Ethiopia's Unity

Entrance to Unity Park, in Addis Ababa

PM Abiy is working to unify Ethiopia, contrary to the accusations that he is deliberately fomenting the country's splinter.

The Story of All of Us: Ode to Unity Park in Addis Ababa
Alemayehu G. Mariam

On a partly cloudy January morning
I took a walk in the (Unity) park
There I found His(Her)story with a puzzled look
Asking me curiously,

“Do you know?”

On these grounds of power and glory
In this place of honor and shame
Where hope and despair tangled to the bitter end
Is written the Story of All of Us.

“Do you know?”

In this place of sadness and joy
On these grounds where victory was conceived and defeat born
Where horror, terror and torture were hid in a dungeon
Is written the Story of All of Us.

“Do you know?”

On these grounds of promises made and promises broken
In this place of truth and deceit
Inscribed on the ancient granite walls
Is the Story of All of Us.

“Do you know?”

On these grounds of virtue and vice
In this place of darkness and light
Where quest turned into conquest
Is written the Story of All of Us.

“Do you know?”

On these grounds where trees stand tall
In this place where they stood silent sentry for a century
New flowers today sing in dazzling colors
And write the Story of All of Us.

Do you know?

On these grounds where our leaders prayed and sinned
In this place where they plotted and schemed
Did they forge one nation indivisible
Is written the Story of All of Us.

“Do you know?”

On these grounds where we founded our nation’s capital
In this place where our ancestors came together in wisdom and folly
To do dastardly deeds and recite sublime poetry
Is written the Story of All of Us in blood, sweat, tears and laughter.

Answered I to His(Her)story:

Now is the time to turn a page
To inscribe a new chapter filled with hope and optimism
To affirm in this hallowed park the sanctity of our unity
To boldly declare our humanity in our diversity.

Answered I to His(Her)story:

Now is the time to write the new Story of All of Us
To sing out loud our songs of peace, prosperity and unity
Rebuild our City Upon a Hill amidst a bed of new flowers
Then let our “sons and your daughters prophesy, our young men see visions, and our old men dream dreams”

Answered I to His(Her)story:

Somewhere ages and ages from now
A generation will walk in Unity Park and sigh in relief and pride:
“Thank God, our ancestors seized the moment
On two roads that diverged in the night
They took the road marked ‘Peace and Prosperity’
Made a right turn on a road named “Reconciliation and Forgiveness”
And that has made all the difference in the Story of All of Us!”

— Ode to Unity Park in Addis Ababa, written following my [Alemayehu G. Mariam's] visit on January 28, 2020

Lakeshore Lace

Lakeshore Lace
Photo By: KPA

-------------------------------------------------


Trillium and Queen Anne's Lace
[Design by KPA]

The Healthy American (and Canadian)

Trump is Getting Back on Track

Here is the full transcript for: Fox News Sunday interview with President Trump, if the video is no longer available.

Below, I have posted what I think are the important points.
----------------------------------------------------------------------------

President Trump refused to be bullied by fake-new Fox reporter Chris Wallace, who questioned him on the new book out about his family, by his niece, who went on a mission to destroy Trump, and especially Trump's father.

Here is the telling part during the interview, around 31 minutes:

My father liked to win. My father was a very good man, he was a strong man. It's disgraceful that she said that. She was not exactly a family favorite...She writes a book that so stupid and so vicious. And it's a lie.

My father was a great wonderful man.

It hurts me more about attacking my father [than attacking me], not being kind to my mother. I have a mother who was like a saint. She was incredible. She was an incredible woman. And she [...] was nasty even to my mother.

[...]

She [the author] was not much of a family person.

[...]

My father was...I think he was the most solid person I have ever met. And he was a very good person. He was a very very. good person. He was strong, but he was good. For her to say that kind of things. A psychopath? That he was a psychopath? Anybody who knew Fred Trump would call him a psychopath?! And you know what? If he was, I would tell you.

[...]

My father, he was tough. He was tough for me. He was tough on all of the kids. But tough in a solid sense. In a really good sense.

[...]

That book is a LIE!

And Trump and his take on Fox News:

I'm not a big fan of Fox, I'll be honest with you. They've changed a lot since Roger Ailes.

[...]

Look, I know you very well. I know your father very well [referring to Mike Wallace]. He was one of the most talented journalists there are. And you likewise are a very talented person.

I do think this. I think you are a very, uh. I think you are toward the Democrat side. Which is ok...

[KPA Note: Which Chris Wallace of course denies, with "footage" to prove, which he shows]

It just seems to me that you are very prone to be with the Democrats, and maybe I'm wrong about that Chris. But it's an honor to be with you.

[KPA Note: Regarding the elections]

Trump: I don't think I'm going to lose at all.

Wallace: But if you did, how crushing would it be?

Trump: First of all, let me tell you something. I know everyone wants to know that because they'd LOVE to see me lose...Do you know how many times I've been written off?...

[KPA Note: Wallace persists with the "lose" question. And Trump doesn't take the bait]

And you know why I won't lose? Because the country in the end, they're not going to have a man whose shot. He's shot.

[KPA Note: Trump points to his head indicating that Biden is not right in the head]

Trump: He's mentally shot.

Let him come out of his basement and go around. I'll make four five speeches a day. I'll be interviewed by you. I'll be interviewed by the worst killers that hate my guts. They hate my guts. There's nothing they can ask me I that won't give a proper answer to. Some people will like it, some people won't like it.

Wallace: I agree with that.

Trump: But look. Let Biden sit through an interview like this. He'll be on the ground crying for Mommy. He'll say "Mommy, Mommy! Please take me home!"

Wallace: We've asked him for an interview, sir.

Trump: He can't do an interview. He's incompetent.

There's a number you haven't mentioned. It's the "enthusiasm number." The enthusiasm for Trump is through the roof. Even higher than last time. The enthusiasm for Biden in non-existent. Everyone knows he's shot.

Wallace: But the enthusiasm AGAINST YOU is high.

Trump: Well, that's OK. That's his only shot.

Wallace: Right.

Trump: That's his only shot. I agree. And those people know I'm doing a good job. But there's something in my personality that they don't like.

Because look. Nobody's done what I've done!

Biden wants to come in and ruin our country.

[...]

He will destroy this country.

But. It won't be him. It will be the radical left. The same type of ideology that took over Venezuela, one of the richest countries in the world. They now have no water. They've not food. And they have no medicine.

That's gonna happen here if he wins.

[KPA Note: The devious Wallace asks this as his "final" questions]:

Wallace: Are you a good loser?

Trump: I'm not a good loser. I don't like to lose. I don't lose too often. I don't like to lose.

Wallace: But are you gracious?

Trump: You don't know until you see. It depends.

I think mail-in voting is going to rig the election. I really do.

[...]

Wallace: Whether it's in 2021 or 2025, how will you regard your years as President of the United States?

Trump: I think I was very unfairly treated. From before I even won, I was under investigation by a bunch of thieves, crooks. It was an illegal investigation.

Wallace: But what about the good parts, sir?

Trump: No, no. I want to say this. I have done more than any President in US history in the first three and a half years, and I have done it suffering through an investigations

[...]

The Russia Hoax, it was all a hoax. The Muller Scam, it was all a scam. It was all false.

I made a bad decision. One bad decision: Jeff Sessions. Now I feel good because he lost overwhelmingly in the great state of Alabama.

Here's the bottom line. I've been very unfairly treated. And I don't say that as paranoid. Everybody says it. It's going to be interesting to see what happens. But there was tremendous evidence right now as to how unfairly treated I was.

[...]

Let’s see what happens. Despite that, I did more than any president in history in the first three and a half years.

Council of European Canadians and Their Can of Worms

The Council of European Canadians just opened a can of worms. LOL.

But it is more than that. Many "white nationalist" groups are actually a-Christian, if not anti-Christian.

What a wonderful way to support, and promulgate, the West (sarcasm alert).

The Multi-Culti Mississauga Art Establishment Implodes

Below is a Facebook post from a (now former) staff, Sharada Eswar, at the Art Gallery of Mississauga (posted in full after the dotted lines). This multicultural, Indian woman, writes this article on her Facebook page.

Who knew!

For more on my views, and the anti-west, anti-Canada, AGM, see my posts here.

The AGM is imploding, and that's a good thing!

I wrote about Eswar here, in a post I titled White Out at the AGM:

Eswar talks about her childhood with her grandmother in India.

More information on Eswar here, a 2019 post at Reclaiming Beauty I titled: White Out at the AGM

"...In her Brampton [Ontario] living room, a Ganesha statue sits on a side table...Now, Eswar is bringing her grandmother's ancient stories, and some contemporary South Asian tales, to life in the GTA [The Greater Toronto Area, which includes Mississauga]."

------------------

Eswar's Facebook post on June 22, 2020:

This is a fairly long post, so thank you for your time.

Until December 2019, I was leading a community engaged arts project at the Art Gallery of Mississauga (AGM). A project that I conceived and birthed, and was nurtured lovingly by the racialized and marginalized communities of Mississauga. A project that received funding from the Ontario Trillium Foundation (a grant that I wrote) to the tune of over $420,000. A project that used stories as a common denominator, to bring together the diverse cultural groups and the racialized communities in Mississauga and beyond, engaging with ideas of self-representation to question colonial narratives. A place to share stories, laughs and the heartbreaks associated with them. There were plenty of laughs alright, and heartbreaks a plenty. A project that consumed my very being, every single day for over three years. A project that I had to abandon because the then Treasurer (and I believe, currently the Chair) decided that he had the right to be a bully, an obnoxious and aggressive force that undermined this initiative. An aggression so toxic that to this day, I fear going to Mississauga, lest I see him again.

It began as a pilot project in 2017. It was a runaway success. The community wanted their voices heard, their stories told and I decided to expand the project. In 2018, things began to change. A number of events dramatically transformed the working environment at the AGM. We were told that the Gallery was financially unhealthy and the very existence of the Gallery was at risk. The one silver lining was receiving the Trillium funding for my project. However, things escalated in 2019. I witnessed, along with my colleagues and many members of the arts community, an alarming deficit of clear communication, leadership and respect from the board and the directorship of the AGM. But all of this paled in the face of patriarchy and white supremacy that was rampant in the Board. The then Director was asked to leave and the predominantly white governance Board decided to become an operating board (there was no public announcement about this shift, nor was the membership informed). A Board that had no clue on how the arts world functioned, let alone how community engagement and relationships are built and nurtured. With no Director to act as buffer, the staff were at the mercy of the Board. Staff were constantly micro-managed and belittled. Things came to a head when the last remaining full-time staff’s position was suddenly and mysteriously dissolved. I say suddenly because despite the position being part of the new 5-year strategic plan approved by the Board and the then Chair & Interim ED, it was dissolved soon after.

At first it seemed as if I would be spared but how wrong I was! Within weeks I was subject to aggressive emails demanding why the artists I had contracted for the project were paid so high (mind you this was a funder approved budget and were being paid as per industry standards); why are there no European voices in this project (one of the main objectives of border crossings was to make room for communities and voices that were until now absent); and then some questions that were beyond the scope of my job description and expertise, though I tried to the best of my ability to answer them all. Emails, so aggressive that I began to dread logging into my computer. I was made to feel incompetent, incapable of doing minor tasks correctly and peppered with questions that felt more like inquisitions. Then there was the gaslighting behaviour. On one occasion I was asked about a missing camera that had “supposedly been bought” for the project – in spite of me insisting that there was no camera bought, I was repeatedly interrogated, making me feel like a criminal. Finally, I was told that if the camera couldn’t be traced, it was my job to lodge a complaint with the police for insurance purposes. It reached a point where I began to question my own sanity, my memory, my actions, my thoughts. After much heart wrench and soul searching, I resigned. I left the project and everything that I had worked towards to that point behind.

Until today I have chosen not to make a broader public statement of the toxicity that my colleagues and I walked into every single day. So why am I speaking now? I, like several others, left space for the funders (specifically the City) and the community members to voice their concerns about the organization. But I realize that to remain silent out of respect for our community may be taken as complicity in an erasure of agency, which was in no way my intention.

Two things happened that galvanized me into action -- the first of the two was on June 3, 2020. There was a post from AGM as part of the #BlackOutTuesday in support of the Black Lives Matter movement. I saw the post and laughed. The hypocrisy I thought! A “leadership” that treats its BIPOC staff with utmost disregard and disrespect now expressing solidarity! I was tempted to comment something nasty but desisted. Then there was a post on Twitter that for me was the tipping point. A podcast (a podcast I had produced and hosted) with the Treasurer as guest. I haven’t been able to bring myself to listen to it. It has brought back all the toxicity to the fore, everything I thought I had under control, the fears, the anxiety, the shame, the rage, the guilt at abandoning the community members, who had time and again made themselves vulnerable, trusting me with their stories. The fact that I had to let go of my project, my creation that was second only to my own child, and this bully is still about exuding power!

Via The Thinking Housewife:



“CASES” are climbing. That’s because more people are being tested as they go back to work. But there is no significant increase in deaths.

Heather Mac Donald reports at The Spectator:

Since April 24, the daily case count started declining, then began rising again after around June 9. What virtually every fear-mongering story on America’s allegedly precarious situation leaves out, however, is the steadily dropping daily death numbers — from a high of 2,693 on April 21 to 808 on June 24. That April high was driven by New York City and its environs; those New York death numbers have declined, but they have not been replaced by deaths in the rest of the country. This should be good news. Instead, it is no news.

[…]

There are no crises in hospital capacity anywhere in the country. Nursing homes, meat-packing plants, and prisons remain the main sources of new infections. Half the states are seeing cases decline or hold steady. Case counts are affected by more testing; the positive infection rate captured by testing is declining. The current caseload is younger, which is a good thing. The more people who have been infected and who recover, the more herd immunity is created. Meanwhile, daily deaths from heart disease and cancer — about 3,400 a day combined — go ignored in the press.

The situation is likely identical in Canada.

The Sandpiper

Spotted Sandpiper
By Lake Ontario,
Port Credit
[Photo By: KPA]

My little bird looks like it might be floating on water. It barely stayed five minutes on the rock, and I was hoping it would move, maybe jump on from the lower ledge to the top. It looked around, and flew off, skimming the water.


John James Audubon (American, 1785–1851)
Spotted sandpiper...View on Bayou Sarah, Louisiana, pl.CCCX , 1827–1838
(Caption at bottom of illustration:
Spotted Sandpiper
Totanus Macularius
1 Adult Male, 2 Adult Female
View on Bayou Sarah, Louisiana)

The Spotted Sandpiper has a wonderfully extensive range, for I have met with it not only in most parts of the United States, but also on the shores of Labrador, where, on the 17th of June, 1833, I found it breeding. On the 29th of July, the young were fully fledged, and scampering over the rocks about us, amid the putrid and drying cod-fish. In that country it breeds later by three months than in Texas.

- Illustration and caption from John J. Audubon’s Birds of America.

Audubon's "In that country" of course refers to Canada, where he studied the birds in the province of Labrador.

He might have saved a long trip "north" by just coming across the New York border to southern Ontario. He'd find the bird mid-June in the more northern Newfoundland and Labrador, but further south, probably by late June, which is when I photographed this bird (June 26th).

It's a delicate and strange little bird, with its extra long pointed beak, and long spindly legs. And a screech/call that is high pitched, not quite shrill, and audible through the wind and waves.

Audubon describes its song:

While flying out in these wide circuits, agitated by superior feelings to those of hunger and necessity, we hear the shores re-echo the shrill and rapid whistle of 'weet, 'weet, 'weet, 'weet, and usually closing the note with something like a warble, as they approach their companions on the strand. The cry then varies to 'peet, 'weet, 'weet, 'weet, beginning high and gradually declining into a somewhat plaintive tone.

- From John J. Audubon’s Birds of America

Video from the Smithsonian Migratory Bird Center

I tried to find why this bird was called a sandpiper. Perhaps because it "pipes" through the sand as it looks for food (Insects, crustaceans, other invertebrates. Feeds on wide variety of insects, also earthworms, crabs, crayfish, small mollusks, small fish, sometimes bits of carrion - source Audubon's Guide to Birds of North America)?

The National Geographic has this explanation, more on the sandpiper's cry than its feeding methods:

When airborne [sandpipers] tend to be vocal animals. They sound off with a distinctive three-note, piping-like cry - often represented as “twee-wee-wee.”

Audubon describes the bird bobbing its tail as it sings. I didn't see this, but what I noticed was an endearing bend forward of its longish neck, perhaps as it contemplates flying off.

Below is a map of eastern Canada, showing where Audubon traveled to study the sandpiper.


Highlighted region: Newfoundland and Labrador

Flying Free

Flying Free
Port Credit, Ontario
[Photo By: KPA]

Accelerate the Revolution

The image above comes from Steve Sailer's article on VDare: Cristalnacht in the Fairfax District.

Sailer writes:

The Fairfax neighborhood in West Hollywood, CA is known both for its elderly Jewish population of 1940s refugees and its luxury stores selling conspicuous consumption items that rappers crave, like Cristal champagne.

So the smashing of windows and looting of high end shops on Fairfax and Melrose boulevards could be dubbed Cristalnacht, especially because a small number of the terrorized residents can likely still remember the Kristallnacht of 82 years ago.

Sailer just got on piece of information (fact) wrong:

‘It has come to my attention that the managing director of Cristal, Frédéric Rouzaud, views the “hip-hop” culture as “unwelcome attention”’, said Jay-Z. ‘I view his comments as racist and will no longer support any of his products through any of my various brands, including the 40/40 Club, nor in my personal life.’ [Source: Decanter, June 16 2006]

That was fourteen years ago!

Who knows why Jay-Z chose Cristal? He's into bling bling, has a lot of money to throw around, and his wife Beyonce thinks she's the Queen Bee, who also glitzes her wardrobe with shiny stones. So Cristal might just be a name thing (and a "religion?").


Beyonce crystalled out in her Witchcraft video: Formation

There's a deeper connection, actually, which Sailer might have got to had he not used his race-tinted cool shades. Or, he never meant to report on this.

Both Beyonce and Jay-Z use their "black power" image to project a "neo-black power" occult movement. In fact, all their videos and languages are filled with double meanings, the double, the hidden, being their Illuminati messaging. Their occult stand.

J and Queen B are deeply embroiled in the occult, devil worship.


Skull from Jay Z's "On to the next one" video

Of course, the atheist VDare (and that includes Sailer and Brimelow), who "celebrate" Christmas as a one-up on the religion of the multi-culti and blaspheme against the true celebration of Christ's birth, find nothing wrong with (or at least, nothing to report about) different religious stands. No-where, in any of their reports, do they discuss the Christian implications of immigration (including all those Catholic Mexicans who cross that border). Christianity simply becomes a celebratory prop to distinguish, and elevate, the white Brimelow from those brown Catholics, along with all those other religions. So even Satanism counts as a religion to stand on, and perhaps even better than the others, since it builds towards the destruction of Christianity and the Gotterdammerung, a fresh clean slate for the white West.

As always, the VDare group has some wrong end of the stick. And it usually involves blacks. And a subservient, under-the-radar acknowledgment of Jewish "victimhood." Who exactly finances VDare's big enterprises - e.g.: Their Castle on the Virginia Hills? And who has the deepest, and strongest, vested interest in destroying Christianity?

---------------------------------------------------------

I wrote yesterday (June 4) in my post America-Destroying Entities

There is no attempt by VDare et al., and Faith Goldy, who has regular video posts on Vdare, to delve into the underlying causes of black thuggery. E.g., who exactly is it that funds the "movement?" How do other blacks, and especially the poorest (pregnant women living alone!), fare under the fear of this black underworld of crime and murder, which also viciously attacks them?

But, I had some speculations in previous posts. This time regarding the VDare group's silence on the COVID "crisis" which resulted with the real crisis from the economic shutdowns of whole countries:

But, I discovered that what I wrote earlier still holds: that VDare has no interest in the societal and economic upheaval that this fake pandemic is causing the world[Reclaiming Beauty, May 14, 2020].

What is disconcerting is that VDare has not posted a single coherent piece on the spectacular "lockdown" (a prison term, by the way) on Americans and Canadians, and actually the whole world, on a fake pandemic for a virus that has killed less than the flu virus (and viruses), which originated from an outdoor market in China[Reclaiming Beauty, April 28, 2020].

It begs the question: Was the VDare group, realizing that eventually the fake virus would unleash societal upheavals, cleverly deducing that it would become a racial blowup, where blacks would feel even more "oppressed," while whites, even the poor whites, appear to be doing that (little) much better?

I continue in my May 14 post:

The discussion between Derbyshire and Brimelow [during one of Brimelow's regular interviews with writers and journalists] centered around black crimes on whites, which is the repetitive, mantra-like, redundant postings through which VDare has made its trademark, over the couple of decades it has existed.

I have to speculate whether it is something that they wish for, some kind of racial war, to start the machinations of a global Gotterdammerung, to start their America on a clean, white slate.

Ordinary whites appear to have a complicit head start in the COVID recovery, which the media talking heads, fronted by blacks and whites, tell us. Thus ALL whites appear to prevent blacks from getting their daily bread. And this "narrative" is followed by whites and blacks alike. But the violence of black thugs has nothing to do with their daily bread, COVID or no COVID. And it has nothing to do with "their" race.

Thus, this manipulated "pandemic" became the starting point for the race war that race instigators from all corners and political stripes, and especially the elite leaders, are content to see happening.

It will simply accelerate the revolution toward:

Black subjugation and wipe out

or

White subjugation and wipe out

---------------------------------------------------------

It is a war.

COVID as the Great Delineator

City Centre Lockdown
Photo take Sunday May 17, 2020
By: KPA

The COVID Scamdemic has shown us how easy it is to disrupt and uproot whole countries, whole economies, whole societies.

I took a set of photographs around the Mississauga Civic Centre, and the adjacent Square One Shopping Centre and its parking lots in mid-March, shocked by the parking lots which emptied days after the first announcements of COVID, and posted them on April 9: City Centre Lockdown.

On May 9, a month later, I posted a commentary I wrote in mid-March, which I titled Death through Acquiescence.

Two months later, nothing has changed. Ontario's Premier, Doug Ford, promised of "gradual" openings starting in June, but I'll believe it when I see it.

Those that we trusted as mediators of information, analysts and interpreters of opaque Orwellian language, betrayed us. I can only deduce that they are complicit, either directly through financed support (what else is there?) or through deliberate activity to disrupt and destroy.

Whole cities of grownups have been reduced to infantile acquiescence for a virus that hardly makes it up the Richter scale. Whole economies have bent to the order of shutdowns and lockdowns.

And no-one says anything! Some smugly sit in their dubious castles, others sing praise to Western ingenuity, as their very leaders behave like quivering epileptics, convulsed by invisible spiritual forces.

Lies, lies and more lies is what we've got with COVID, and those we thought we trusted have said NOTHING.

I posted my City Centre Lockdown images on April 9, and wrote Death through Acquiescence in March 17, which I posted on May 9, a month later. I wrote: "The world belongs to us, now. We are the inheritors, and its spokespeople. All else want its destruction."

Now nearing June, my impressions have not changed one iota. And neither has the City Centre Lockdown.

The Iniquities of Immigration

Below is my post from July 4, 2018: The Iniquities of Immigration
--------------------------------------------------------------------------------------------

Immigration is the contemporary world's greatest iniquity. From there arises all the adjoining iniquities, the biggest being multiculturalism. The sin of immigration is as much the immigrants' as it is those accepting the immigrants.

In God's design of our world, there is no immigration, as we understand it in our contemporary world: the mass movements of peoples from one region of the world to another, and more specifically from the southern/eastern regions to the western.

Each people has its own country, its own region, its own place, its own home, built and nourished and sustained by its own people, ancestors and those still living. Each people knows how to maneuver and live with the deficiencies of its particular country, and often loves it more because of these struggles and, many times, the victories, small or large.

By immigrating, contemporary people cut off these ties, sever them and often irreparably. They remain in limbo with memories fading further into the recesses of their minds of that beautiful country which gave birth to them and which they so readily abandoned for a few material comforts. This trauma lives on in their children and their grandchildren.

I make a bold suggestion. Let's follow Moses' example. Let us make an Exodus away from the false promise and to the real promise. Our real promised lands.

Death through Acquiescence

Below is what I wrote on March 17, as I was just beginning to understand this "pandemic."

-------------------------------------

It's fascinating. A pathetic virus (sane people slip out that it is a variation of the flu) is running the world.

I was watching the news (CNN, CBS, NBC, and the Canadian CBC and CTV) during the first announcements of the "pandemic," and they are all alarmists.

Don't the newscaster have any shame? A virus which by epidemiology standards is NOT an epidemic, let alone a "pandemic" is running the world.

Of course, the news has to have been manipulated.

As the coronavirus map shows, the virus has "bypassed" most of the world, including the Middle East, the Indian Subcontinent, the Horn of Africa, etc. Even Canada seems immune, but you wouldn't know it with the public panic attack.

It IS the Western World under attack. Europe, the beautiful Italy, Spain, France and of course England and Britain.

The maps, the talking heads, the "experts," the "doctors," and some "news analysts" all talk in apocalyptic language.

The Western World will die with a pathetic acquiescence of a contrived disease. Not through some glorious outrage and uproar.

For us, for me, it is good to know where we stand. Let them all fumigate in the mire of their own making. Let them reject and deny God, and follow the Devil's directions.

It is a fascinating, and exciting time.

The world belongs to us, now. We are the inheritors, and its spokespeople. All else want its destruction.

I have revived my Museum of Beauty idea, which I hope to develop into an online presence. There are lots of sane people out there who have had enough of these usurpers.

This is a clever, ingenious, strategy: creating a non-virus to affect our civilization.

But nature is honest. And the birds are chirping the arrival of Spring. Flowers will be blooming soon.

So, have a good day!


Star Tulip
(Tulip Tarda)
Photo By: KPA -
Port Credit, Mississauga
[Photo By: KPA]

The Globalists Inc.

The biggest mistake of Trudeau and the Globalists Inc. going down in the socio-political history of the 21st century is that they thought they could re-structure the world.

I still believe the response to COVID ought to be a spiritual one, with the admittance that we ALL made mistakes in our heathen atheism, and where we ask for forgiveness, and redirection by our almighty God.

Still, revolutions are fomenting everywhere, one individual at a time. Throughout the planet.

This blogger agrees with me (or I agree with him):

It's totally counterintuitive to everything they do, they rule with an iron fist and fear. To defeat them we have to do the opposite of their tactics -- promote beauty and love. We have to promote things that truly mean a lot to us and shine our light while we can. And if we set an intention to do this, I know that God will help us.

Chinese Always Playing Catch-up

My comment in my Council of European Canadians article: Who is Dr. Theresa Tam, following up on the discussion in the comments on China:

It is easy to dismantle their [the Chinese] apparent incursions into the West, since they are always playing catch-up.

My Early Days Corona-Conclusion

I was discussing the Coronavirus with a group of people at its very early stages, when statistics were just coming in, and when we were all trying to figure out how to behave to avoid infection.

This is, by the way, standard behavior for the annual flus we get.

[Discussion in mid-March]

I think this virus is a big nothing, and all we should do is take extra precautions, as we would the flu virus.

[...]

Trudeau and his team have chosen to make the Canadian population suffer through business closures and restrictions (on a virus which barely makes it on the epidemiological scale, as I said - a big nothing). We are still trying to figure out their agenda, but I believe it is to re-orient Canada, and Canadian society. Don't think multiculturalism will get part of the pie, either. At Walmart, those struggling with shopping carts and dozens of bags are not white Canadians, who can order online and get deliveries through expensive FedEx packages, but Indians, Chinese (yes, they are poor here), Arabs, etc.

And here is my Council of European Canadians article, after a couple of weeks of research and assessment, where I write:

[...] a lockdown of dutiful, and guilt-ridden, Canadians became the reality. Across the country, dutiful citizens closed their shops, left jobs, shuttered schools and daycare centres, and stayed home, waiting for Tam’s daily updates, to urge them to participate in the next battle tactic against their invisible enemy, who could be lurking anywhere.

And they all obliged. Tam’s draconian “Stay Home/ Restez a la Maison” ordinance could be the beginning of much stricter enforcements to come, based on her premise that “anyone could be infected,” which means that we could all be infected

And here below is one of a series of photographs I took of parking lots around Mississauga's city centre, where the Civic Centre, which is across from the large Square One shopping centre/mall, is located. These lots (they stretch as far back as the building block at the very far end) are usually full capacity, starting early in the morning (by around 8am). These photographs were taken a little later, around 9:30am. I posted them on April 9th under City Centre Lockdown, although I started to take them in late March.

Video on Theresa Tam

The Council of European Canadians have posted a video by Youtube video reporter Jill Colton, which discusses Theresa Tam, and which has my a screen shot of my CEC article. Colton also briefly discusses my article, which now has a record of 179 comments by concerned readers on the CEC website.

May Flowers

Magnolia Tree
Port Credit, Ontario
[Photo By: KPA]

Update: Empty Outlines and the Multi-Culti-COVID-Era

The article Empty Outlines and Multi-CUlti-COVID-Era has been slightly updated, with some extra commentary, especially near the end and in relation to art and artists in Canada.

Empty Outlines and the Multi-Culti-COVID Era

I wrote earlier about textile designer Chung-Im Kim, who teaches at the Ontario College of Art and Design:

Kim's designs are a combination of these "deconstructed-reconstructed" works of postmodern art and works that reference her Korean/Asian background.

As an artist, when I embarked on a new, and challenging, art discipline, I took time out from the normal in-class instructions and went out into the outside world to research, and understand, this new discipline.

I had just finished at Ryerson University, not graduating, but completing what I had set out to do: study, understand, and create films and photographs. My films (and videos) were exhibited in various galleries around Toronto, and including in exhibitions in France. And I had compiled a large collection of works based on a variety of photographic methods.

One method that intrigued me was silk screening, or more precisely, working on textiles. I did my first screen prints, which I titled Toronto Gables, in a small silk screen laboratory, with make-shift lights and printing boards, in one of the program's photography labs.

When I left Ryerson, I started looking for ways to advance this knowledge, including taking workshops in a downtown member-run centre Open Studio. And soon after, I started taking courses in the Ontario College of Art and Design's continuing studies program, for textile art, and specifically, repeat pattern techniques. I took the same course for four consecutive sessions, paying the $200/course fee. Kim was the instructor for all, as I describe here.

As I wrote here:

I wondered later why she [Kim] never introduced us to the endless list of "white" designers. All artists, however limited their education, at some point come across some textiles which are too breathtaking to ignore. I don't think she was intellectually limited. Nor can she use the "excuse" that she is an immigrant. She had lived in Canada by then too many years to not even have casually wandered across some of these works.

I believe it was (is) this inherent dislike of whites. Perhaps not individual whites, and certainly not the leftist whites which now make up Canada and America who hate "whites" or white civilization themselves, but the white people as a collective, the white civilization, the white mind.

Kim's designs are a combination of these "deconstructed-reconstructed" works of postmodern art and works that reference her Korean/Asian background.

Kim did leave something behind, though, which became a source of investigation for me.

I had been to visit Kim's exhibition in Toronto, and saw a group of her textile works, including the two below.


'meditating'
1998
78" x 31"
industrial felt, silk dupioni,
fibre reactive dye,
silkscreen printing,
machine & hand stitching


'following tradition'
1999
78" x 23"
industrial felt, handmade felt, fibre reactive dye,
machine & hand stitching

I think the one that initially struck me was Meditating. It looked like the waxing and waning of a moon, but rather than depict an actual waxing and waning, Kim flattened this moon-like structure. And rather than flip the "reflective" image - the orange moon-structure, starting with the "flattened" first and ending with the full round one, to give the image a more interesting dynamic - Kim left each side of the "progression" of the structure the same.

The second image that struck me was Following Tradition. It looks like a take on the maple leaf, or some kind of leaf, once again with a mirror image that is not quite a mirror image, of shapes that are not quite leaves. Perhaps "tradition" means the Canadian "tradition" of maple leaves.

I thought seriously about why a skilled textile designer could not make clear and concrete images.

As I write here:

Their [Kim's] ethnic references are too far away, and they are too alienated from their current country [Canada], and all that is left is the "structure" of the image: its shape, its empty outline.

I think this population, responding to false and exaggerated reports on a virus that hardly can be called a pandemic, is the result of an incredible, alienated, "multicultural" legacy, where cultures have no language with which to speak to each other, to denounce falshoods, and attacks on their well-being.

And how do you dare say the government is a liar if your existence depends on the government, and did so prior to such a societal event? Even as they suffer, these good "Canadians" still believe the government WILL save them, and those that have any inklings of a doubt are told by everyone and everything around them to just keep quiet.

But I believe a third group is the opportunistic ones, who have come to depend on grants and funds for their art projects which otherwise not see the light of day.

They cannot tell the truth, otherwise they incur the wrath of this government, which gives them the easy money they have become experts at acquiring, and are on various committees and organizations which look out for them, and for each other. These same people could "snitch" on them. Truth-telling becomes a dangerous sport (and art).

For all their fervent "anti-establishment" and "anti-[Canadian]tradition work," they are dependent on "government," and carefully glean what art will displease this government and what will not, and work accordingly.

It takes courage, and independent thinking, to go against this grain, including to say "I don't want your money."

Or, "I don't believe your story."

Welcome to the Multi-Culti-COVID-Era.


Steve Heinemann, Chung-Im Kim's "partner," contemplating eternity while self isolating,
from a post I wrote here