One day all the statues will have to be smashed and replaced exclusively with statues of transgender Muslims. Until that glorious day arrives, the cultural revolution marches on by coming after the man who wrote this.
“What though on hamely fare we dine,
Wear hoddin grey, an’ a that;
Gie fools their silks, and knaves their wine;
A Man’s a Man for a’ that:”
That’s right. It’s Robert Burns’ turn. Why? Well he’s a white man, he is. And that’s a crime nowadays.
The city’s monument “men” are in peril.
A member of the commission that oversees art and architecture on city property suggested Monday that instead of simply adding statues of historical female figures to Central Park, the panel yank out some of the male ones first.
“There are what, five or six [male] statues that I think could easily be replaced by individual statues of each of these women,” said Hank Willis Thomas, a painter who serves on the Public Design Commission, at a hearing at City Hall.
“I don’t think that there are many people who will miss the Burns statue, or some people may not miss the Columbus statue if there’s another one just a few hundred yards away,” Thomas said.
Literate people will. Fortunately none of those were allowed on the commission to purge Central Park of art and literature.
Here’s the sort of black nationalist garbage, Thomas is responsible for.
His two screenprints of 2013, And I Can’t Run and Blow the Man Down, express the erasure of past injustices to the black male body by printing photographs of humiliations or executions of black men on retro-reflective vinyl (commonly used for street signs), rendering them invisible except under flash photography.
Thomas has a permanent installation at The National Memorial for Peace and Justice in Montgomery, Alabama. The piece, titled Rise Up, depicts a cement wall with statues of black heads and bodies emerging from the top of the wall whose arms are raised in surrender. The piece comments on the incidents of police violence and police brutality that are prevalent in current American society.
Assuming Thomas can even read, I presume the people’s commissar of politically correct art hasn’t read Burns.
Or maybe he has and was personally offended.
Ye see yon birkie ca’d a lord,
Wha struts, an’ stares, an’ a’ that,
Tho’ hundreds worship at his word,
He’s but a coof for a’ that.
So yes, the movement that began with smashing Confederate statues has moved on to smashing any statues of any white men.
Because the cultural revolution must continue. Its purpose is destruction. It’s a movement of cultural vandals claiming the moral high ground through grievance mongering.
And thus, Burns may have been far too optimistic.
Then let us pray that come it may,
As come it will for a’ that,
That Sense and Worth, o’er a’ the earth
Shall bear the gree an’ a’ that.
No chance of that. Not if lefties, if Thomas and Bill de Blasio and the rest of the gang of radicals who have taken over the Democrats, the media and academia have anything to say about it.