I recently found this painting by Russian artist Lev Tchistovsky entitled “Reclining Nude” (one of many he painted), and I think it’s wonderful (click to embiggen, but it may be NSFW, that is if anyone still goes into an actual office): Read more
What do bad manners have to do with the end of imperialism, you might well ask: in a nutshell, nothing and everything. Moral authority disappeared with the empire, just as its successor, socialism, undermined the authority of the family and the pursuit of excellence. The media suddenly presented itself as a tribune of the people, sympathetic to the sensitivities of the masses, with the rich always ruthless and the poor always perfect, the children always innocent and trusting, unless they were white, then they were crazed and feral.
All good stuff, and more besides.
Here’s a lovely one from Woke Disney:
Disney began an extensive review of its film library as it prepared to introduce the streaming service in 2019, according to a New York Times report. As part of the initiative, called Stories Matter, Disney added disclaimers to classic movies for containing “negative depictions or mistreatment of people or cultures.”
The Stories Matter team privately flagged certain characters as potentially problematic, with the findings distributed to senior Disney leaders, two current Disney executive told the Times.
One of them was Tinker Bell, who raised concern because she is “body conscious” and jealous of Peter Pan’s attention, according to the executives. Captain Hook was another potential liability because he could expose Disney to accusations of discrimination or prejudice against individuals with disabilities because he is a villain.
Disney also flagged Ursula the Sea Witch from The Little Mermaid, saying her dark complexion could be construed as racist and her flamboyant mannerisms could come across as “queer coded,” or homophobic.
Fucking hell. There is just no end to this bullshit.
Anyway, I don’t know about Hook and Ursula, but Tink has always been problematic for Disney, especially at the hands of the brilliant satiric (satyric?) artist Julius Zimmerman (warning: link is so NSFW you could face termination of the extreme kind, let alone just the loss of your job or your eyesight).
Disney is whizzing beyond comedy into self-parody faster than the speed of a single cartoon cel through a projector.
And Disney? Your stories don’t matter as much as you think they do.
Several years ago, Kim Kardashian was robbed in her Paris hotel room, and the popular response to this event was horrible. It prompted this response from me on these pages, and I stand by every single statement I made back then (please go and read it before continuing).
All that said, I have to say that it makes me wince when today’s glitterati and sports heroes show off their conspicuous wealth. Here’s one example of some guy getting robbed of his $72,000 watch, and another example of stupid display:
That’s former Disney-girl and now-slut-extraordinaire Bella Thorne. I can only hope that what she’s wearing on that single wrist and hand are paste, and not real jewels; but somehow, I don’t think that’s the case.
I used to know a fabulously wealthy man who had a habit of buying his wife expensive jewellery, and paying a small fortune to have the pieces scrupulously copied in glass and gold-plate so that she could wear them in public. I once asked him why he bothered buying the real thing at all, if all she was going to do was wear the fakes. His reply was priceless: “The real stuff is an investment; the fake stuff is for her ego.”
I have no answer for any of this, by the way, because I don’t think there is one. Criminals are always going to target the wealthy; and if the wealthy want to wear a neon sign on their bodies that says, “I’m rich!” and goblins see the signs and act accordingly, I guess that’s just the way of the world.
As for Amir Khan: I cannot imagine spending over seventy grand on a watch that ugly, but as we all know, wealth can’t buy you taste.
I blame my parents. Had it not been for them, my life story would have been quite different (never mind non-existent).
Neither parent came from aristocratic nor even middle-class stock, in fact quite the reverse: my father was a farm boy, later a welder and boilermaker, still later a civil engineer; my mother was a miner’s daughter, secretary and later, a housewife. Not the most promising ground for a young boy to grow into something much.
Yet they both had one burning desire: to make their children more educated, and in those days in once-colonial South Africa, this meant sending both me and my sister to expensive private schools — state-run schools then, now and forever, no place to become educated. The other course they decided on was that we children were to be raised as English-speakers primarily, and bilingual Afrikaans a distant second. For my father, an Afrikaner who could trace his roots all the way back to pre-colonial South Africa and who spoke only Afrikaans until he met my English-speaking mother, this was no small thing; but as a student engineer, he’d struggled mightily because back then, there were no Afrikaans textbooks for engineering so he’d had to learn to understand English at the same time that he was grappling to learn engineering. Even so, he’d never read Shakespeare or any of the vast treasures of English literature, and never would. As a result, he vowed that his children would not be brought up with that linguistic handicap: so off we went, to St, John’s College and St. Andrew’s School for Girls respectively.
The “colonial” part of the above cannot be overstated. South Africa had been a British colony for a long, long time: the Cape Province and Natal since 1806, and the rest of the country since the conclusion of the Boer War in 1902. While the Dutch (later Afrikaans) influence was significant, the overwhelming influence of the culture was English, and by “English” I mean pertaining to England and not to Great Britain.
Hence, St. John’s College was a brother school to England’s Eton College and not Scotland’s Gordonstoun, for instance. In some areas of South Africa, a large proportion of its White inhabitants spoke no Afrikaans at all, and even in cosmopolitan Johannesburg, speaking Afrikaans was often seen as “low class” among the upper-upper crust, and Afrikaans words were Anglicized.
The “class” ethos was completely embraced by the English-speakers, even though actual titled families and the scions thereof were practically non-existent. Most recent British immigrants were of middle-class or (some) working-class stock, and they embraced the English class structure with vigor. In Pietermaritzburg in Natal Province, for example, the highlight of the social calendar was the annual Royal Agricultural Show, which resembled nothing as much as an English institution like the Chelsea Garden Show, and was run for many years by Mark Shute, a Brit by birth and an Old Boy from Marlborough School in Wiltshire.
And the appellation “Royal” could be found all over the place, in its original meaning of “As appointed by His/Her Majesty”, as could institutions named “King’s” or “Queen’s” (e.g. King Edwards School and Queen’s College).
As a result, we kids raised in this atmosphere were steeped in English culture — until 1961, we sang “God Save The Queen” at the end of a movie, and as late as the 1970s, people would clap when members of the Royal Family appeared on movie screens (well, half the people anyway: the Afrikaners would stand stonily silent).
And this English culture was firmly rooted in the past: Victorian, Edwardian and that of the 1910-1960 era. The morals, virtues and values were all English circa 1820-1960: fair play, cricket, infra dig., formal teatime at 4pm, “that’s just not done, old man” and even noblesse oblige (sans any noblesse ) and all that.
As one of the people raised in this tradition, therefore, it should come as no surprise at all that I espoused, and still espouse that tradition. My schooling and cultural upbringing were always steeped in reverence for tradition, said tradition pretty much ending just before the Swinging Sixties [spit], and even though I as a callow youth embraced the latter with a vengeance, I would drop it like a hot rock whenever it came time for the Old Boys’ Banquet at the Rand Club or College Gaudy Day (in American parlance, homecoming), and don the formal attire required for said occasions.
So therefore it should also come as no surprise at all that I revere occasions such as Test cricket at Lord’s, the Badminton Horse Trials and, of course, the Goodwood Revival (any of which, I should state, I would rather attend than the British F1 Grand Prix — and you all know how much I love Formula 1).
Even being called a “colonial type” (a slight insult in the U.K.) brings not anger or resentment but a warm feeling in me. I may not have been born in the right time or place, but that doesn’t mean I don’t love it.
Thus, I am enormously attracted to the prospect of a return visit to Lord’s, High Tea at Fortnum’s, donning the Harris Tweed to go birdshooting with Mr. FM at Lord Someone’s estate, and attending the Goodwood Revival dressed in period clothing (which hasn’t changed much — duh! — from the aforementioned attire for shooting). And those are just some of the activities which jump to mind.
It all hearkens back to my upbringing and brings with it a longing for a gentler, more gracious era, and my being an entrenched conservative, this too should be unsurprising to anyone who knows me.
And it’s all thanks to my parents.
Here are a few of the aforementioned occasions and artifacts:
I have to stop now, or we’ll be here all day.
Here’s an interesting situation over in Britishland:
The English Touring Opera has dropped 14 white musicians in a woke drive to ‘increase diversity’ in the company. The musicians, aged 40 to 66, have been told they will not be offered contracts with the company in Spring 2022 citing diversity guidance from the Arts Council England, the Sunday Times reported.
The musicians, who officially work as freelancers, can be dropped from the opera season-on-season but many have played with the company for up to 20 years and consider it a permanent job.
Of course, this is a disgusting thing to do, but complaining doesn’t achieve anything, as any fule kno.
Here’s a thought.
I don’t have the numbers, but I’m willing to bet that this 40-66 age group would constitute a majority of the Touring Opera’s audience. So I call on all patrons in that age range to boycott their performances.
I wonder if the company’s finances could sustain the subsequent loss of income…