The Post-Modern Woman

Kate Middleton, barefoot and bare-breasted

The post-modern woman follows the latest sluttish trends, exposing as much skin as possible without being arrested for indecent exposure, yet will parrot the latest multi-culti truism, and have no qualms about Muslim women in full Islamic gear walking around her neighborhood.

Well, Kate Middleton, aka the Duchess of Cambridge, bride to the future king of England and ruler of the Commonwealth, parades around topless on an island resort while on vacation, and sees nothing contradictory about attending a princely (and princessly) visit to the Muslim country of Malaysia in a "respectful" hijab.

Hasn't she learned from the folly of her predecessors that anything the royals do is fodder for the public? Topless in a remote island while on vacation? What a silly woman. And why is she topless in the presence of her husband? Cannot she muster a little modesty in front of him?

I suppose this is what bored monarchs do, and why they got relegated to mere cosmetics. But, they can't even look good, so what good are they?

I like Queen Elizabeth (I've written about her here and here), but her odd forays into territory she doesn't understand, following what useless advisers tell her are good things, shows that even she has become the last bastion of this formidable, and fading lineage.

Perhaps Americans were right. It has taken us several hundred years to realize that the British monarchy has served its purpose, and nothing can ignite it anymore. I had hopes on William, but with a Crown Princess like that, who wants him around?

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Obama's Mussolini Moment, And Other Moments At the DNC

There's a lot to say about Obama's astounding speech last night, with perhaps the most prescient analyses so far here, here, here, here and here (that's a lot of links, but the issue is very important) but I'm writing now about more mundane things like a snippet on Obama's "telling moments" and Michelle's fashion.

First Obama. Several minutes into his speech, Obama came up with this line:

"I am the President."

And here is the expression he held for several seconds after he made that declaration:

[I got the image from the video of Obama making his speech at the DNC last night]

Right after that declaration, he bounces into an exaggerated humility by evoking President Lincoln and directly quoting him:

"I have been driven to my knees many times by the overwhelming conviction that I had no place else to go."

Why couldn't he come up with a memorable phrase of his own? Why did he need to quote another man's anguish and transfer it into his speech? It rang false, strained and disingenuous. Lincoln was trying to connect to a higher calling for his actions. Obama is borrowing those famous words to convince people that he does have a higher calling for all these "actions" he's proposing.

Perhaps what sealed that impression for me was his lapses into a hardened expression as he looks into the crowd trying to gauge their reactions, convinced of his rightness, and with no humility to search further.

He presented a jumble of words, with little coherence, except for his ultimate point that:

everyone gets a fair shot, and everyone does their fair share, and everyone plays by the same rules – from Main Street to Wall Street to Washington, DC.

He was still within the narrative of slavery, of the evilness of America, and unable to see clearly, and go "forward" as his socialist slogan tells us.

Socialist banners, with Obama's new election logo

And Michelle Obama was once again wearing a casual dress, hardly worthy of such an important political event (even Joe Biden's wife, Jill Biden came out as though she took this role seriously).

But, Michelle is promoting another "black" designer. Which in the end was what Obama's quote was all about - slavery, blacks, "inequality," spreading the wealth. Her dress was the perfect compliment to Obama's speech.

The patterns are hard to define, in this "pattern" dress, but there are shapes of aggressive clarity, such as the pineapple which dominates a badly drawn fleur-de-lys. Blackness (or Africanness) rules over classic western design, and even the dress designer is another one of those unimpressive "black" designers that Michelle has been promoting throughout her time in the white house, simply because she is black.

Sasha is wearing a classic black and white print dress,
with a yellow belt for a color accent.
Malia opts for a super-short dull purple dress,
which looks too small on her.

The belt on Sasha's dress,
which even the original design doesn't
call for. But this young girl knew better.
(By the way, Sasha's flats are gold,
not yellow, like her sister's.)

Ill-defined fleur-de-lys
compete with coarse but
easily decipherable
exotic pineapples

Barely visible floral
broach on Michelle Obama's
dress. Sasha had no say?
Also, muscular neck
and shoulders
will always be her
fashion statement.

Once again, as much as I dislike writing about their two daughters, Sasha, the younger one, is the one who is more alive, more interesting than her sullen sister. This came out in their behavior during Obama's speech, as well in the dresses they chose to wear.

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Michelle Outmuscling Ann

The Body Builder with a Social Conscience, and a huggable moment

The collage above is what I put together of Michelle Obama at the DNC last night. What struck me most was her heavy physique, and her shoulder muscles.

I've written about this many times before. Michelle insists that her bulging muscles which she "earns" at the gym have to be flaunted in sleeveless dresses.


The other thing is her heavy make-up, where she looks that she's outlined her eyebrows for special (stern?) effect.

The grey nail polish is to go with the with the grey border on the dusty pink dress. This dedicated fashion follower informs us about the nail polish:

If you were digging the First Lady’s nails, you can get the look with Essie’s Chinchilly shade.

Google image shows us just how grey the color is.

The dress is by Tracy Reese, who has designed dresses for Michelle Obama for other occasions. Reese is a Sears (or Target) type designer, and does give Obama passable dresses, but something more formal and elegant (a Jackie Kennedy style) is more appropriate in the White House.

- Michelle Obama wears a Tom Ford
gown to Buckingham Palace in May 2011
- Jackie Kennedy's 1961 dress to Buckingham
Palace was by designed by Chez Chinon
- Queen Elizabeht wore a Hartnell gown

The dress is an odd mesh of patterns. It looks pretty because of the colors, but there is no clear pattern design. It takes off from brocade print and leaves us with a formless mesh.

Real brocade

Left: Michelle Obama's dress
Right: Brocade pattern super-imposed
on Michelle Obama's dress

The pumps are Everly Suede Pumps by J. Crew, another (proletariat) Obama favorite. There is a sordid story on the President of J. Crew Jenna Lyons, who recently abandoned her husband and young son for another...woman.

I find it astonishing that women who are important public figures would tell us about their love lives. That is what both Ann Romney and Michelle Obama have done while presenting their husbands.

I wrote here about Ann Romney speech at the Republican National Convention:

I didn't watch her speech at the Republican National Convention last night, but I read the transcript this morning.

It is a painful jumble of many things. She comes off as a loving wife, yet her love she declares is better suited for their private interaction, rather than a public avowal at a political event (and for political gains).

Well, Michelle Obama has done the same, and I think she has done it even better.

I won't go into detail about her leftist world view, take (from the rich) to give (to the ....); men who don't support feminists (and women's various rights) are evil; Barack and I earned our college degrees (through various government grants, scholarships and entitlements - i.e. affirmative action) message of her speech - leftists are REALLY hard to take, even if they're depressingly predictable. Their hard-coreness is to be expected. But I don't know why I was surprised that she spent so long on "Barack Obama" who "is still the same man I fell in love with all those years ago."

But Michelle neatly tied together this "love story" with her leftist ideology. At least, I cannot fault Ann Romney for that.

Here is a particularly clever phrase" that Michelle (or more precisely, her writers) pulled out:

We were so young, so in love, and so in debt.

Michelle gave us a symphony of all those undeserved bills they had to pay as a newly married couple "so in love" which they had amassed through years of college and post-graduate education that they couldn't afford. Who's fault is that, Michelle (if I wish to be nice, I could say "who's responsibility is that, Michelle")? Isn't there a point in someone's life when he realizes that the debt incurred is not worth the goods that is being bought? But, probably (certainly) the Obamas knew better, since they planned part of their lives through government handouts.

But, this is the arrogance of the likes of the Obamas, who really do consider themselves special specimens. Most people "dream" realistic dreams. $20,000 of unpaid education fees for fluffy post-graduate degrees is not realistic, and isn't even a dream. It is a nightmare. Again, this is where the Obamas figure they're the untouchables: the black upper class which will get its "equality" which really means more and better than even those who deserve the kinds of goods such figures as the Obamas are after.

Barack Obama is still the same man I fell in love with all those years ago.

This should tell us that Obama hasn't wavered from his radical past, since, as I've said before, Michelle's love for Barack is intricately tied with his, and her, ideology.

So a little bit of shameful exhibitionism is worth the ultimate purpose of her declaration.

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Mitt Romney's Acquiescing and Submissive Jaw Line

My post yesterday was about the confidence that Ann Romney exuded as she appeared at the Republican National Convention. I titled the post The Aggressive Ann Romney since I was struck by her (feminine) boldness as she stood on the stage, apparently to introduce her husband, but actually to proclaim some kind of feminist solidarity with the women at the convention and beyond.

Above is an image I received via email with the comment:

The woman is the dominant figure, the man is recessive, weak, childish looking. Look at the decisive set of the woman's mouth and jaw line. Then look at the lower part of the man's face--it's girlish and passive.

The image is from an ad for some kind of spa.

I've juxtaposed the image with that of Mitt and Ann Romney at the RNC convention from yesterday, where Ann Romney spoke. I have it in my collage of images I posted at my blog post yesterday.


The Romney image could just as well have the caption:

The woman is the dominant figure, the man is recessive, weak, childish looking. Look at the decisive set of the woman's mouth and jaw line. Then look at the lower part of the man's face--it's girlish and passive [or I could add here, "it is acquiescing and submissive].

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The Barbarization of Contemporary Young, White Men

High power NBC reporter Chelsea Clinton
has a glimmer of fear in her eyes, although
she's wearing the same dramatic
Oscar de la Renta dress as comedian Tina Fey
which should boost her confidence.
Fey on the other hand, manages to look
confident and feminine, and much
prettier than Chelsea.

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I don't think that feminism and the modern world's supposed equalization of the sexes makes women more powerful and men meeker. I think it is actually the opposite.

I wrote about Chelsea Clinton's creepy husband in my previous post, where his meek-looking expression is actually a camouflage for some kind of inner rage that seeps out of him. Chelsea, although a power woman and a reporter at NBC, has the expression of a frighted woman. It is not clear if her husband actually has a job, although Wikipedia calls him an "investment banker," but without any references. Jobless men with successful wives is nothing new in this opportunistic world of such men mooching off their wives' salaries. Why should Mr. Marc Clinton be any different?

Below is an image I posted on the receding power of women, power stilettos and high-power jobs notwithstanding. Whether in business suits or the slutty "I'll wear what I want" garb of prostitutes, modern women forfeit their femininity and end up with narcissistic bullies for boyfriends and husbands. Men are still stronger, and I don't think they're about to give up that advantage any time soon. Rather than fighting back, women are returning to some ultra-feminine, ultra-docile state, where even nice girls will bare their bodies to get the approval of their modern macho men. Feminists had it so wrong.


I write about the man/guy above:

The guy looks arrogantly confident. In this world of gender equality, there is still a male swagger, and a female demureness (the woman is acting very demure). His uniform is skinny jeans and a long, disheveled shirt, untucked, and over some t-shirt. But he looks a little too aggressive, and possessive. Who would want that kind of a guy around? (That's the funny thing about this "girl power" era of ours, young women actually seem to find this obnoxious-looking male attractive.

Left: Male model from Buffalo Jeans Ad
Right: Marc Mezvinsky

It's uncanny how similar Mezvinsky looks to the male model from the Buffalo Jeans ad, whom I describe here as arrogantly aggressive, and also like the narcissistically aggressive man with his just-right disheveled look that I write about here.

Despite his scruffy look, Mezvinsky's pants are clean and trendy cargo pants, and his sweat shirt is a spotless white. And no sneakers for him. Unlike poor Chelsea who has opted for flip flops, his shoes are slightly worn but stylish loafers.

Left: Image from my post : "The Arrogant Aggression of Scruffy Jeans"
Right: Marc Mezvinsky: The dishevelled narcissist

Notice how Chelsea looks dishevelled and unattractive, as though she has given up on looking good. And how she trails forlornly behind a focused and almost growling Mezvinsky who is pushing his way forward. This is a far cry from her much more confident presence when she was a busy single girl.

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"The Curse of the Vera Wang Wedding Dress" And the Rebellious Mr. Wang

Marc Mezvinsky's expression vacillates between the insipid,
characterless look that is so common in young men these days,
but seems to change into the hard glint of a narcissist without warning.

The first half of my blog title is not mine, I got it from the Daily Mail, whose full title is:

Curse of the Vera Wang wedding gown? How eight celebrities who married wearing her designs have ended up divorced

Celebrity marriages and divorces are nothing to set standards by, but eight divorced celebrities attached to her wedding dresses? That's not a good record. Chelsea Clinton, who also wore a Wang dress for her wedding, may be next in line (although I wouldn't wish the trauma of divorce on anyone). I wrote in 2010 about Chelsea, her "mounds of chiffon" wedding dress, and her husband's dubious background:

[T]he groom is the son of...convicted politician [Edward M. Mezvinsky]. That is hardly the groom's fault (or Chelsea's). Still, the reason she is in the limelight is because of her infamous parents. And, who can ignore her husband's notorious family background? Perhaps they were destined to meet and wed.

Destined to meet and wed in a Vera Wang dress? Despite the couple's happy appearance, there is a frighted look in Chelseas's eyes as she stand next to the husband, who at times looks like the insipid male that is so common these days, but then changes into a narcissistic and aggressive demeanor and attitude I see in many young men these days.

And to give Wang's insipid husband some credit, the New York Post writes about their marital discord:

"They used to fight all the time in public, even at dinner. They would berate each other in front of other people, even though it made others uncomfortable." A source added that Becker, a former CEO at tech firm NaviSite, even bitterly joked that he was "Mr. Vera Wang," making light of his place in the marriage. Another source told us, "They didn’t get along. But all her staff have been ordered not to talk. There is concern that it doesn’t look good for a wedding-dress designer to get a divorce."

It seems that there is only so much hen-pecking that husbands will take.

By her own design: Vera Wang in her own
creation at her wedding to Arthur Becker in 1989

Wang designed her own wedding dress because:

[S]he wasn’t satisfied with the wedding dresses that were available. "I’m very modern and sophisticated," she told USA Today in 2009. "I didn’t want to look like the top of a wedding cake." So she hired a seamstress and created her own minimalist dress. [Source: Elle Magazine, August 18, 2011]

Leave the fluffy wedding cake look to other, gullible brides, seems to be her motto.

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Will Vera Wang Wear Black for Her Divorce?

Wang and Becker, on May 15 2011
at the Museum of Modern Art's 39th
Annual Party, with Wang in her hippy
costume while her husband is in
full black tie attire

Here's is a high profile divorce of an Asian woman and a white man. My intuition has been that Asian women/white men marriages are more fragile than they seem. Since this type of union is relatively new (as far as the human species is concerned), I think we're beginning to see the beginnings of the fall outs.

I was never impressed with the Wang/Becker marriage. I wrote about the fashion designer and her husband last January intuiting some kind of marital discord:

[Wang] doesn't talk about her husband in the article [January 10, 2012 Harper's Bazaar]. Does he travel from one side of the country to the other on Wang's schedule?

Wang had recently bought a home in California, and relocated her business from New York, where her husband still lived at the time, to Los Angeles.

And about Becker, I wrote:

He looks like another one of those insipid, disconcerted spouses.

Later on, I found that he actually quit his job in 2010 to work with Wang's fashion conglomerate. I wrote:

A 2010 headline at the NaviSite website informs us that "Arthur P. Becker Steps Down [as CEO] and is Succeeded by R. Brooks Borcherding," which implies that Becker has retired. This leaves him ample time to follow his wife around to satisfy her yins and yangs.

People Magazine confirms Becker's beck and call to his wife with:

Though Becker reportedly had his own business ventures, he was also involved in Wang’s company, which has expanded into makeup, fragrances, mass market, juniors, home goods and a lower-cost bridal line in recent years. However, a friend of the designer tells WWD that the couple “will not let this impact the running of the company. They have worked too hard to build it up.”

A cheeky blogger writes:

Some suggest the divorce from Arthur Becker had some clues in her Fall 2012 Bridal Collection (view gowns 7-13 here), known for Wang's penchant for all things dark.

This may be a joke, but I have written about Wang's funereal wedding gowns, where I comment:

Wang's flashing bride in black is a negative statement on weddings, and life, in general. In our culture, white is for purity, whereas black is often for death, the mysterious (and evil?) underworld, darkness and obfuscation. And if the bride wears black, it is as though the she went to her own funeral. Or is a widow executing a vengeful act...And what real-life bride wants to be dressed in black, even with the modern woman's dearth of cultural knowledge and sensitivity?

And the bride wore black:
Wang's Wang's black wedding dress
from her Fall 2010 collection

Appearances matter. A black wedding dress, however much a fashion statement, is a black wedding dress. Of course, besides the macabre color Wang chose for the most important day in the union of a man and a woman, she also produced mediocre gowns which I call mounds of chiffon, which were exaggerated piles of gauze to detract from the mediocrity of her designs.

Becker plans to continue working with the Wang enterprise (at the other end of the country from Wang's California base). There is no doubt that Wang is a savvy and aggressive entrepreneur. But eventually, young women will catch on, and demand more from the dress they will wear at an important milestone in their life. What will Wang concoct next? And what will Becker do?


Above is a 1995 photograph of Wang and Becker. I describe the photo thus:

Fashion designer Vera Wang coiled, Eve-like, around her husband.

Even insipid white men eventually untangle themselves from life-threatening situation.

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"Qualitatively Different"

Madonna before the alter of the cross

The above image is from Madonna's 2012 MDNA tour. Notice how Madonna uses MDNA to reference INRI. She is gyrating on the embers of Hell, reaching out to the blood-red cross. One thing one can say about MDNA is her creative energy, and image-producing capacity.

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Laura Wood at The Thinking Housewife writes about Madonna's latest "artistic" foray:

Madonna has always produced trash but this is qualitatively different. It is much worse.

I fully agree with her. A couple of months ago I wrote two posts on Madonna. In one, which I titled Madonna and Her Mirror, I review her new perfume Truth or Dare, and I write:

The official ad for the perfume (see image above) has Madonna, Narcissus-like, contemplating her reflection. Except, unlike Narcissus, it is not her beauty that she is entranced with, but has made her reflection into a Freudian, self-sexual-gratification...

Her creative ability has spiraled in recent years. All that anti-Catholicism, homosexual advocacy, sexual perversion, etc. has spiraled into nihilism, resulting with her ugly and perverted new video. (Full review at the blog post here.)

In another, which I titled Madonna: Modern Day Cybele, I describe the transgendered, homosexual dancers that perform in her latest horror show for her video Girl Gone Wild. This video, and its song, are a far cry from her relatively innocent boppy tune Like a Virgin, which propelled her to her strange fame. But don't get me wrong, Like a Virgin was simply the beginning of the spiral. I wrote about her earlier tunes in a post titled Madonna and Her Mirror:

I used to like the early Madonna. Even her very first Like a Virgin was cute and innocent [I have to qualify that now, since as I write above, it is simply the beginning of the spiral downward]. She does have talent, which she showed in her Latin-beat inspired Papa Don't Preach and with (the well-photographed black-and-white video) Vogue.

Madonna takes her two children with her in her decent to perversion. Lourdes, her illegitimate daughter, recently started a clothing brand called Material Girl, after Madonna's early tune of the same name. This is a clever take on material, as in textile, as well as a reference to Madonna to capitalize on her name. The clothes, as the name (and dynasty) suggest, are the cut-out, skin-revealing items that Madonna made famous in her heyday.

Lourdes' Material Girl fashion line

Madonna with Lourdes. Ripped stockings complete the look.

Madonna has a weird, sexualized interaction, with her children. In the photo above with Lourdes, Madonna looks like the girlfriend being led by her, well, younger girlfriend. But Lourdes also has the hard glint of a narcissist, and plays willingly into the "leader" role that Madonna has given her (or is forced to give her).

Madonna also has strange, competitive relations with much younger female pop stars. Remember the Britney Kiss (and later on the one with Christina Aguilera)? Lourdes is now her young competition, and there is no reason why she should treat her different.

Rocco, Madonna's legitimate son with British film director Guy Ritchie, whom Madonna married him briefly, is now going on stage with her quite possibly to work his way into pop stardom. He prefers the art-bereft rap.

Madonna is "dating" a much younger boyfriend (he is twenty-four to her fifty-three), and adds "much younger man" to her list of exoticisms which so far include Muslim and Arab (or simply non-white). He looks like a slightly older, and darker, version of her own son Rocco.

Madonna's dancing boyfriend from her troop

In the photo below, Madonna brings on Rocco during her MDNA tour in costumes representing her various sexualized songs and videos. She has him dressed as a monk for her gospel choir version of her infamous Like a Prayer video in which she frolicked around trying to seduce a black Jesus (burning crosses are also - not so gratuitously - thrown into the melee). And she reverts to some adolescent stage to partner with her rapping son.

Rocco on stage with Madonna during her recent MDNA tour

Her MDNA tour is garnering the usual controversy (actually, juxtaposing Madonna with Controversy is boring, and twenty years too late). In Israel, she showed up in jackboots and a machine gun, of course "protesting" the "Occupation."

Jackboots and machine guns in Israel to kick-off her MDNA tour

In Abu Dhabi, she gyrates on a pedestal of fire, in front of a red-hot cross (see top image). Burning in Hell? Expiating her sins? I've written before that the current popularity of the cross has nothing to do with Christianity, but fulfills people's innate need for spirituality. Of course, spirituality without God simply ends up being idol worship, and the cross without God is not exempt from that. Here's what I wrote about Madonna and the cross:

Madonna cannot separate herself from the cross. This is of course, her own version of the cross (and religion - I cannot call it Christianity). As I've written before, people cannot do without religion, and have to create their own, joining together what they already know, with what they desire. Why throw out such a powerful symbol as the cross?

Madonna just took this one step further, and made the cross an emblem for Hell, with her burning at its pyre like some she-devil. I expect she expects to be resurrected once she's fulfilled her rites.

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Picasso's Fraud

Pablo Picasso
Figures au Bord de la Mer, 1931

On loan to the Art Gallery of Ontario in Toronto
for the exhibit: Picasso: masterpieces from the
Musée National Picasso, Paris

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Tom Wolfe understood the high level farce of Picasso, as he writes in The Painted Word:

...a few fashionable people discovered their own uses of [Modern Art]. It was after the First World War the modern and modernistic came into the language as exciting adjectives...By 1920, in le monde*, to be fashionable was to be modern, and Modern Art the new spirit of the avant-garde were perfectly suited for that vogue.

Picasso was a case in point. Picasso did not begin to become Picasso, in the art world or in the press, until he was pushing forty and painted the scenery for Diaghilev's Russian ballet in London in 1918. Diaghilev & Co. were a tremendous succès de scandale in fashionable London. The wild dervishing of Nijinsky, the lurid costumes - it was all too deliciously modern for words. The Modernistic settings by Picasso, André Derain, and (later on) Matisse, were all part of the excitement, and le monde loved it. "Art," in Osbert Lancaster's phrase, "came once more to roost among the duchesses."

Picasso, who had once lived in the legendary unlit attic and painted at night with a brush in one hand and a candlestick in the other - Picasso now stayed at the Savoy, had lots of clothes made on Bond Street nearby, went to all the best parties (and parties were never better), was set up with highly publicized shows of his paintings, and became a social lion - which he remained, Tales of the Aging Recluse notwithstanding, until he was in his seventies. [pp 27-30]

I'm still trying to find researched articles (or books) on the artists that influenced Picasso (or that Picasso copied from, to use a more accurate activity). My recent tour through the Picasso exhibit at the AGO was of some help, but few of the commentaries by the paintings indicated his actual (artistic) influences. I wrote about it in my blog in 2008 thus:

Anyone who has studied Picasso will realize the fraud that he is, just as Tom Wolfe writes. Every step of Picasso's, which was so radically different from his previous steps (from his blue period, to his "cubism" to name the more famous ones), was a copy of other more serious artists in his milieu. An art critic who doesn't recognize this is being dishonest, to say the least.

I got these ideas from somewhere. I studied art books, paintings and gallery pieces over a number of years to have reached this conclusion. I remember telling my film teacher, Bruce Elder, that I thought Jackson Pollock was a fraud, throwing paint on paper. Granted, he had a good aim, but so do I being a former goal shooter for my netball (English version of girls' basketball) team. And that Picasso was a bigger fraud than Pollock because his fraud was not even his own physical effort, like Pollock's was. Picasso copied the movements and artists around him (some with considerably more talent and innovative abilities like Braque) and made a ton of money by "redefining" his art every now and then to his gullible, rich patrons, who loved this modern idea of "progress" in art. Professor Elder eyed me with suspicion after that, and rightly so. I ended up critiquing his work too [here and here].

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*...the social sphere described so well by Balzac, the milieu of those who find it important to be in fashion, the orbit of those aristocrats, wealthy bourgeois, publishers, writers, journalists, impresarios, performers, who wish to be "where things happen," the glamorous but small world of that creation of the nineteenth-century metropolis, tout le monde, Everybody, as in "Everybody says"...the smart set, in a phrase..."smart," with its overtones of cultivation as well as cynicism [p 16].

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The Existential Terror of Non-Christians

Aleksandr Solzhenitsyn, who forgave
his Russian Communist torturers

Two Indian commentators at the View From the Right, Indian Living in the West (ILW) and Aditya B., wrote scathing, even vicious, posts on Indians and India.

ILW writes:

I don’t know if Aditya B. has ever mentioned this to you, but Indians are very vain and think they are smart.

He later writes:

Indians, even when very bright, cannot seem to think outside set formulas.

Aditya B. writes:

I don’t know enough about Freudianism to analyze this, but a few group traits of these miserable people [Indians] could be illuminating...

He then proceeds to write quite a list.

Later on, Gintas, another commentator at VFR writes:

Solzhenitsyn told the truth, it was clear he loved his people and his land even as they wallowed in the depths of Soviet depravity. Also, he always pointed the way back to good health. Perhaps I make Solzhenitsyn out to be a saint; but he was a Christian, and he knew Russia had once been Christian and could become that again. Aditya’s comments about India are rancorous, whatever their truth.

Aditya B.'s torrent caused me to reflect on why, and how, people turn on their own people. I came to the same conclusion as Gintas. I can never turn against the people I originate from, the Amhara people, although I have no direct physical or psychological link with them anymore. I admire their history and, most specifically, the fact that they embraced Christianity when it was hard and dangerous (the Amharas were a northern African Island of Christians surrounded by Islam or pagan Africans), with very little support to convince them of the rightness of their ways other than their unquestioning belief in God - true Christians, in short.

So perhaps it is this Christian element (mine and the Amharas) that allows me to see them in this light, as does Solzhenitsyn his Russian people, despite the suffering he went through under these same Russians. But, his breed of torturers had thrown out Christianity, which made them the monsters they were. And Solzhenitsyn remembers the originals, and believes that his Russia will return to what it once was.

Aditya B. and ILW do not have this historic and religious ideal to turn to. Theirs is a civilization with no Christianity, with no forgiveness (as we know it), and with no hope of salvation, unless they accept the ever-embracing, and forgiving Christian God. No wonder they are so vicious. They react through existential terror.

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Free Fall

Nico, Los Angeles, CA 1966
Photo by Lisa Law

I wrote about Nico, the odd, deep-voiced chanteuse of the Velvet Underground here. The photo I posted is actually a cropped version of an original by "rock" photographer Lisa Law. Nico has her feet (precariously) on the ground, as though she fell from the sky (or a tree). So even in my original interpretation of the cropped version, I was right that her movements showed the instability of someone wavering between free fall and stability.

Here is what Lisa Law, the photographer who took the black and white photo of Nico writes about her experience with mind altering paraphernalia. She was in good compaly with Nico.

Psychedelics assisted me in seeing that we are all one, not just us humans but everything on the planet, the animals, the trees, the water, the air, the earth, the plants. God is always present. It is a very humbling, unifying, heeling feeling that affected the way I looked at the rest of my life.

The first time I took LSD, Owsly's purple liquid, I knew life would never be the same.

Below is a much better photo of Nico. The freedom one associates with floating, swimming or being in water with all our senses in tact (which is how I like being near or in water) is not there. She is overwhelmed, and has a defiant, but frightened look, goading the water to come get her, as she probably does the heroin she used to smoke (shoot), and yet is petrified at the same time. Her behavior is not one of bravery, but of recklessness, as she well knows. Even Lou Reed writes in his heroin song: "Heroin, be the death of me."

Nico, 1967
Photo by Michael Ochs

All people want stability and beauty, amongst many other human (humane) necessities. Hippies are no exception. Law lived in a hippie commune called the Castle in San Fransisco, which she describes as a mansion. Below is a short transcript from her interview with journalist Tom Lyttle. I cannot find the date of the interview, but it looks like it is in the 1990s. The online version is a pdf article and is clearly a copy of an original. It is also available as an html online. This excerpt is from page eighteen if the article:

If the Factory [Warhol's New York studio] was a place that the beautiful people hung at...then the Castle was the West Coast version of that. Word traveled fast and in the two brief years that we were there, everybody came by to visit and hang out, partake, party, sing, make love, eat, write songs and dance their hearts out. Tom Law and John Phillip bought it with Jack Simons for mere $100,000 and had to sell it at a loss. John Getty owns it now.

Vultures like Law and Warhol collected their beautiful people only to desecrate and destroy them later. This is what Wikipedia says about Nico, after her initial glamor and beauty wore off:

Nico was a heroin addict for over 15 years. In the book Songs They Never Play on the Radio, James Young, a member of her band in the 1980s, recalls many examples of her troubling behaviour due to her "overwhelming" addiction...Shortly before her death, Nico stopped taking heroin and began methadone replacement therapy while also embarking upon a regimen of bicycle exercise and healthy eating.

Despite her career in music, she was deaf in one ear, which made it difficult for her to understand what others were saying.

On 18 July 1988, while on holiday with her son on the Spanish island of Ibiza, Nico had a minor heart attack while riding a bicycle and hit her head as she fell...[She] died at eight o'clock that evening. X-rays later revealed a severe cerebral hemorrhage as the cause of death.

Nico was buried in her mother's plot in Grunewald Forest Cemetery in Berlin. A few friends played a tape of "Mütterlein," a song from [her album] Desertshore , at her funeral.

Mütterlein
By Nico

Dear little Mütterlein
Now I may finally be with you
The longing and the loneliness
Redeem themselves in blessedness

The cradle is your homeland-dress
A gracefulness your glory
In ecstasy your heartbreak transforms
And reaches inside of the victorious tide

Beauty alone is not enough.

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Bob Dylan's Desk, the Castle, 1965
Photo by Lisa Law

Bob Dylan also stayed at the Castle. Above is a photo of a corner of his room by Lisa Law, beautiful and ordered, with a Tiffany style lamp, a patterned cloth on the table, and some small carved animals. He has a view.

The Castle, Los Angeles, 1965
Photo by Lisa Law

Above is the Castle where the hippies hung out. Beauty is clearly not wanting, including a sports car, meant for the rich and famous but why not for hippy squatters as well?

Drudge has an article about drug use (abuse) in contemporary teens from in the suburbs, and links to this Daily Mail article. Not crack or marijuana for these pampered adolescents, but heroin. These are the children of the sixties.

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"There He Bows Again"

Drudge is putting his usual humor on our political world. He has a photo of Obama inclining his head and body toward Mexicos's President Calderon as he greets him at the G20 Summit, and Drudge headlines it: "There he bows again." (The post is now off his front page, but here is the link to the original article with the bow).

Of course, Drudge is referring to the pop tune "There She Goes Again," a pleasant, catchy, trippy, tune by the Velvet Underground. The song has been given many kinds of attributes, from a lewd song to a song on heroin (not a heroine :-), but I think it is more innocent than that, and is about a woman begging for another chance with a guy, and she's also being coy saying she won't beg again.

I personally don't think Obama is bowing (begging). He's inclining his head in a friendly, almost conspiratory, manner toward Calderon as he greets him at the G20. And he vacillates between affection (for Merkel) and cautious friendliness (with Putin), to strict Alpha Male posture (with Meles Zenawi). He's being like the coy, aggressive girl in the song. One is never sure what one's going to get.

It must be confusing to be near, and to work with, Obama (and liberals), but I think that is their modus operandi: destablize the opponent with an unexpected behavior, but resume the strict liberal/fascist mandates once the way is cleared. It seems, though, he is more upfront with nonwhites and women: he will show his superiority through an aggressive stance (for the male leaders) and condescending affection (for the female leaders), showing that he is the boss all the way.

Here is commentary (with photos) of Obama's bowing style, and to whom he reserves the deep bow, by Larry Auster from the View From the Right. One deep bow was for the Muslim King Abdullah of Saudi Arabia, as I wrote here.

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Below are the lyrics to "There She Goes Again" with a video of the Velvet Underground's performance.

There She Goes Again
Velvet Underground

There she goes again
She's out on the streets again
She's down on her knees, my friend
But you know she'll never ask you please again

Now take a look, there's no tears in her eyes
She won't take it from just any guy, what can you do
You see her walkin' on down the street
Look at all your friends she's gonna meet
You better hit her

There she goes again
She's knocked out on her feet again
She's down on her knees, my friend
But you know she'll never ask you please again

Now take a look, there's no tears in her eyes
Like a bird, you know she would fly, what can you do
You see her walkin' on down the street
Look at all your friends that she's gonna meet
You better hit her

Now take a look, there's no tears in her eyes
Like a bird, you know she will fly, fly, fly away
See her walking on down the street
Look at all your friends that she's gonna meet

She's gonna bawl and shout
She's gonna work it
She's gonna work it out, bye bye
Bye bye baby
All right

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The Wrath of the White Woman

Jeanne Darst

Elisha Lim, clearly an Asian writer at a website called Racialicious, writes:

The Valentine’s Day show [of NPR's This American Life], however, pushed me to new levels of downright rage. It's a series of stories all about the mishaps of love, and in the last, 12-minute segment, writer Jeanne Darst describes her outrage when she discovers that her boyfriend is cheating on her.

Lim quotes Darst's angst with a derisive "How does a white woman claim to be the victim of yellow fever?"

Here is what Darst writes about the man she started dating (taken from the transcript of her NPR show This American Life which aired on February 10, 2012), and whose journal she found and started to read:

A[n]d his journal was right there. Right there...

I'd like to tell you that I had some hesitation about whether to open this thing up and read it. That I thought for even one single second about right and wrong. But I didn't...

And then I read that he did not have an attraction to-- page turn-- white women. White women like me.

I knew he had dated some Asian women and his ex-wife was Asian. He had Asian assistants, but I didn't think too much about it. I guess that's why I got Sunday.

Maybe it was my fault. I probably should have said right at the start of the relationship, I'm not Asian-- before anyone got hurt. Me. Before I got hurt...

I then read in the journal, "There are some real red flags with Jeanne."...

I got hurt. Redd Flaggs got hurt.

I don't think I'll ever read anyone's journal again. I never want to know what someone thinks of me in that kind of way ever again. It's too intense. I know I'm not Asian. I know I had reservations about Jake, instincts, which is why I read the journal.

Lam, an ethnocentric and antiwhite Asian woman, continues with her derision:

What about all the Asian women that date Darst’s boyfriend, without knowing that he’s more into their race than their selves? What about Asian women as a whole, who have to deal with yellow fever–with age-old stereotypes about their sexuality that reduce them to objects of someone else’s (white) desire? She somehow manages to depict herself as the main victim of Asian fetishization, and stews in self pity.

How does a white woman claim to be the victim of yellow fever? I know, it’s so absurd it’s funny. But she manages it, by denying the impact of racism, and replacing it with a spiteful sense of competition.

Lam describes herself as "blatantly promot[ing] the dignity and sex appeal of queer and trans people of colour " which means that she is one of those herself.

Still, "queer and trans" are minutely "sensitive" to "discrimination" so she is trying to help out her straight Asian sisters here.

But "a spiteful sense of competition" has the perfect ring of the convoluted excesses that minorities will go to express their entitlements. Rather than competition, they are getting a free ride.

And no-one will be on the side of the white woman: Not the white boyfriend who betrays them; the Asian female who has had her eye on him from early childhood; the Asian immigrant parents who are more than happy to have a white son-on-law and future half-Asian grand kids, who will be more Asian than white; and not the multi-culti climate that dominates Western countries these days.

She's on her own with this one. As I wrote in my recent blog Racial Multi-Culti Chic:

I am waiting for the wrath of white women who will some day have their multi-culti glaze removed from their eyes, as they realize that their men have been stolen away from them, and by the Asian "friend" who was around all the time.

She can feel rage at the Asian interlopers. But what about at her white men?

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Asians Not Quite Up To Par, Again

Wang's Spring 2011 charcoal lilac wedding dress
from the New York Post's June 9th fashion page

The same dress, a darker charcoal lilac
on a different model

A close-up of the bodice

Marchesa Fall 2011 gown

I've started a fascinating quest to understand the Asian fetish that is going on in our modern, Western culture these days, and I seem to be finding examples at regular frequencies.

Just after I wrote the previous post, The Fetish of White Men: Asian Women, I found at the New York Post's online fashion page a wedding gown designed by Vera Wang as part of the "Bright Brides" slide show. The first image of the "purple" Vera Wang wedding dress shows a cropped version of the dress, to show off the elaborate bodice. The next page has a full-length shot of the dress, and color is muddier and greyer, and the chiffon that floats flimsily around the inner lining of the dress doesn't match with the more formal bodice.

I wondered if this was an original by Wang, or if she found "inspiration" for it elsewhere? Looking online, the dress is described as "charcoal-lilac" even in the NYP description, and is indeed much greyer than the very first bright lilac version on the NYP. The bright lilac is not produced anywhere else.

I started an image search for "lilac gown" and found that the designers at Marchesa had indeed a very similar dress in their evening gown collection. Their chiffon is more structured than Wang's, and the bodice, although not as pretty as the floral motif on Wang's, adds an interesting metallic effect.

But, on closer look at Wang's "pretty" floral motif, it is as disorganized as her chiffon, with no discernible pattern to the flowers. And the velvet ribbon around the upper waist is an odd addition.

Now, the question is: who designed it first? Who took inspiration from whom, if at all?

Wang's dress (wrongly dated as Spring 2010 in the NYP display) is from her Spring 2011 bridal collection. The Marchesa dress is from their Fall 2011 collection. Designer often work up to a year before they showcase their works, and there is no reason why the savvy Wang wouldn't have known about the Marchesa dress before it came out for public view. Of course, Fall comes after Spring,but there isn't that long of a time period between Fall and Spring for either party to influence one another.

I give Marchesa credit because this is the kind of work they are known for. Vera Wang's Spring 2011 bridal collection has only two dresses with elaborate, macarme style designs on the bodice. The Fall 2011 Marchesa Ready To Wear collection has at least ten.

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The Fetish of White Men: Asian Women

CBS boss, Les Moonves' fetish?

I've written quite a bit these days about the white male/Asian (Chinese, Korean) female coupling. I'm still trying to figure it out. Part of the reason behind this type of coupling, is of course, the feminist white women, who don't take sex roles seriously, and in fact are dismantling and destroying it, along with their marriages.

(One interesting outcome of this is that I'm seeing more white women with Asian - Chinese - men, which is odd since Chinese men are much less likely to be feminized, feminist men. Perhaps white women are rebelling against their less-than-macho white male partners, who insist on equality, and hence lose the trust and respect of their women and wives. I think all women want men to lead them, however strongly they may seem to oppose this. In any case, Chinese men will be much harsher - if social history is any indication - than white men, and white women don't know what kind of bargain they have settled for.)

Back to Chinese women and white men. I often find that people who deviate strongly from their background (family, race, ethnicity, and even nationality) have some kind of traumatized earlier experience.

Here is what I found for fetishism under Wikipedia:

Early psychology assumed that fetishism either is being conditioned or imprinted or the result of a strong emotional (e.g., traumatic) or physical experience.

Here is what a Psychology Today article says:

The term "fetishism" was coined in the late 1800s. It originates from the Portuguese word feitico, which means "obsessive fascination".

My running theory is that white men are rebelling against some trauma in their earlier childhood: absent (working) mothers; feminized, soft fathers; greater importance on girls' performances than boys' in schools; and a general effacement of the masculine in the society all around them.

Asian women, in their greater femininity (but I think that is part of their method of entrapment, since they too are fleeing some kind of trauma - the difficult immigrant childhood, harsh fathers and "dragon" mothers, their own men who are not as "sensitive" as the white men around them, etc.), attract these bereft white men, who are looking for the soft, feminine partner/wife/girlfriend.

But, since Asian women are so alien, in looks, personalities and behaviors, from the best of their white women folk, they are like some kind of fetish to white men. But what is it exactly that is the focus of the fetish? Their eyes, of course. Here is another site describing "animate" fetishes:

Feet, hair, butts, breasts, and all that good stuff are also considered fetishes, but since these objects are human, they're called "animate" fetishes.

This same site talks more about feet and hands fetishes (look at fetish #6).

The "soft, feminine partner/wife/girlfriend" that white men are looking for may actually not exist in the Asian female. This is anecdotal, but in recent months, I have been surprised at the number (three or four) arguments I have witnessed between Asian women and white men (presumably they are couples). From my experience with Asians, I find that they have a high tolerance level, but there is a point where the limits of that tolerance is crossed (often irrationally, to the "victim"), and something snaps. This could manifest itself in some irrational unkindness (neglect), or a sudden, unexpected harsh words, etc. But since this behavior is sporadic and infrequent, it can be attributed to some kind of circumstantial episode (lack of sleep, worries on the job, etc.).

I wonder what long term relationships will show, statistically? I'm still trying to figure out the divorce rate of white men/Asian female marriages. Like I said, since Asian female tolerance level is high, and appeasement tactics by Asian females are well developed, marriage break downs may well be low, although the happiness and contentment of the married life (as experienced by the naive white male) may be lower than with other couples.

Although this post is dealing exclusively with the life of couples, I think such unions, and the offspring that come out of these unions, have profound implications for Western society and culture. I will be working on those potential consequences over time on this blog. One thing that I do observe is a lowering of quality (not quite the effacement of quality, but its lowering) when Asians and white/Asians are at the helms of institutions (research, marketing, creative, artistic, etc.).

One other observation is the number of Asian women I'm seeing with Arab, black or Hispanic men these days. I'm not sure why this is, but it could be a search for the most powerful man around (is it power, manifested through income, physical strength, or simply charm, the fetish that drives Asian women in search of non-Asian mates?). What is the fetish that sends these non-white men to search for Asian women?

I will try to answer these over time, so stay tuned...

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One Man Anti-Jihadist

ISLAM IZED          : OUR GOV'T MEDIA CBC.ROM SCHOOLS

F I G H T Creeping JIHAD YOU ARE WARNED

Here is a lone protestor at City Hall. I took the shot (not very good, since I had to take it from a distance), holding his home-made bill board with the Old City Hall as his back drop. People are just walking by him, going about their business, which is much more important than fighting creeping jihad (which is the ramblings of a crazy man, anyway).

CBC= Canadian Broadcasting Corporation
ROM= Royal Ontario Museum (I'm not sure why he has the ROM on his list. Perhaps it has to do with its extensive Middle East gallery).

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Julie Chen's Anti-White Woman, Multi-Culti Talk Show - With Attitude

L-R: Black, Jewish/Lesbian, Jewish/Brit, Black, Asian
Who has the most "black attitude?"

In my previous post The Chinese Women/White Men Epidemic, I neglected to emphasize, although it should be clear from my presentation, that Julie Chen's failing show The Talk has a panel without a straight, white, American woman. The straight, white, American women she has (or had) on her show have some Jewish ancestry. Leah Remini is half Jewish from her mother's side and both parents of Marissa Winokur are Jewish.

Remini claims that she was fired from the original The Talk panel (here are her comments on her firing). Perhaps Remini's outspoken and boisterous Jewishness was just too much for Chen to handle, as she was often in contradiction to Chen's views and beliefs. Winokur, who seemed to have left the show on relatively good terms, nevertheless complained that there was "no time" for some of the segments she had planned (how can there be no time for a "Mom in the Street" segment?). Here are Winokur's complaints.

The lesbian Sara Gilbert is Jewish from both her parents. Chen chose her, and keeps her on her show, because she is the antithesis of the straight, white woman. Whatever she says or does will have no affinity for the straight, white woman.

Sharon Osbourne traces her Jewish identity through her father, which would not technically make her Jewish since the transfer of the Jewish racial and ethnic identity is through a Jewish mother, but she provides that diluted, superficial, ethnic Jewish mix to Chen's panel.

Chen is married to white/Jewish CBS CEO Les Moonves, so her Jewish affinity is personal. Yet, these authentic (or closer to the authentic) Jews on her show probably remind her that her own race has no association with theirs, and she can never be Jewish (or white). So why does Chen "act black" on her show, rather than Asian, white, Jewish or gay? I will try to answer that below.

Chen has filled her current panel with two new blacks. This time, she made sure that they would be the kind that would toe the line, unlike the no nonsense Holly Robinson Peete from the original panel, who says she was fired (along with Remini) for her outspokenness. These new panelists are desperate, forgotten black actresses who are trying to make a comeback on television. One is Sheryl Underwood, who is a relatively unknown stand-up comedian, and the other is Aisha Tyler, a second rate T.V. personality and actress who is mainly cast in supporting roles. Tyler is married to a white man, and is less of a "militant" black, and diffuses some of Underwood's belligerence. There are now two blacks on The Talk, one up from Robinson Peete, and make 40% of the current panel.

I recently watched the excruciation show, with Chen's untalented reign (and reins) lacking any humor, style or charisma. Then Chen suddenly started talking black, shaking her head and wiggling her index figure with "black attitude." Underwood, the black comedian, had a pleased expression on her face, clearly happy that her boss shows her solidarity by "turning black" once in a while. Tyler, the other black panelist, sat clueless and unaware of Chen's antics. Osbourne cackled with approval. I turned the TV off.

I think "acting black" is the the best strategy Chen can use to undermine, if not ignore, her adversaries: straight, white women. After all, she married one of their men. By siding with blacks around the common theme of white antagonism, she gains the trust and friendship of blacks, and can thus evade having to deal with white women. But this evasion is probably affecting her show's unpromising ratings, since it is white women who drive up the ratings of afternoon shows.

Acting lesbian (those other "haters" of straight, white women) would turn the fierce homosexual lobby against her. Any mimicry of gays by straights, however much filled with good intentions, could be a recipe for homosexual wrath. Chen cleverly avoids this ugly reaction (who knows what could set it off) partly by having a token homosexual (the lesbian Gilbert) on the show, and by promoting gay-friendly programs. And I doubt that Chen, as a straight woman, would want to have her sexuality questioned ("anyone" can turn gay, but one is born into one's race), so she won't go further than having a lesbian co-host and gay-friendly programs to avoid any stir up concerning her own sexual identity. She is not going to "act lesbian."

Chen flatters blacks by having two black panelists out of five on her show. And this enables her to "act black" all she wants. But this is filled with pot holes also, since she can never predict what could set off the wrath of blacks. But someone as clever as Chen can assiduously gauge how far she can go, and put limits to her "blackness."

Unlike turning into a lesbian, Chen can never be black, so she needn't fear losing her non-black identity or have it questioned while "acting black," as she might have her sexuality questioned if she "acted gay." So she can "act black" in superficial solidarity with all those blacks out there. And, since about half her panel is made of black women, her black critics would be more lenient with her impersonations, not taking insult, and even being charmed by her attempts. She's doing all she can to appease them, after all.

A white woman's head-shaking, finger-waving antics will never be appreciated by blacks (unless she humbles and prostrates herself repeatedly and humiliatingly, and even then she might only get mixed reviews), since she comes from that line of people who enslaved, then oppressed blacks. She is, and will always be, a racist, and cannot remove that blemish no matter how much she tries. And any white woman who "acts" white would be deemed a superior elitist (and, here we go again, racist), and would be shunned, mocked or even attacked. So, white women have always to downplay their (natural) whiteness. And of course, white women have become so defeatist, that they have also stopped defending themselves, and have come to accept (and even believe) the anti-white rhetoric and sentiment that surrounds them, and they readily take on these identity-effacing roles.

Chen, the Asian, plays around with all these dynamics like a pro.

Such is the war that is being waged on the West, where its multicultural population is aggressively dismantling it at its core.

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