Oprah! President!

I'm sure this was staged. The "powers that be" at the Golden Globes Equal Opportunity/Gender Equality Committee™ must have said:

"Let's have Oprah ON! Let's give her the Cecile B. DeMille 'Outstanding contributions to the world of entertainment' award. This is Hollywood and we are here to right the wrongs!"

Even though Oprah has made no "outstanding contributions to the world of entertainment." Her two acting roles were mediocre. Her talk show years were not outstanding, unless you find aggressive programs entertaining. She is one of two television personalties to receive this award, but not one that would be classified as an entertainer. Her shows were social and political agendas, treading lightly on many occasion not to instigate undue controversy, to showcase Black Americans and to demean (subtly and cleverly) whites.

Many in her long list of "acting" roles are as herself. One third of her thirty three productions are her own shows: either the Oprah show or affiliated programs such as Oprah's Big Giveaway. Her other productions are forgotten documentaries or made-for-television films (i.e. no-one watches them).

Her feature films deal mostly with contentious civil rights and slavery issues: i.e. evil whites.

Here is an article (published) I wrote about Precious, a film for which she was executive producer.

The only other talk show host to receive the award was Richard Skelton. And he has a long list of acting roles, albeit not in star roles, to his credit. But was a genuine entertainer as a vaudeville, radio, film and burlesque actor and deserving of his "outstanding contributions to the world of entertainment" trophy.

And Oprah is a "Me To-er!" And that is how she addressed her Hollywood audience in her acceptance speech. Carefully, though, since she cannot alienate all those other "outstanding" men; black men especially, and certainly white men too. Amongst these men, there would be a large number of liberals and leftists who would support her "cause" and who would be her biggest allies and supporters.

Because Oprah most definitely will run for President. Think about it: The first Black, Female, Entertainer President of the Untied States. That's killing so many birds with one stone! What an antodte to the current Mr. President. She should have run instead of the pathetic Hillary. What a match we would have had! She must regret that every single day!

And here she came to the Golden Globes to hurl that fury in a speech! "I SHOULD HAVE BEEN THERE!!!"

But everything about Oprah always seems staged. A "Fake News."

- Her public speaking is a hyperbole of words with emphases on all the wrong places.
- Her fashion and hair is nether classy nor "indifferent," that fake stance all liberal women put on as they wear their thousand dollar Manolo Blahnik shoes and straight-off-the-runway bedazzled gowns.

Look at Oprah's dress: Black with glitter and VERSACE!!!! And her shoes are crystal-encrusted pumps

And this clueless fan tells us:

She stunned wearing a custom-made Atelier Versace off the shoulder, fitted long sleeved black velvet gown with Swarovski crystal encrusted accents along the neckline and waist.

"We Rock!"
Abused Movie Stars at the GGs in their haute couture dresses

By the way "custom made" at what cost? There is no information yet on the price of the gown out in the fashion blogs (although Oprah can censor that bit of information) but Michelle Obama's custom-made Versace gown from 2016 cost her (or the American people) 12,000 dollars.

And in a fashion show of evening dresses (I cannot say "gowns" since some are mini-skirts) called "Ballgowns, à la Versace" this article tells us:

Couture shows – the highest echelon of fashion, with made-to-measure frocks, private clients and six-figure prices – always highlight the craft of fashion as well as the fantasy.

So much for equality and ordinary people.

So why is she running?

For a "New Day?"

Really?

Listen to her speech below.



Oprah is part of the bigger movement in America (and Canada) to complete the usurpation the Western culture and tradition from America and render it a black/brown dominated country.

For how long will whites put up with this? For how long will they stand around as they get called all kinds of names and accused of all kinds of crimes? How long before they turn around and call Oprah and ilk racists and hypocrites?

How long before they take back their land?

Multiculturalism and its Impact on Canadian Culture

The Muses Clio, Euterpe and Thalia (detail),
Eustache Le Sueur (1617-1655), French Baroque painter
This painting and its companion piece depicting Melpomene, Erato and Polyhymnia
were used to decorate the Cabinet of the Muses of the
Hotel Lambert in Paris
The Louvre, Paris

The muses are the goddesses of creative inspiration in poetry, song and other arts, they are the companions of Apollo. They were the daughters of Jupiter and the Titaness Mnemosyne (memory) who had lain together for nine consecutive nights. The muses were originally nymphs who presided over springs that had the power to give inspiration, especially Aganippe and Hippocrene on Mount Helicon and the Castilian spring on Mount Parnassus. The nine muses and their usual attributions are the following.

- Clio, the muse of history (book, scroll or tablet and stylus)
- Euterpe, the muse of music, lyric poetry (flute, trumpet or other instrument)
- Thalia, the muse of comedy, pastoral poetry (scroll, small viol, masks)
- Melpomene, the muse of tragedy (horn, tragic masks, sword or dagger, crown held in hand, sceptres lying at feet)
- Terpsichore, the muse of dancing and song (viol, lyre, or other stringed instrument, harp, crowned with flowers)
- Erato, the muse of lyric and love poetry (tambourine, lyre, swan, a putto at her feet)
- Urania, the muse of astronomy (globe and compasses, crowned with a circle of stars)
- Calliope, the muse of epic poetry (trumpet, tablet and stylus, books, holds laurel crow
- Polyhymnia (or Polymnia), the muse of heroic hymns (portative organ/, lute or other instrument)
[Source: Web Gallery of Art]

More on the muses hereMore on the muses here.

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Multiculturalism and the War against White America
Speech at the American Renaissance Conference on May 29, 1994
By: Lawrence Auster

[Multiculturalism and its] Impact on American Life (Excerpt)

While the “delegitimizing” impact of unassimilable immigrants can be seen in many areas of American life, in no other field is it more obvious than in the arts. Cultural institutions in cities with large third-world populations are rapidly abandoning the Western high culture tradition in favor of third-world folk cultures. According to music critic Edward Rothstein writing in the New Republic, the new immigrants simply aren’t interested in Western music:

“[S]trikingly in a city like New York, [classical music culture] is largely a racially stratified culture as well: there are almost no black or immigrant faces (aside from Asians) to be seen in concert halls... My neighborhood arts organization, like many others around the country, has been unsuccessful in marketing Western art music to the new racial and international communities in the area. So instead they’ve begun presenting the folk musics of immigrant and black cultures.”

The same applies to the theater. “The reason that Broadway appeals less to New Yorkers these days,” writes theater critic Thomas Disch, “isn’t just that Broadway has changed: so have New Yorkers... [A] glance around the lobby at any Broadway show reveals who isn’t there: any of the city’s readily identifiable minorities — blacks, Hispanics, Asians ...”

Theatrical companies have tried to address the problem by introducing multiracial casts into Western plays, but have been disturbed to find that the audiences for such multiracial productions are still almost exclusively white. Evidently, third-worlders are simply not attracted to Western theater, even when it has lots of nonwhites in the cast. Since changing the cast doesn’t work, the only solution will be to give up the plays themselves. The irony is that these problems, are not seen as the result of nonwhites’ lack of interest in Western culture, and therefore as proof of their non-assimilability; rather, Western culture itself is blamed for not appealing to nonwhites.

Artistic images of American history are also coming under attack. Rush Limbaugh recently noted that the state of Oregon, after commissioning a beautiful bronze statue of a 19th century pioneer family, had rejected the completed statue because the image of a white pioneer family was considered “racist” and “noninclusive.” While Rush was unusually upset about this incident, it didn’t seem to occur to him that it had anything to do with demographic change — i.e., that it is our society’s increasingly nonwhite character that is making any “all-white” image seem unrepresentative and therefore illegitimate.

In 1993 there was an angry protest by black and Hispanic students at the University of Massachusetts who wanted the school to dump its official symbol, the Minuteman. The image of a “white man carrying a gun,” they charged, was racist. For the time being the school has resisted this demand. But for how long? As the university’s white population continues to decline, can we expect the Chinese and Pakistani students and administrators of the future to care enough about the image of the Minuteman to defend it against intimidating black and Hispanic protesters? Who will preserve the symbols of our Anglo-European national heritage after whites are gone?

Indeed, who will defend that heritage even now, while whites are still the majority? On Long Island this past Spring, a school production of Peter Pan was canceled at the last minute, after six weeks of rehearsals, because the town’s American Indian minority felt that the play’s portrayal of Indians (which, remember, is simply a childlike fantasy taking place in Never-Never Land) was insulting to them. So, to accommodate multiracial America, this classic play that we all remember with fondness from our childhood is to be proscribed. The most significant thing about the incident was that no one in the town, including the parents whose children had their play taken away from them, seriously protested this outrage.

In an even more horrifying example of white surrender, an elite private school in New England was considering hiring a well-known multicultural curriculum consultant when it was discovered that the consultant — a Caribbean-born black woman based in Toronto — had admitted in a published interview that her approach would make white children feel intimidated and guilty. After some discussion, the school’s board of trustees went ahead and hired her anyway.

These are examples of what is happening to our entire country and culture. As America becomes more and more nonwhite, everything we think of as the American culture and identity will be either censored, squeezed out or transformed into something else.

The response of establishment conservatives to these concerns is to say that such problems are created not by immigrants but by alienated white elites, as well as by the general moral decay of our society. “It is true that radical and liberal elites in education, government, and media appear to be doing everything they can to destroy whatever is left of traditional America, and they might well be doing so even if there were no immigrants at all.” But we must understand that even if there were no “cultural revolution” going on in this country, the kind of massive demographic change we are experiencing as a result of immigration would still be enough, by itself, to destabilize and ultimately destroy our culture.

Exclusive Christianity

Arthur Rimbaud's House in Harar, Ethiopia

(A post from 2005 at Camera Lucida)

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Arthur Rimbaud has his own house/museum in the city of Harar. Perhaps it is in the name of literary tradition that Canadian novelist Camilla Gibb has made a special ode to this walled, Southern Islamic city in Ethiopia in her new book Sweetness in the Belly.

It is always curious why writers pay such high praises to this city. Although Rimbaud initially said he was living in boredom, he stayed in Harar on-and-off for ten years.

Sir Richard Burton preferred to investigate Harar in his First Footsteps in East Africa rather than travel to the northern Christian Highlands of the Amhara people. And even Evelyn Waugh couldn’t see the ancient strength of this Christian civilization, and in his journalistic travelogues Waugh in Abyssinia and Remote People at times appeared much more complimentary toward the Southern Harare/Somali Muslims. His novel Scoop, based on his journalistic experience of the fascist invasion of Ethiopia, is centered around the fictional "East Africa" country of…Ishmaelia. This is all the more surprising in light of Waugh’s recent conversion to Catholicism. But it could just be that he was temporarily side-tracked by the Catholic (yet fascist) Italians. And such a basic Christianity may have been too much to handle.

I suspect that it is mostly atheist/pantheist/agnostic writers who are lured into the facile spirituality (sensuality) of places like Harar. As always with exotic works, the subject rings of the writer/traveler himself, in his spiritual (or similar) quest to find some meaning in his life. Usually, the farther away from home, the better.

The disciplined, ancient and exclusive Christianity of the highlander Amhara is too difficult and too demanding, and too close to home. I think this Biblical fear drives these writers away. It is easier to wallow in the accessible sensuality of a Southern Muslim city, in search of a generalized spirituality.

The Islam of Harar may be beguiling, and easier to enter. But it is far less forgiving and far less compassionate than the Christianity of the austere Highlanders.