Kevin Williamson on being the wrong kind of brown person: 

For his political conservatism, Governor [Bobby] Jindal, like Governor Nikki Haley of South Carolina and conservative activist Dinesh D’Souza, also Republicans of Indian origin, is savaged as an Uncle Tamas — an Indian guilty of acting white. The charge has been led by the New Republic, the former political journal turned vanity press owned by Facebook millionaire Chris Hughes, one of the whitest white men in the history of whiteness, an argyle sock of a man… Jindal, D’Souza, and Haley stand accused of the worst sort of heresy: being members of an ethnic minority group who neither present nor understand themselves as the white man’s victims, whose stance toward the country in which they all reside and in which two of them were born — the country they love — is not one of opposition. The Left needs neediness, and these three aren’t offering up much of that.

Tim Blair explores the subtle, compassionate mind of Clementine Ford, a writer of “feminist social analyses” who tells us “abuse is not a joke.” 

And Brendan O’Neill on austerity and its champions: 

Before they developed their new-found emotional attachment to describing everything they don’t like as ‘austerity’, [leftist critics] were openly calling for austerity. George Monbiot is one of the Guardian’s chief complainers about Tory austerity — the same George Monbiot who in 2006 proudly described environmentalism as a “campaign not for abundance but for austerity” and who inspired the radical group Riot 4 Austerity. His colleague Zoe Williams likewise complains about “austerity” yet a few years ago she was dreaming of introducing Second World War-style food rationing, because “the lesson from the 40s is that to fix a public-health problem… you need big government.”

Yes, the chronically unhappy and tormented George Monbiot, who one week claims that austerity is crushing the poor and is “an assault on public life,” and then another week calls for his readers to “riot for austerity. Riot for less.” Because, says he, economic growth is “a political sedative,” a tool of false consciousness, “snuffing out protest” in our dulled, befuddled minds. And so Mr Monbiot denounces “the blackened waste of consumer frenzy,” by which he means shopping, and instead wants “a campaign not for more freedom but for less… a campaign not just against other people, but against ourselves.” “Unpleasant as it will be,” says George, and while “some people [will] lose their jobs and homes,” austerity and recession will avert “ecological collapse,” while saving us from those jet skis and diamond saucepans that we’re all intent on buying, and the mere existence of which robs him of sleep.

For more of Mr Monbiot’s strange mental adventures, see here, here and here. 

Feel free to share your own links and snippets in the comments. 

What, you didn’t know? 

Remember, Laurie is a fearless feminist warrior, a Wadham College “riot girl,” a communist, a revolutionary, a self-described “rebel” and “troublemaker.” One whose world is “on fire.” She and her radical friends are going to bring the whole patriarchal capitalist system crashing down. 

But life without Facebook isn’t worth living. 

The Guardian’s Jonathan Jones has been busy enthusing about the new mascot for Partick Thistle Football Club, created by Turner Prize nominee David Shrigley. The mascot, funded privately and described by Mr Jones as the creation of “a tough and honest artist” and “art at its best,” can be seen and studied here, no doubt at great length. However, in championing Mr Shrigley’s handiwork, the Guardian’s art critic inadvertently makes an argument for ending taxpayer subsidy of so-called “public” art: 

Populism and good art are incompatible… Good artists… don’t please crowds… That is why most public art in modern Britain is awful… Good artists cannot and will not provide what the public wants. They need to be edgy, challenging, otherwise they will become sell-outs.

Note Mr Jones’ unironic use of the word edgy. 

An example of Mr Jones’ idea of that rare thing – great, edgy public art – i.e., paid for coercively by extorting the taxpayer, in this case to the tune of £95,000 – can be found here. Mr Jones described said object as “a very elegant work… redemptive, joyous, liberating.”

Katherine Timpf on a “white privilege” conference for teachers and school administrators: 

“Many white people in Oregon have no idea that our schools and state are immersed in white culture and are uncomfortable and harmful to our students of colour, while also reinforcing the dominant nature of white culture in our white students and families,” one of the conference documents explains. The manual defines this “white culture” with a list of values, such as “promoting independence, self-expression, personal choice, individual thinking and achievement,” because apparently those are strictly “white” concepts and not emphasised in black communities.

Educators of pallor are being told, at public expense, that in order to become “anti-racist white allies,” they must first embrace the conceit that “All white people are racist. [Therefore] I am racist.” If that sounds not only absurd but a little sinister, practically Maoist, that’s because it is.

Here’s one of the many reasons why the leftist website Salon gets laughed at quite a lot. 

And Fraser Nelson agrees with Charlotte Church and Polly Toynbee, perhaps more than they would like: 

At the end of our tax returns, we declare how much tax we owe. [George] Osborne can introduce a new line in the tax return saying: if you think this isn’t enough, how much extra would you like to pay? People like Ms Toynbee and Ms Church can then fill in the extra so they can pay 50 per cent, or even 70 per cent, if they like. This ‘nudge’ tax reform would be consistent with the liberal principles of a Conservative government while allowing left-wingers to act along with their conscience and hand over more of their income to the government. So next time, rather than complain that they would be happy to pay 70 per cent tax, such people can proudly claim that they do pay 70 per cent tax. And they will have the tax return to prove it.

However, as we’ve seen, Polly is much more troubled by what you earn and keep than by what she earns and keeps – which, given her six-figure Guardian income, plus appearance fees, royalties and property portfolio, is quite a feat. Like many of her peers, Ms Toynbee thinks that voting for the state to confiscate even more of other people’s earnings is somehow an act of altruism. It’s also, conveniently, presented as an excuse for not using her own considerable resources personally, directly, to help those she deems deserving. And if a well-heeled leftist bangs on week after week about how terrible unequal incomes are and how something must be done urgently – and then says she won’t do what she insists is morally imperative unless the state forces her to do it – this isn’t a resounding affirmation of her professed principles.

Feel free to share your own links and snippets in the comments. It’s what these posts are for. 

Meanwhile, in the Guardian:

[Arts Council] grants aren’t won down the pub by a dart competition where the bullseye’s a picture of the taxpayer’s face. Of course, I wish they were, because that would save the hours of work it takes to write a grant application. And I’m pretty good at darts.

So writes Zoë Coombs Marr, a writer, comedian and “theatre maker,” and a woman of profound humility, in a piece complaining about the “devastating effects” of modest alterations in taxpayer subsidy for Australia’s commercially unviable artists. Artists who, while unloved by the general public, are nonetheless deserving of money they haven’t earned. “I’m here to bust a few myths,” says Ms Marr. And so begins a sorrowful tale of how bloody hard it is to be an artist whose work is of little interest to the public, and how hard it is to screw other people’s earnings out of other people:

Grant applications are comprehensive proposals that take multiple people and sometimes months to complete. They’re assessed by a panel of professionals (not your mates) employed to pick your application apart, assess it for financial viability and community relevance.

At this point, rather bafflingly, Ms Marr links to an article – this one here, by Tim Blair – which is part of a series of pieces by Blair and Andrew Bolt on arts funding cronyism and the ludicrous misspending of public money. A series that actually reveals her claim of funding integrity and aesthetic high-mindedness as – how shall I put this? – less than convincing. Not your mates, indeed. 

Undaunted, or perhaps oblivious, our unhappy artist continues,

Grant money is pumped back into the economy and employs numerous people. 

How much and how many is, sadly, left unspecified. But apparently Australia’s economy will be rendered turgid and engorged by throwing $21,000 that someone else had to earn at “rainforest basketry training programmes,” and another $20,000 at “dance theatre work devised by participants who identify as fat/large/bigger-bodied.” And by surrendering a further $12,000 of taxpayers’ money to “enrich the sensory theatre practice” of one person “with master classes and mentoring in Body Mind Centring praxis.” Yes, you can hear that economy boom from half a world away. These examples, by the way, are among the many cited in the article by Tim Blair, and to which Ms Marr links as somehow helping her case.

Readers unswayed by Ms Marr’s article - in which she says, “I could try to explain to you why we should fund the arts” but doesn’t bother doing so - should note that she is the winner of Australia’s taxpayer-subsidised 2006 National Poetry Slam Championships. So there’s that. A more recent poetic work by Ms Marr can be savoured here. [ Added: ] And thanks to Nikw211 in the comments, Ms Marr’s comedic stylings – the fruits of her “training, skill and hard work” – can be experienced at length here. I should point out it’s quite a slog and you may want a stiff drink to hand. Or a canister of nitrous oxide.