Tag Archives: art

When Revolting Elites Revolt


Watch Madonna’s Insufferable 17 Minute Black & White Video About Persecution, Roger Friedman, Showbiz411:

Madonna wants to start a revolution. No one will take her seriously. So she’s made this video with photographer Steven Klein. This is what she wants to know: “If I was a black man and had an Afro would you take me seriously? If I was an Arab waving a hand grenade would you take me seriously?”

This sophomoric nonsense is the product of a 55 year old woman whose view of the world really comes from her own isolation from reality.

It’s called “secretprojectrevolution.” It’s dedicated to anyone who’s suffered persecution.

Madonna’s ‘secretprojectrevolution’ should stay hidden, Kyle Smith, New York Post:

“Economic markets are collapsing,” she intones. “People all over the world are suffering.” But the real enemy is intolerance. “I keep telling everyone I want to start a revolution, but no one is taking me seriously,” she complains, and it’s all because, “I’m a woman. I’m blond. I have t - - s, an ass and an insatiable desire to be noticed.”

Madonna Screens ‘Secretprojectrevolution’ in New York, Megan Buerger, WSJ/Speakeasy:

If shock value were currency, Madonna would be the richest woman in the world.

At last night’s premiere of her new short film, the previously top-secret “Secretprojectrevolution,” she pulled out all the stops to get her political message across: Asking everyone in the audience to sit on the floor of New York’s Gagosian Gallery, including several A-listers, she blurred the lines between pop art and interpretive dance in the name of fighting oppression and discrimination.

The 17-minute short, a black-and-white collaboration with photographer Steven Klein, is indeed disquieting. Madonna plays a jailer and a prisoner, sings an eerie rendition of “My Country, ‘Tis of Thee” and there are guns and blood and a stroller on fire (things to know before cueing it up at the office). She also serves as the narrator, issuing a call to arms for the world to join her in a “revolution of love.” In Madonna-speak, this means standing up for those who are discriminated against because of their race, gender, religion or sexuality.

STEVEN KLEIN STUDIO: #secretprojectrevolution.

Madonna and Steven Klein Foment Revolution For Art Piece, Erik Maza, Women’s Wear Daily:

In a press release days earlier Madonna said “secretprojectrevolution,” as the film is formally called, would be a “call to action and give people a place to voice their own creative expression to help fight oppression, intolerance and complacency.”

For a party, there were an awful lot of instructions from the pop star. Before the projection began, Madonna requested that everyone sit down, and so the black-and-white short film played out with everyone cross-legged on the floor, like in art class. The bar staff was instructed to stop serving or refilling wine until after the performance was over. And no one was allowed to leave until the end

From Merriam Webster:

rev·o·lu·tion noun ˌre-və-ˈlü-shən

: the usually violent attempt by many people to end the rule of one government and start a new one

: a sudden, extreme, or complete change in the way people live, work, etc.

: the action of moving around something in a path that is similar to a circle

An elite revolt against the revolting elite? Not even close. It’s the dog chasing his tail sense of the word revolution that applies here. The point of Madonna’s secretprojectrevolution is not to foment violence or change. Quite the opposite.

A more accurate name would have been projectlookatmelookatmemoreofthesame. It’s just more of the same old hypocritical moralizing against oppression, persecution, discrimination and intolerance – of “minorities”. As every member of the “minority” at the tippity-top of the judaized elite well knows by now, whether you’re a jew or not you had better be able to mouth all the right jewish platitudes. Or else.

Even well-established critics find Madonna’s performance art recasting of the well-established jewish narrative “insufferable”. Why? The message is too overt, too vague, too heavy-handed, too flip. The messenger is also at fault. She’s too privileged and prosperous, too obviously posturing and self-absorbed.

Though challenging the judaized elite or their sensibilities is probably the last thing on Madonna’s mind, her “sophmoric nonsense”, this 17-minutes of burlesque holocaustish harangue, is so absurd it might do some harm.

There’s no real need for her to supply such nonsense. The jews, their media and their puppets already provide a constant stream of authorized and offical nonsense.

Sophmoric reinterpretations and regurgitations of the jewish narrative pose a threat to the extent they broaden and thereby dilute and distort that narrative. The whole purpose of favoring “minorities” is to benefit the jewish “minority” that’s on top, pimping that narrative. Thus Madonna, so celebrated for vulgarizing all things goyishe, becomes “insufferable” in this case exactly because she’s vulgarizing something so ineffably jewish.

Problem, What Problem?

In The Eternal Obsession, Steve Sailer quotes Sarah Kaufman’s WaPo article, Ballet series has lots of talent, little diversity:

The companies are also overwhelmingly white and dotted with Europeans — as they have always been. Diversity in ballet remains a serious problem for the small companies as well as the large, on the coasts as well as in the heartland. In the 21st century, we can put a black man in the White House, but as last week’s survey shows, we can’t put a black ballerina in the Opera House. Clearly, not enough work is being done to foster African American dancers. But with public money in their coffers, ballet companies — and the local, state and federal funders — need to make equal opportunity in the dancer ranks a priority.

Sailer then witlessly tries to dismiss this as friendly fire:

I’m always struck by how white people are constantly admonishing each other

Sarah Kaufman thinks too many “white” people in ballet is a “serious problem”, but she didn’t have anything to say about that in Israel Ballet at Silver Spring Performing Arts Center. An all-jew troupe? That’s just splendid. In fact, in Paul Taylor’s Marvelous Melting Pot Kaufman gives the distinct impression she can’t get enough of jewish “diversity”. In To strengthen Jewish identity in America through the arts and humanities Richard Siegel, “the Executive Director of the National Foundation for Jewish Culture, an organization dedicated to enhancing Jewish identity in America through the arts and humanities”, cites Kaufman’s article in defense of Taylor’s production. Defense from what? Well, it seems some jews think Taylor’s production wasn’t jewish enough.

Kaufman’s snide attack on “whites” in ballet echoes Harold Meyerson, who in Economy? What Economy? wrote about the “huge problem” of “whiteness” in politics, likewise using blackness as a proxy:

In a year when the Democrats have an African American presidential nominee, the Republicans now more than ever are the white folks’ party, the party that delays the advent of our multicultural future, the party of the American past. Republican conventions have long been bastions of de facto Caucasian exclusivity, but coming right after the diversity of Denver, this year’s GOP convention is almost shockingly — un-Americanly — white. Long term, this whiteness is a huge problem.

Meyerson is #48 in The (shockingly jewish) Atlantic 50.

I’m struck, like many of Sailer’s commenters, by a pattern of jews attacking “whites”. That they are funded and broadcast by mainstream sources only underscores the seriousness of the problem. Contra Sailer it appears Kaufman and Meyerson don’t consider jews “white”, otherwise we could find them criticizing the more lopsided voting of jews, the bipartisan power of the Israel lobby, jewish over-representation on SCOTUS, in law generally, in finance, in media, or in pushing an anti-White agenda. It seems to me that anti-White jews behave as they do precisely because they consider their “jewishness” distinct from Whiteness.

I’m also struck by Sailer, a proponent of “human biodiversity”, lamely describing this situation as “white people constantly admonishing each other”. Is political correctness making him stupid, or is it the jewish genes he suspects he carries? Either way he can consider himself admonished.

Kaufman, meanwhile, has just been lauded by her anti-White/pro-jew peers. The Pulitzer Prizes | Citation:

Awarded to Sarah Kaufman of The Washington Post for her refreshingly imaginative approach to dance criticism, illuminating a range of issues and topics with provocative comments and original insights.

Contrast this with Helen Thomas, who was excoriated and ultimately lost her job for making a provocative comment about jews.