Douglas Mercer
At the presidential inauguration after the 1960 election, flinty Yankee and American traditionalist Robert Frost read one his his poems. Thirty-two years later, after the 1992 election, Negroid poetess Maya Angelou got the nod, and in her “poem” she moralized nasally and incomprehensibly and tediously, ticking off every ethnic and religious group, ad nauseam, who ever set foot on our poor continent. This was as sure a sign as any that the arts in America had descended to the level of a dungheap.
A truckling and weak-kneed White man named Robert Lynch has had a lucrative career in that dungheap. He has headed something called Americans for the Arts (AFTA) but now in our era — AF (After Floyd) — even his brand of race-cucking may be heading to the end of its gravy train. The Web site for this parasite organization spouts all the bromides of our time, lauding its own pursuit of a strange beast called “cultural equity,” and its self-hating “acknowledgement” that “systems of power grant privileges unequally.” Translated, of course, this means White man bad. It never occurs to these worms that the fruits we’ve reaped have been earned, both by ourselves and our ancestors, or that inherent biological difference are what causes the “inequity.” If anyone is privileged, it’s the brown and the Black who are living in White lands, relative paradises compared to their countries. A quiet “thank you” would be most seemly. After that, they should shut up while we formulate the logistics of their return.
The reality of all this, which we are effectively forbidden to notice, is nothing more nor less than an evolutionary struggle for access to resources. We had it; they want it; and they want us out. This is true whether it be a slot in prestigious universities, federal contracts, or money to lavish on artists and thinkers who can promote their ideologies. And in fact this latter resource is perhaps the most important of all, because when our adversaries control it they spew out word-poison that slowly saturates and insinuates its way into people’s minds. Re-education can be well nigh impossible.
And when it comes to the arts, the high-profile activist Blacks are nothing if not shakedown artists. They know how to pillory a White man for sins against the dark ones, how to play off his White guilt, and make him grovel on the floor, thus tilting the playing field to their side because their opponent is too cowardly to compete. Think of Ralph Northam who got caught in a hood and now has become a de facto White Negro. I’m sure he’s still pretending to read Roots and babbling about how White people are the cancer of human history whenever a camera or microphone is nearby.
Well, Robert Lynch is meeting a similar fate. He’s been tossed out of his leadership position at AFTA. Ostensibly it’s due to alleged mistreatment of employees but you and I both know it’s because a) he’s an old White man and b) Negroes are moving in. It’s never about justice. It’s always about power.
With a name like “Quanice” you’ve just got to be a Negro, it’s as simple as that. The semi-literate and fully dark creature named Quanice Floyd (no relation to George as far as we know) has written an article for a White-bashing Web site called “The Failure of Arts Organizations to Move Toward Racial Equity.”
