Category Archives: Art

Are you paid unfairly because you’re a woman? Jennifer Newsom wants you to complain

Jennifer Newsom wants to lift up everyone…

Perpetual victimhood is not a good look…

From Sacramento Bee: If you’re a woman who’s not being paid as much as your male colleagues, Jennifer Siebel Newsom wants you to complain.

In the first big initiative she’s undertaken since her husband Gavin Newsom became governor, Siebel Newsom on Monday launched a campaign to narrow the gender pay gap in California by educating employers on how to pay workers fairly and telling employees how to report companies that break the rules.

Siebel Newsom says uplifting women and girls is her priority as California’s first partner, the title she uses instead of first lady.

“When we lift up women, we lift up everyone,” she said. “It’s time to close the gap.”

How liberals “lift up women”

She’s leading the Equal Pay California campaign alongside Time’s Up, a group formed amid the #MeToo movement to advocate gender equality in the workplace, and the California Commission on the Status of Women and Girls. It’s aimed at promoting compliance with a state law that took effect in 2016 that strengthened California’s equal pay protections.

California has the smallest gender pay gap in the country, according to the American Association of University Women, but women in the state still make roughly 89 cents for every dollar men make.

Despite California’s progress, Siebel Newsom and others involved with the campaign say the state needs to do more to close the gap.

California has had equal pay protections for decades, but the laws weren’t strong enough, said state Sen. Hannah-Beth Jackson, a Santa Barbara Democrat who wrote the new law that took effect in 2016.

It says employers can’t pay female workers less than male colleagues who do “substantially similar” work, a provision aimed at helping women prove discrimination even if their male counterparts have different job titles. It also bans retaliation against employees for discussing their wages and puts the burden on employers to show they pay men and women equitably.

“Paying women less than men for substantially similar work is a form of wage theft,” California Labor Secretary Julie Su said. “Passing good laws is not the finish line. It puts us at the start of a great race and enforcement is how we win.”

The new campaign is promoting a website with resources for companies, such as guidelines on how to set equitable wages. For employees, it includes information on how to report employers that don’t pay equitable wages to the state, or file a lawsuit against them.

Siebel Newsom, a documentary filmmaker with a long history of advocating feminist causes, announced the campaign at an event at the Capitol on Monday morning, where she also endorsed a paid family leave bill in the Legislature.

How liberals “lift up women”

She touted commitments from 13 California businesses, including Apple and AT&T, to conduct their own internal reviews of their pay practices.

“I believe that there are incredible companies in this state who want to do good and want to do better,” Siebel Newsom said. “Now they have the tools, the resources and no excuses.”

DCG

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Best airline safety video, ever

From New Zealand Air:

H/t Maziel

How sad that New Zealand, once known as Tolkien’s Middle Earth, is now associated with the obviously-fake mosque shooting video. See “How we know New Zealand mosque shooting video is a CGI fake “.

~Eowyn

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JRR Tolkien official trailer

For those among us who are fans of Tolkien’s work,
here is a treat you may like 

PEACE

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Why do the nations conspire and the peoples plot in vain?

That is a question for the ages

Why, for instance, do we see such blatant occultism among the elites? Why do we see pedophile rings and child sacrifice being practiced in this “enlightened” age? Why does America have the stain of Bohemian Grove? Why is the layout and architecture of Washington DC, our capitol city, like a Mason’s wet dream?

Psalm 2 asks the questions also. They are not new. And ignoring the warning in this psalm will prove fatal for any nation, including ours.


Psalm 2

1 Why do the nations conspire and the peoples plot in vain?

2 The kings of the earth rise up and the rulers band together against the Lord and against his anointed, saying,

3 “Let us break their chains and throw off their shackles.”

4 The One enthroned in heaven laughs; the Lord scoffs at them.

5 He rebukes them in his anger and terrifies them in his wrath, saying,

6 “I have installed my king on Zion, my holy mountain.”

7 I will proclaim the Lord’s decree: He said to me, “You are my son; today I have become your father.

8 Ask me, and I will make the nations your inheritance, the ends of the earth your possession.

9 You will break them with a rod of iron; you will dash them to pieces like pottery.”

10 Therefore, you kings, be wise; be warned, you rulers of the earth.

11 Serve the Lord with fear and celebrate his rule with trembling.

12 Kiss his son, or he will be angry and your way will lead to your destruction, for his wrath can flare up in a moment. Blessed are all who take refuge in him.


PEACE

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Statue of kissing VJ Day sailor vandalized a day after his death

How miserable must your life be to vandalize a statue dedicated to a beautiful, iconic moment?

From NY Post: A day after the sailor seen kissing a woman in a nurse’s uniform in an iconic photo snapped in Times Square died at age 95, a statue in Florida commemorating the couple was vandalized with a “#MeToo” painted in red.

Police responded early Tuesday to someone vandalizing the “Unconditional Surrender” statue in Sarasota, where they found the hashtag about sexual assault and harassment painted on the woman’s left leg, according to the Herald-Tribune.

After searching the area, officers did not find other objects that were defaced or any spray paint bottles. There also was no surveillance video of the incident.

“The approximate damage is estimated to be more than $1,000 due to the large area that the graffiti covers, and the resources needed to repair it,” police said.
The city’s Department of Public works washed off the graffiti by 9 a.m., police said.

George Mendonsa, the jubilant sailor shown kissing white-clad dental assistant Greta Zimmer Friedman at the “Crossroads of the World” on Aug. 14, 1945, died Monday at the age of 95. Friedman died in 2016 at age 92.
Known as V-J Day, it was the day Japan surrendered to the US.

The indelible image by Alfred Eisenstaedt became one of the most famous photographs of the 20th century.

“It was the moment that you come back from the Pacific, and finally the war ends,” Mendonsa told CBS News in 2012.
Some view the smooch as a celebration, but others consider the act a sexual assault by modern standards.

“Unconditional Surrender” was created by Seward Johnson, who was inspired by a lesser-known photograph by Navy photographer Victor Jorgensen, of the same scene captured by Eisenstaedt.

DCG

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Israeli art museum exhibition mocks Jesus Christ’s crucifixion

An exhibition at the Haifa Museum of Art in Israel displays artworks that insult Jesus Christ, but not the Islamic and Judaic religions.

The museum describes the “Sacred Goods” exhibition, curated by Shaked Shamir, which began on August 4 last year and ends today, as follows:

This exhibition focuses on the responses of contemporary artists to issues of religion and faith in the contemporary global reality, which is dominated by the consumer culture. In recent decades, various cultures and places around the world have witnessed a surprising religious revival. Theorist Boris Groys argues that in a world that has renounced the grand secular ideologies, the return to religion fulfills the need for meaning. Contemporary religions offer answers to the ills of the modern world and the sense of emptiness that pervades this era of extreme individualism and aggressive capitalism…. Consumer culture dictates a superficial interest in religious products and techniques, while ignoring the philosophical and ethical meanings of religion…. In the contemporary context, the artists participating in the exhibition employ religious symbols to criticize the encroachment of the consumer culture on our lives in general, and on the religious sphere in particular. The artists also criticize the way religions use consumer values and practices in order to prosper in the contemporary reality.

The participating artists are identified as Elodie Abergel, Ido Abramsohn, Gabi Ben Avraham, Magnus Gjoen, Vania Heymann, Jani Leinonen, Tony Leone, Ariane Littman, Esther Naor, Karam Natour, Pool & Marianela, and Nick Stern.

The exhibition includes these artworks and images that blaspheme God the Father, Jesus Christ and insults Christianity:

Our Lord Jesus Christ as a Ken doll:

Mocking His Crucifixion:

Mocking His Resurrection:

But no mockery of the Ark of the Covenant that’s celebrated in Judaism, or any other Judaic symbol or figure, nor of Islam:

In addition to insulting Jesus, the art exhibition trashes religion in general, while glorifying globalization:

In a reality wherein globalization aspires for cultural unification, religion offers its followers the illusion of a return to their roots and to distinctive local traditions.

Christian leaders in Israel have singled out Finnish artist Jani Leinonen‘s McJesus sculpture of a crucified Ronald McDonald, while ignoring the other offensive exhibits.

For his part, Leinonen said that last September, he had requested his McJesus sculpture be removed from the museum’s Sacred Goods exhibition, to no avail, and that McJesus is on display against his wishes.

In early January 2019, some four months after the opening of the “Sacred Goods” exhibition, Israel’s culture minister Miri Regev sent museum director Nissim Tal a letter week demanding McJesus’s removal, writing that: “Disrespect of religious symbols sacred to many worshippers in the world as an act of artistic protest is illegitimate and cannot serve as art at a cultural institution supported by state funds.” But the museum refused to remove the sculpture.

On January 14, 2019, hundreds of Christians protested outside the Haifa Museum of Art against McJesus. Violent clashes broke out between Christian protesters who tried to storm their way into the museum and the police, after a molotov cocktail was thrown at the museum the day before.

One of the protesters complained that the Israeli government was slow to respond because McJesus mocks Christianity and not Judaism: “If they put up [a sculpture of] Hitler with a Torah scroll they would immediately respond.” (The Art Newspaper)

See also “Israeli TV mocks Jesus Christ as a monkey nailed to a cross”.

~Eowyn

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UK company, Edible Anus, sells chocolate molds of buttholes

Once a culture or country degenerates, there is no end to its depravity.

There’s a company in Watford, England, called Edible Anus, which sells chocolate molds of buttholes.

Here it is in white chocolate:

From the company’s “About Us” page:

The Edible Anus first saw the light of day in 2006 when the London artist, Magnus Irvin, made a range of them in multi-coloured chocolate to present in an exhibition. It was at the ensuing show that he met and formed a partnership with Mr Ritzema, a tall man of Dutch desent. Since then the two of them have worked together to make the range of products available today.

Initially Mr Irvin tried to cast his own anus with messy and disastrous results. Whilst explaining his failure to a chance acquaintance at a bus stop he was gratified to find that his fellow bus passenger was willing to allow him to cast her anus. The job was done in just over half an hour later that afternoon and all subsequent anuses have been based on this casting. It is a matter of interest that the person who kindly donated her service has no idea that her anus has now gone global.

The chocolate, glass and metal anuses have since appeared in other exhibitions and some of the more unusual high street retailers, whilst the chocolate anus has been bought by decerning customers the world over. Rings of succulent chocolate lovingly cast and crafted from the delectable posterior of our stunning butt model. This luxury chocolate is unique and manufactured entirely in the UK. Watch Grandma’s face light up as she unwraps a homely selection of chocolate cracks. The perfect gift for all the family.

A 5-pack “bundle” of chocolate buttholes is on sale for £20 ($25.35), marked down from £25 ($31.69). Alas, it is out of stock.

What is not out-of-stock is the Solid Bronze Limited Edition Anus, for £450 ($570.43):

Below is a disgusting but unintentionally hilarious video of “alternative model” Rayna Terror getting a bronze mold made of her butthole.

Edible Anus’ co-owner Magnus Irvin (Facebook; website) is obsessed with feces. In addition to making edible and nonedible buttholes, he also makes poo cards, like this one.

WARNING! Disgusting Image!

H/t Twentytwo Words and Professor James Fetzer

~Eowyn

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Christmas is God’s answer to Solstice

The people walking in darkness have seen a great light; on those living in the land of deep darkness a light has dawned. – Isaiah 9:2

Let the Son shine into your heart

Solstice is the darkest part of the year in the northern hemisphere. The days become troublingly short, with night falling before afternoon is over. For those with “seasonal affective disorder” it can be a time of dangerous heavy depression.

The Church chose the period near Solstice to replace the pagan bacchanal celebrations with holy gatherings to honor the Nativity of Jesus Christ

In the beginning was the Word, and the Word was with God, and the Word was God. He was with God in the beginning. Through him all things were made; without him nothing was made that has been made. In him was life, and that life was the light of all mankind. The light shines in the darkness, and the darkness has not overcome it.
– John 1:1-5

PEACE

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Fault line in the Left: Progressive playwright is blacklisted for dissenting from transgender groupthink

Libby Emmons is a New York playwright, writer and feminist whose play, “Wanting It,” was produced by the New York City theater company Working Man’s Clothes.

She now finds herself blacklisted because she refuses to subscribe to the Left’s totalitarian groupthink on malleable gender identity and “transgenderism”.

Below are excerpts from her essay, “Writing for Quillette Ended My Theater Project,” November 20, 2018:

It was suggested that I apologize, and that an apology might help. This wasn’t an assurance, but an idea—if I walked back what I had written, there might be a way forward. I looked around the table at these four women who knew me too well to believe that I would apologize for something I had written. Before each of us sat the full length script on which we’d spent several months collaborating. I’d formed this theater collective precisely to make a play based on a killer idea I’d had, and I’d asked each of these talented, thoughtful, intelligent, creative women to work with me.

We were only in the first few months of what was meant to be a year-long residency in a theater space in downtown Manhattan. What I wanted most of all was to develop this project. By the time it was suggested that I apologize, I knew full well that I wouldn’t, and that the project, the theater company, and the residency were all dead in the water.

At issue was an article I’d written for Quillette, entitled “The Transhumanism Revolution,” about three undercurrents of transhumanism presently circulating beneath Western culture: bio-hacking or grinding, AI, and trans gender ideology….

The lack of heterodoxy in Western universities has been extensively documented … many of the extreme ideas that percolate in universities then boil over into the arts, and, in the arts, dogmatic positions on gender identity are now the norm. Trans ideology has been met with a loving embrace, complete acceptance, and fighting words for any who dares to disagree in public….

In the arts community, as well as in universities, it is assumed that a specific gender, racial, sexual, or community identity determines opinions. It is widely believed that traditionally dominant identities produce opinions and ideas that must be considered suspect (i.e. those of the deplorable white women who voted for Trump), and taken with a tablespoon of salt. This is especially true when those ideas or opinions are interacting with ideas or opinions that are considered the purview of those whose identities have been historically disenfranchised. The higher up the privilege ladder you are perceived to be, the less you should have to say about any group occupying a lower rung. For example, my perceived identity as a cis straight white woman is a clear indicator that I should neither have nor express opinions about trans queer white men.

Women like me aren’t supposed to say that men aren’t women. We’re supposed to believe that some men are women. We’re supposed to believe that these men who really are women really believe that they are women, and that we should believe it too. Women like me are not supposed to speak about female erasure, because trans erasure is more important. Women like me aren’t supposed to express the opinion that womanhood is defined by more than mere appearances or performance. We’re supposed to defer to those men that really are women and respect their perspective of what it means to be a woman more than our own.

“You’re punching down,” my director announced from across the table, our scripts and a selection of snacks between us. She said that she’d been contacted my members of our theater community who had let her know that I had hurt them. These theater people wanted to make sure that she knew about the article I’d written and what people on social media were saying. The director reviewed the thread on my Facebook timeline from July, and determinedfor herself that I had participated in “trans erasure,” and hurt people by equating medical gender transition to rapidly growing trends in AI and body hacking….

“You are cis gender,” she informed me. “You need to educate yourself.”

“I am not cis gender,” I replied.

Note: Cisgender is a term for people whose gender identity matches the sex that they were assigned at birth.

Women like me are supposed to understand that we are privileged to be women in women’s bodies. Did I get that right? Privileged to be females who are perceived to be females? Is that it? Wait, privileged to be women who like being women? Maybe that’s it. We’re supposed to understand that it’s different for those who don’t like being in women’s bodies. Or who don’t like being in men’s bodies. I am supposed to understand this because I am a “cis gendered” woman.

For someone like me, who is identified as (as opposed to identifying as) a cis straight white female, to have ideas or opinions relating to trans ideology that are contrary to the progressive narrative recited by rote is already enough for me to be chastised by my community. I knew this, and I often kept quiet during conversations with others in the arts community when these topics arose. But, by espousing them in public, and then doubling down on social media, I had crossed a line drawn to keep my identity separate from certain contentious subjects.

If anything, it is the knowledge that I don’t identify with those things stereotypically female (high heels, makeup, being quiet while the men are talking) that has led me to believe that what society defines as belonging to the domain of women or the domain of men are not what make women and men what they are. Instead, it is our bodies that have the job of determining male and female, and the mind that is free to do as it pleases no matter the confines of the physical form. Yes, the physical form has its limits, and we ignore those limits at our peril. In college, I knew a PCP user who once uttered this truth: if there’s two of you, you can fly; if there’s one of you, well then you can’t fly. Because ideally one of the two will remember that the body has limits, and no flight capability.

“I don’t want to debate this with you,” my director said.

And that, of course, is the problem. No one wants to debate trans ideology. No one wants to talk about it at all other than to say it’s literally as glorious as unicorns shitting rainbows. I explained that I have no problem with pronouns, or bathrooms, or how people want to live, but that I don’t accept the identifier of “cis gendered,” I don’t think kids should be transitioned, and I don’t believe men can change into women or vice versa. I believe being a femme man doesn’t make you female and that men should be more accepting of their femme brothers. I argued that gender is performative and sex is innate, and that gender is not the soul, living somewhere deep inside us waiting to be realized.

“Don’t judge people,” my director advised, and went on to remark that I’d “really hurt people, you made them hurt, especially in a week where Trump said they didn’t have the right to exist.”

My exploration of the ideas behind transgender ideology was painful for people. But it was only a discussion of ideas. Because I had written about the ideas behind the social movement of individuals chemically and surgically altering their bodies so that they appear to be a member of the opposite sex, I was no longer welcome in the feminist theater company I had founded, and no longer welcome among those I had thought of as friends. Exploring a new idea in a longstanding philosophical debate regarding the interconnected nature of human mind and body was hurtful because it did not uphold the delusion that biological sex is malleable. I had committed apostasy against the new gender religion.

All of us around the table had attended liberal East Coast undergraduate universities, and had four graduate degrees between us, two of them held by a professor and a friend of over 20 years. This was an educated group. Stumbling into any downtown indie arts enclave will land you in the presence of enough degrees to warm the planet right out of existence. In the arts, bachelors degrees are standard, masters degrees are commonplace, and progressive orthodoxies are strictly enforced.

The basis of this enforcement is a kind of groupthink, derived from a politics of compassion, moral relativism, and privilege theory. Divergent opinions are not censored, they are self-censored. Artists who disagree do not speak up. To do so is to risk losing funding in an industry that relies almost entirely on philanthropic donations from organizations that routinely signal their virtue to one another, the artists they supposedly serve, and the progressive milieu at large. Artists who value their careers and industry friendships will not express views that put those things at risk. But I did. I knew what I was doing when I wrote it, although I must admit that I thought more highly of my intimate colleagues’ tolerance for controversy than was exhibited at our last meeting, or since.

Do we really think our era is so fraught and divisive that we must abandon our principles in order to achieve something that we absolutely will not achieve if we abandon our principles? It is neither reasonable nor possible to force everyone to believe a given ideology. People can be forced to espouse it, primarily through punitive measures such as imprisonment, blacklisting, gulags, etc., and social measures such as the denial of funding, denial of camaraderie, and denial of resources. But they can never be forced to believe it. It is to precisely this kind of ideological authoritarianism that my work has been opposed since I began writing.

The other women had been pretty quiet up until now. An old friend spoke up.

“Do you think you’ve done something wrong?” She asked.

“No,” I said.

“Then why would you apologize?” She asked.

“I wouldn’t,” I said.

And I won’t.

See also “American College of Pediatricians speaks truth on transgenderism

~Eowyn

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Yawn: Cornell University to open exhibit celebrating clothing of “empowered” women

AOC’s nasty shoes…

What do you want to bet there will be no clothing worn by conservative women?

And I wonder if they’ll house AOC’s $3,500 designer outfit?

From Hollywood Reporter: Alexandria Ocasio-Cortez’s shoes were made for walking over all her New York City congressional district.

Now, the campaign footwear worn by the youngest woman ever elected to Congress will be part of an exhibit chronicling how women use fashion for empowerment in endeavors such as politics and civil rights.

The Cornell Costume and Textile Collection at Cornell University is launching an exhibition titled Women Empowered: Fashions from the Frontline.

Among the exhibit’s other highlights are collars from Supreme Court Justice Ruth Bader Ginsburg, a 1954 Cornell graduate; a labor union cap from a campaign led by Coretta Scott King in 1969; and a skirt suit worn by Janet Reno, a 1960 Cornell grad and the first woman to serve as U.S. Attorney General.

The exhibit opens Dec. 6 and runs through March 31.

DCG

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