

    Coe, I heard that watching porn movies is just watching people at work.

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  53. Two quick questions: why do they never reprise “Jesus Christ Superstar” and wouldn’t Monty Python’s “The Life of Brian” or “The Holy Grail” make a great musical?

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    • Replies: @peterike

    Two quick questions: why do they never reprise “Jesus Christ Superstar”

     

    Yeah they do. It's in Chicago right now.

    https://www.lyricopera.org/concertstickets/calendar/2017-2018/productions/lyricopera/jesus-christ-superstar-tickets

    Scroll down to see the very woke, multiracial casting.

    Jesus = black-ish
    Judas = black
    Mary Magdalene = kind of overtly lesbian
    Pilate = whitey white

    And its touring North America next year. And there are probably a thousand given versions by local and church-based groups every year.


    and wouldn’t Monty Python’s “The Life of Brian” or “The Holy Grail” make a great musical?

     

    Holy Grail is already a musical called Spamalot.

    https://en.wikipedia.org/wiki/Spamalot

    , @Whiskey
    Ahhhhh. NBC is reprising Jesus Christ Superstar with John Legend as Jesus.

    You knew that was coming. It's a gynarchy thus Black Jesus. Women generally believe if you say something often enough it becomes true
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  54. @Buffalo Joe
    Two quick questions: why do they never reprise "Jesus Christ Superstar" and wouldn't Monty Python's "The Life of Brian" or "The Holy Grail" make a great musical?

    Two quick questions: why do they never reprise “Jesus Christ Superstar”

    Yeah they do. It’s in Chicago right now.

    https://www.lyricopera.org/concertstickets/calendar/2017-2018/productions/lyricopera/jesus-christ-superstar-tickets

    Scroll down to see the very woke, multiracial casting.

    Jesus = black-ish
    Judas = black
    Mary Magdalene = kind of overtly lesbian
    Pilate = whitey white

    And its touring North America next year. And there are probably a thousand given versions by local and church-based groups every year.

    and wouldn’t Monty Python’s “The Life of Brian” or “The Holy Grail” make a great musical?

    Holy Grail is already a musical called Spamalot.

    https://en.wikipedia.org/wiki/Spamalot

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  55. It’s interesting how social justice has become such a snarl word on the right. Conservatives really are social injustice warriors who always defend power and privilege. Anytime you try to raise awareness about sexual misconduct you are waging war on men. And anytime who try to help the poor you are waging war on the rich. Very predictable. Conservatives like Rush Limbaugh rarely ever say a positive thing about women. It’s always that women are too uppity.

    Which further proves how foolish it is to associate Christianity with the right. Christianity is all about social justice and equality. Anyone who is offended by any genuine effort to decrease sexual misconduct and help the poor, or by merely having a strong female heroine in a movie, is an antichrist. The Bible says that whoever oppresses the poor shows contempt for their Maker (Proverbs 14:31). Since God is the maker of all that would apply to women as well.

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    • Troll: ScarletNumber
    • Replies: @J.Ross
    I wonder if "Justice" is related to "Truth."
    , @Anonymous
    Oppressing the poor is one thing: refusing to assist in their continuing self-abasement quite another.

    Attempts to help the poor frequently do more harm than good because they ignore or actively suppress recognition of their real issues, which usually include mental illness, substance abuse, or abject stupidity.
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  56. @Buffalo Joe
    Two quick questions: why do they never reprise "Jesus Christ Superstar" and wouldn't Monty Python's "The Life of Brian" or "The Holy Grail" make a great musical?

    Ahhhhh. NBC is reprising Jesus Christ Superstar with John Legend as Jesus.

    You knew that was coming. It’s a gynarchy thus Black Jesus. Women generally believe if you say something often enough it becomes true

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    • Replies: @Anonymous

    Women generally believe if you say something often enough it becomes true
     
    So do the people who control mass-media narratives.
    And who's to say they're wrong?
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  57. and the fact that all four productions are being directed and choreographed by men

    OMG say it isn’t so, Broadway musicals directed by Gay men. Oh no, I just had a hateful but possibly factual thought. Gay men might be better choreographers than straight women.

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    • Replies: @Anonymous

    Gay men might be better choreographers than straight women.
     
    That seems to be a pretty good hypothesis.

    https://www.youtube.com/watch?v=TFMI6OicF4c
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  58. I once said that at some point, even a white-bread show such as Friends will be seen as problematic. Sure enough, that point is now, because God forbid Chandler be embarrassed by his tranny dad.

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  59. @International Jew

    Every woman loves Pretty Woman. It combines two of women’s deepest archetypes: Cinderella and The Whore.
     
    It also plays to a dangerous illusion shared by loser guys — that some prostitute they know "really" likes them, and is waiting to be "rescued".

    Robert DeNiro's character ("Casino", 1995) learns that lesson memorably.

    Vincent Van Gogh tried to rescue a prostitute (with her child) by taking her into his simple bachelor quarters. It wasn’t long before she had her fill of Vincent and left him for her life on the street but not before she upbraided him for being a loser.

    In the drama triangle, the victim inevitably turns on the rescuer, becoming their persecutor. I think what disgusted her about the Christlike Vincent was that he didn’t rise to the bait of being victimized. He continued to see her as the one in need of rescuing even as she heaped scorn upon him. So frustrating for Power Players; they take their victims unresponsiveness as a sign of mental retardation–what Steve would call Aspergery behavior, a clueless persistence in the face of abusive insult.

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  60. @Justice
    It's interesting how social justice has become such a snarl word on the right. Conservatives really are social injustice warriors who always defend power and privilege. Anytime you try to raise awareness about sexual misconduct you are waging war on men. And anytime who try to help the poor you are waging war on the rich. Very predictable. Conservatives like Rush Limbaugh rarely ever say a positive thing about women. It's always that women are too uppity.

    Which further proves how foolish it is to associate Christianity with the right. Christianity is all about social justice and equality. Anyone who is offended by any genuine effort to decrease sexual misconduct and help the poor, or by merely having a strong female heroine in a movie, is an antichrist. The Bible says that whoever oppresses the poor shows contempt for their Maker (Proverbs 14:31). Since God is the maker of all that would apply to women as well.

    I wonder if “Justice” is related to “Truth.”

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  61. @George Taylor

    and the fact that all four productions are being directed and choreographed by men
     
    OMG say it isn't so, Broadway musicals directed by Gay men. Oh no, I just had a hateful but possibly factual thought. Gay men might be better choreographers than straight women.

    Gay men might be better choreographers than straight women.

    That seems to be a pretty good hypothesis.

    Read More
    • Replies: @Steve Sailer
    Jack Cole's "Anyone Here for Love?" dance number for a lonely Jane Russell and the US Men's Olympic Team in "Gentlemen Prefer Blondes" is about the gayest thing I've ever seen:

    http://www.tcm.com/mediaroom/video/497404/Gentlemen-Prefer-Blondes-Movie-Clip-Anyone-Here-For-Love.html

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  62. @Justice
    It's interesting how social justice has become such a snarl word on the right. Conservatives really are social injustice warriors who always defend power and privilege. Anytime you try to raise awareness about sexual misconduct you are waging war on men. And anytime who try to help the poor you are waging war on the rich. Very predictable. Conservatives like Rush Limbaugh rarely ever say a positive thing about women. It's always that women are too uppity.

    Which further proves how foolish it is to associate Christianity with the right. Christianity is all about social justice and equality. Anyone who is offended by any genuine effort to decrease sexual misconduct and help the poor, or by merely having a strong female heroine in a movie, is an antichrist. The Bible says that whoever oppresses the poor shows contempt for their Maker (Proverbs 14:31). Since God is the maker of all that would apply to women as well.

    Oppressing the poor is one thing: refusing to assist in their continuing self-abasement quite another.

    Attempts to help the poor frequently do more harm than good because they ignore or actively suppress recognition of their real issues, which usually include mental illness, substance abuse, or abject stupidity.

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  63. @Anonymous

    Gay men might be better choreographers than straight women.
     
    That seems to be a pretty good hypothesis.

    https://www.youtube.com/watch?v=TFMI6OicF4c

    Jack Cole’s “Anyone Here for Love?” dance number for a lonely Jane Russell and the US Men’s Olympic Team in “Gentlemen Prefer Blondes” is about the gayest thing I’ve ever seen:

    http://www.tcm.com/mediaroom/video/497404/Gentlemen-Prefer-Blondes-Movie-Clip-Anyone-Here-For-Love.html

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    • Replies: @Achmed E. Newman
    Are you trying to tell me th ... oh, you live in Southern California, that's right. Never mind.
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  64. It’s pretty sad that a movie like Romy and Michele is less pc then anything Hollywood releases nowadays.

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  65. @Steve Sailer
    Jack Cole's "Anyone Here for Love?" dance number for a lonely Jane Russell and the US Men's Olympic Team in "Gentlemen Prefer Blondes" is about the gayest thing I've ever seen:

    http://www.tcm.com/mediaroom/video/497404/Gentlemen-Prefer-Blondes-Movie-Clip-Anyone-Here-For-Love.html

    Are you trying to tell me th … oh, you live in Southern California, that’s right. Never mind.

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  66. @The Alarmist
    Did I misread your last paragraph, or are you taking the mickey out of me? I was out too late last night, so maybe I should re-check my cognitive abilities this morning.

    Did you watch the embedded video after the last paragraph?

    Steve was referring to a scene in Romy where the two lead characters watch Pretty Woman and comment on it.

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    • Replies: @The Alarmist
    Not at the point where I had commented, but now that I have, I stand by my "Whore to culture" synopsis.
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  67. @Chris Marsk
    I smell an opportunity for Las Vegas or Branson, Missouri, to stage original, un-Bowdlerized versions of the old classics.

    "When a woman has a husband and you've got none, why should she take advice from you ..."

    I smell an opportunity for Las Vegas or Branson, Missouri, to stage original, un-Bowdlerized versions of the old classics.

    New Yorkers going to Branson to see real theater.

    Then we’ll officially be in Bizarro World.

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  68. @CCZ
    Let us not ignore the white male supremacy of classical music and classic productions.

    How do supposedly intelligent or talented “white people” become so self-loathing, self-hating, guilt-ridden, and self-destructive??

    Classical Music’s White Male Supremacy is Overt, Pervasive, and a Problem
    Daniel Johanson on February 18, 2018 [[he is a prominent opera tenor]]

    Over the week, there have been waves of backlash at The Metropolitan Opera’s newest season announcement. A recent Washington Post [article] made the rounds, taking to task the institution’s insistence on an entirely white and male composer list, as well as a completely male roster of conductors taking the podium.

    As a white man, there have been and continue to be countless times in which I have needed to recognize that privilege, white supremacy, homophobia, toxic masculinity, and gender normativity are layered issues. It’s easy to call a Nazi a racist because they are so obviously a racist. Not all racists are willing to take up that mantle.

    Recognizing that Classical Music has implied White Supremacy for centuries is hard for those that study the art form. In fact, that correlating The Met’s continued programming of dead white men to the rise of White Supremacist tendencies in America is not a far stretch is starting to become apparent to those that follow and review the company’s season announcements.

    Where are White Folks and Why are they Not Qualifying and Actively Dismantling White Supremacy

    I quote [the book] Blackness in Opera here so heavily because it is not a new book. Compiled in 2012, the Met’s continued practice is evidence that although it can seem like consulting with a black person at all would be a simple task, White organizations are incapable of doing that in fear of confronting perceived standards that classical music imposes.

    In fact, The Met goes out of its way to celebrate its season. In the Washington Post article mentioned above, writer Anne Midgette notes that “The Metropolitan Opera’s announcement on Thursday capped a whole chain of seasons heavy on standard classics, like pantries laden with white bread, touting the appearance of a single piece of olive focaccia as if it demonstrated a commitment to range and variety.”

    That’s the problem. Classical Music is so Eurocentric that it sees Eastern European programming (or, GASP, Russians) as a commitment to diversity. It doesn’t recognize that promoting the works of the diverse people in its own country is what 2018 is actually craving.
     
    Really??

    It’s easy to call a Nazi a racist because they are so obviously a racist. Not all racists are willing to take up that mantle.

    Well, racists need to start taking up the mantle. Quit being pikers. You’re a racist? Don’t do it half-assed. Go the full nine.

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  69. @Jim Don Bob

    If Tanehesi Coates were here,he’d probably get a chuckle at the St. Augustine reference.
     
    I'll be that the only St. Augustine t'Genius Coates has heard of is the one in Florida.

    Please. He wouldn’t know St. Augustine from St. Elsewhere.

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  70. @Glaivester
    Did you watch the embedded video after the last paragraph?

    Steve was referring to a scene in Romy where the two lead characters watch Pretty Woman and comment on it.

    Not at the point where I had commented, but now that I have, I stand by my “Whore to culture” synopsis.

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  71. “The titles are beloved: “Carousel,” “My Fair Lady” and “Kiss Me, Kate” are classics of the canon, while “Pretty Woman,” a new musical, is adapted from a smash film. And each of their female protagonists has her own strength — strength that in some cases changes the men in their lives.”

    Obsessive Contrarian is disappointed in this post, because, well, it’s not very good.

    Revolutionary periods are an opportunity to subject the artistic products of the past to scrutiny. This is a good thing. We’re messing up that chance & throwing the baby out w/the bath water.

    “My Fair Lady” was an inferior knockoff of Shaw’s “Pygmalion,” with pretty clothes & great songs. The play itself was dumbed down for the masses. With Julie Andrews and Sexy Rexy in the leads, and Stanley Holloway as AP Doolittle, it justifiably became a Hit. But does it deserve its status? I think not. I saw it with a so-so cast some time in the 70s and it just wasn’t that great.

    “Carousel” – a magical show, a miracle. Deserves to be beloved. The depiction of an abusive relationship is just honest.

    “Kiss Me, Kate” — dunno anything about this.

    Which bring us to “Pretty Woman.” This is a piece of trash that deserves feminist ass-kicking. I wish it weren’t the feminists who did this, but it’s a dirty rotten job and someone’s gotta do it. The movie glamorized a degrading and disgusting thing, and created a world that was far more fictional than Wakanda. Comparing a musical version of “Pretty Woman” with a revival of “Carousel” is blasphemy.

    And that’s the real problem with this article. JMO.

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  72. Anonymous • Disclaimer says:
    @unpc downunder
    Slightly OT, but I just read that historical feminist icon Elizabeth I was very keen on keeping black people out of England. In 1596 she informed all the Majors in England to expel all blacks living in their midst, declaring that there were enough mouths to feed in her kingdom without importing "blackamoores." By 1601 she was livid that the landed gentry hadn't followed up her demands and were still housing black servants.

    That was news to me. So I looked it up on “Establishment” type info sites and learned that it’s 1) proof that England was multi-cultural back then and 2) there were very, very few black people in residence.

    an important document revealing that there must have been a significant proportion of people of different ethnic backgrounds living in Elizabethan England.

    In terms that might sound unnervingly familiar to a modern reader, the expulsion of black people was presented as a solution. In fact they were so small in number that their absence would have had done little to relieve English suffering.

    It’s that ‘cognitive dissonance’ thing they do so well.

    https://www.bl.uk/collection-items/draft-proclamation-on-the-expulsion-of-negroes-and-blackamoors-1601

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  73. @Whiskey
    Ahhhhh. NBC is reprising Jesus Christ Superstar with John Legend as Jesus.

    You knew that was coming. It's a gynarchy thus Black Jesus. Women generally believe if you say something often enough it becomes true

    Women generally believe if you say something often enough it becomes true

    So do the people who control mass-media narratives.
    And who’s to say they’re wrong?

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  74. A buttkicking babe! After all, didn’t Weinsteingate prove that today’s actresses are all lean mean fighting machines like they are portrayed on film?

    Hey, why not? You Go Girls !

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  75. Chinese New Year Skit Sparks Backlash Over Relationship with Africa

    The Chinese government’s annual New Year’s Gala, televised to millions of households across the mainland, has drawn global criticism for its offensive caricatures and a story line about Africans’ admiration for China.

    The 13-minute segment featured several dozen African actors, a Chinese co-host and a Chinese actor dressed in blackface. Several actors were also dressed as animals, including an actor from Cote d’Ivoire in a monkey costume.
    ……
    In the New Year’s skit, the Chinese-built railway linking Mombasa and Nairobi has just opened, and a railway trainer, played by the gala’s Chinese co-host, compliments a group of African train attendants on their command of Chinese.

    The trainer explains that he’s to marry his Chinese fiancée later that day, but a young African woman — another train attendant — ropes him into pretending they’re in love to get out of a blind date set up by her mother, played by Chinese actress Lou Naiming, who appears in blackface as a Kenyan mother trying to find a husband for her young daughter.

    When the groom’s older brother arrives, he cracks a joke about African transportation. “When I got off the plane, I rented an African public bike [a giraffe],” his brother said, pointing to an actor dressed as a giraffe.

    When the trainer’s Chinese bride arrives, the African attendant is forced to tell her mother that she lied to get out of the blind date.

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