This is the new statue, which some are calling “art”, on London’s fourth plinth in Trafalgar Square.
What do you think of London’s new artwork on the fourth plinth in Trafalgar Square? It’s by the artist @h_phillipson and has been unveiled this morning. It’s called THE END… #4thplinth pic.twitter.com/dgDv9ybWyV
— BBC Radio London (@BBCRadioLondon) July 30, 2020
It looks like a seagull took a dump on the beach and a kid stuck his toy in it.
The point is not that this material (hot glued together by some female) is not art, which is clear, but that the leaders who put it there hate the people who will now be forced to look at it. That hate is the point.
The haters must be destroyed, removed from power, cast into the outer darkness, scorned, ridiculed, rejected, deplatformed and canceled.
The problem is not cancel culture, then. It’s that the wrong things are canceled.
In days of yore, conservatives hating this kind of excrescence, this turd on a pole, would attempt to reason with its creators and supporters in a vain effort to convince these people of the evil nature of the thing, and plead with them to remove it.
These days, they may still try, but their voices are too meek. They believe, and many even insist, that the people placing the statue have a “right” to do so.
Neo-conmen don’t even bother doing that. They may cast a few zingers at the pseudo-art, if they can be nudged from their torpor, but they go no further. They surrender without a fight, or even acquiesce. The best you’ll get from them, or from any denizen of the left (all neo-conmen are leftists), is a “Eh, what’s the difference. Don’t look at it if it bothers you.”
That you can’t not look at it doesn’t occur to them. It’s like trying to escape rap music, which pummels ears in public most everywhere. You can’t not listen. You can’t not see.
This statue, like most modern pseudo-art and architecture, is not an accident.
Roger Scruton said “There has been…an uglification of modern life. Wherever we turn we find a deliberate desecration of beautiful things. The employment of shapes, forms, and gestures which are calculated either too repel us or simply to annihilate the surrounding experience of beauty.”
These words are correct. This is a planned attack, though the enemy sees it as beneficence. Not only this one statue, but almost every object or building deployed against the public in the name of art. This is a war of wrong against right, a war which the wrong side has won battle after battle.
Don’t think so? A major music publisher put out this song by a black woman—excuse me—BLACK! woman.
Whores in this house
There’s some whores in this house
There’s some whores in this house
There’s some?whores?in this house?(Hol’ up)
I said certified freak, seven?days a week
Wet-ass pussy, make that pullout game weak, woo (Ah)
[Chorus: Cardi B]
Yeah, yeah, yeah, yeah
Yeah, you fuckin’ with some wet-ass pussy
Bring a bucket and a mop for this wet-ass pussy
Give me everything you got for this wet-ass pussy
This opening is the highlight of the song. It gets worse: It goes into the black hole from there. Something about “niggers”, or maybe it was “niggas”, spitting in mouths, a novel use of credit cards, and other delights.
This song is being pushed in our ears, as the statue above is pushed in our faces. Our cultural leaders say things like this (NBC News): “‘WAP’ by Cardi B and Megan Thee Stallion is a joyful role reversal. No wonder people are mad. Yes, it’s deliciously filthy. It also follows in the footsteps of many female (and male) artists who have used music to explicitly explore their sexuality.”
A Blue Cheka simped (ellipsis his) “I am not sure why everyone (and Ben Shapiro) is so upset about the Cardi B song….yes it is dirty. But so are a million other songs by male rappers in the last 30 years. Where was all the outrage then? The only difference on this one seems to be that it was done by two women.”
A Blue Cheka gynecologist (with bemasked picture) explained the glorious moisture aspects of the song.
This is only a small sampling of the immense amount of praise heaped upon this primitive noise. Part of the reaction is, of course, because the performer is BLACK! And part is because she is female, and the matriarchy loves nothing better than to talk about their reproductive system.
The song got more notice than the statue, but then statues have always been less popular. The statue is also more avoidable than the noise, which, reports say, is everywhere (millions of views almost immediately on YouTube, number one song in the country by other measures).
In any case, these are only two of an endless and growing number of examples of ugliness foisted on us by our enemies. The post-classical culture they have created must be destroyed, before it destroys us.
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