I was born in London, England. I say England because apparently there are seven Londons in the USA, and another one in Ontario. I am in Costa Rica, and there is even a Londres here, a bus-ride away. I haven’t been back to my home city for three years, not since everyone thought Covid was a Roman poet, but I do feel sentimental about the old place, and Maybe it’s because I’m a Londoner. Not the least of the attractions of England’s capital city is that it is a treasure trove of everything it means culturally to be white and English. Well, it was. What happened? Let’s jump in a London black cab and have a look. First stop, 96 Euston Road.
The British Library (BL) in London is one of the leading and most comprehensive collections of the world’s literature. They even have my doctoral thesis in there somewhere. However, things are changing. In 2020, chief Librarian Liz Jolly spoke of removing and revising certain displays after the usual racial forensics had determined any historical figures even tenuously linked to slavery (which Britain, of course, was instrumental in halting). ‘Hundreds of staff’ reportedly signed a letter declaring a racial ‘state of emergency’ at the BL. Jolly herself spoke of the importance of White colleagues playing their part in the now-familiar ‘decolonization’ process, which she proposed was due to the fact that ‘racism is an invention of white people’. I don’t suppose there’s any chance of borrowing a copy of Conrad’s The Nigger of the Narcissus.
From literature to music, and we’ll ask our cabbie to whisk us across London to Covent Garden, home of The Royal Opera House (ROH). As with all the institutions sketched out here, they of course have a “Diversity and Inclusion” policy. Two points are of interest. Firstly, the ROH “is a member of the Employers Network for Equality and Inclusion, which is the UK’s leading employer network covering all aspects of equality and inclusion in the workplace”. Not only will the cost of this consultancy grift be built into the price of opera tickets almost exclusively bought by White people, it also implies that trained Black opera singers and professional Muslim wig-makers are clearly too stupid to find the ROH for their audition or interview. The ROH also dances to the tune of an organization called Stonewall, an LGBT charity, but this is just their aria and we will wait for their grand entrance when we get to the police. The ROH is the first of many examples of the following ethnically cleansed selection process:
We actively encourage people from diverse backgrounds to join our teams and value the positive impact that difference has on our work. We particularly encourage applications from people that are currently under-represented in the Performing Arts and at the ROH including those from Black, Asian [in the British sense, i.e., hailing from the Indian sub-continent] and minority ethnic backgrounds and disabled people.
This is, of course, coding for “English Whitey need not apply”. So, we can look forward to future productions of The Berber of Seville and Nigaro.
From literature and the opera we will jump in the back of the cab and head down The Strand to Trafalgar Square for a spot of art at the National Gallery (NG). I have spent many happy hours there, although it seems not enough Black people feel the same. The NG has a questionnaire on its website concerning ethnicity and disability, and this is not just a polite English nicety: “We are committed to eliminating discrimination in the arts and one of the tools we have to do this is monitoring who our services reach”.
As such, this seems reasonable enough. But the ultimate reason for this monitoring paints a depressing picture repeated across Britain’s cultural institutions: “This [monitoring] is a way of ensuring we are held accountable if we fail to serve members of our society equally” [Italics added].
I have never seen Blacks turned away from the NG by guards with snarling Alsatian dogs, nor cripples refused entry on the grounds they will just be a pain in the arse, what with needing to be pushed around and special toilets and what have you. But the NG diversity policy brings into focus the fact that these new laws are not so much about marginalization or equality as they are about enforced White guilt and, above all else, accountability. Whites are also accountable for just about every masterpiece in the NG, by the way, but it doesn’t work that way now.
We are going through the arts at a whirlwind pace, and before we taxi down to the Thames Embankment to visit Shakespeare’s Globe, we will tarry a while in Trafalgar Square. Rather naively, when I saw that the new work of art destined for Trafalgar Square’s fourth plinth was called Antelope, I thought it might be a representation of that beautiful creature. It was, of course, more Black/anti-White propaganda (the two are equivalent now).
Trafalgar Square’s four quadrilateral plinths were installed in the 19th century. Three of them hold statues of Major General Sir Henry Havelock, King George IV, and General Sir Charles James Napier. Both the iconoclastic Left and their Mohammedan ally, Muslim fifth-columnist Mayor of London Sadiq Khan, will be eyeing all three for removal. Napier is credited with the famous announcement in India concerning the prevalent Hindu ritual of sati and always worth a re-run. Sati was the requirement of a widowed woman to throw herself on her husband’s funeral pyre. Sir Charles told the Hindu priests the following:
Be it so. This burning of widows is your custom; prepare the funeral pile. But my nation also has a custom. When men burn women alive we hang them, and confiscate all their property. My carpenters shall therefore erect gibbets on which to hang all concerned when the widow is consumed. Let us all act according to national customs.
However, the fourth plinth’s intended statuary occupant, William IV, never materialized, and since then it has been used to promote modern art with an increasingly racialized and ideological slant. It is the London Assembly – the legislative body over which Mayor Khan presides – who give the most revealing description of the new installation, Antelope:
Supported by Bloomberg Philanthropies, Samson Kambalu’s bronze resin sculpture restages a photograph of Baptist and pan-Africanist John Chilembwe and European missionary John Chorley, taken in 1914 in Nyasayland (now Malawi) at the opening of Chilembwe’s new Baptist church.
Chilembwe is wearing a hat, defying the colonial rule that forbade Africans from wearing hats in front of white people, and is almost twice the size of Chorley. By increasing his scale, the artist is elevating Chilembwe and his story, revealing the hidden narratives of under-represented peoples in the history of the British Empire, and beyond.
The previous commissions that have been placed on the fourth plinth can be found here. They are not all ugly and ideological, but most are. Their artistic worth, however, is of less interest than their intentional architectural incongruity. The regime that currently dominates the British cultural elites has made sure that each work of art is entirely out of keeping with the historical shrine which Trafalgar Square was designed to be, each one a sore on classical, white skin.
From Trafalgar Square our cabbie would naturally take a tourist up The Mall to Buckingham Palace, but we will respect the long period of mourning being observed for the passing of Her Majesty Queen Elizabeth II and merely note in passing that royalty is not diverse enough, a mulatto princeling notwithstanding. But we haven’t got time to hang about at the Queen’s, or rather the King’s, gaff, as Londoners would once have said. We’ve got a date with the Swan of Avon at Shakespeare’s Globe Theatre.
After a while, going through the various diversity and inclusion statements from London’s great institutions becomes as wearying as sitting through the Bard’s longest play, the four-hour-plus A Winter’s Tale (A Midsummer Night’s Dream is the shortest, by the way. It’s about the length of a soccer match and that fact may win you a bar quiz one day). The document from Shakespeare’s Globe is here. What is interesting about this policy statement is its sense of culpability. Scholars still wrangle over the meaning of Shakespeare, but his opening lines all have more meaning than that of The Globe’s policy statement, “Action must be taken to dismantle systemic racism”. King Lear is easier to understand. Also, actors’ guild rag The Stage could not resist a bit of virtue-signalling concerning Ukraine—“Ukrainian voices should be heard on UK stages.”
Staying with the drama, The National Theatre, a bit of a walk from the Globe on the South Bank, near the London Eye, has an appropriately dramatic diversity and inclusion policy, but you can always trust luvvies to out-perform everyone else. If you enjoy comic theatre, this will make you laugh:
Reinforcing racial justice and equity is an ongoing commitment for the National Theatre. While this work progresses we remain focused in our support for other under-represented groups as they too drive for access to opportunities, to be treated fairly and to have their voices heard.
So dramatic. Darling, you were wonderful. If any of the gauleiters who run this pansified operation believe Black actors are having a thin time of things they are in a drama they wrote themselves. This is cotton-picking season if you are a Black thespian.
If you walk back down the Thames Embankment from The Globe, and you know what you are looking for, you will see across the river the building which is home to MI5, nerve center of Britain’s intelligence services. Fictionally, this is James Bond’s office, and not a bad piece of architecture in the context of the Lego brutality of most of the rest of London’s contemporary builds.
If you happen to be a White man looking for a job, however, don’t even think about a shaken Martini and a tuxedo. Only ethnic minorities and women need apply: “MI5 recruiting new spooks but will only consider women and ethnic minorities.”
So, if you want to be a spook it helps if you already are one. “Our operations are hugely varied, which is why increasing the diversity of our people is needed more than ever before,” say MI5. There is no correlation between variety of operational practice and a concomitant requirement for more colored people, but we are now used to this type of ex cathedra pronouncement intended to marginalize Whites in their own countries, or what used to be their own countries. It is the equivalent of giving an answer in a mathematics exam without showing the working, only a good deal more serious. Had MI5 said, for example, that they wanted to recruit more Muslims to go undercover among the Muslims we are assured are constantly plotting terrorist attacks, that might have made some sense. It is far more likely that these new James Bonds will be used to go after chimerical “White supremacists” of the type that Hope not Hate pretend exist and the police are desperate to find so that they are not forced to investigate Pakistani Muslim rape gangs. Taxi!
To Green Park, taking us past the world-famous Ritz Hotel. At least we can be sure that a hotel won’t be “woke”. Oh, wait. Here are their website’s policies on the 2019 Modern Slavery Act, green issues, and the gender pay gap. Well, let’s pass on and get to the RAF (Royal Air Force) Club in time for lunch. I have actually eaten there, not because I have any connection with the RAF, but my ex-wife’s parents knew a pilot famous for making one of the test flights of Britain’s very first jet fighter, the Gloster Meteor. He was a charming man, oddly eccentric and excellent company. He had forgotten to wear a tie and had to borrow one from the barman so that we could be seated in the dining-room. If he were to apply to the RAF as a pilot today he may have a problem, given that their aim is to stop hiring white men. Back in the cab and to New Scotland Yard, the nerve center of London’s Metropolitan Police.
A sleight of hand took place a while ago regarding the British police. A degree did not used to be required for employment as a police officer. Now it is, and it is unlikely that your average copper will read for a STEM degree. Why would you graduate in civil engineering or molecular chemistry then take a job in which the only time you left the office was to be spat at by this week’s demonstrators? Police officers will, of course, have arts degrees, which now consist mostly of intellectual confectionery intended to stamp the braille of conformity into their personalities and thus ability to do the job.
Where the police have been threatened in the USA by mostly Black Democrat Mayors, governors, DAs and the rest of the apparatus supposed to maintain law and order, the British police have been neutered by being forced to go “woke”. Stonewall is an aggressive, pro-homosexual organization who have taken control of the ideology of the police. The mewling response of London’s police to Stonewall’s “action plan” can be downloaded here. The police are powerless to stop escalating Black knife crime and looting in London, but they have resolved to “explore whether we can include an explicit statement of zero tolerance to homophobic, biphobic and transphobic bullying”.
Britons never, never, never shall be slaves. So say the lyrics to the National Anthem. But they already are, and these supplicant documents paraded by a nation’s great cultural institutions in its capital city show that. British culture is now constrained by coercive protocols, a quasi-legal system of crime and punishment. London is not unique. Wherever you are, if you are white, male and heterosexual, look at the organizations involved in your life, your employer, your bank, your insurer, you or your kids’ university or college or school, and it’s a pound to a pinch of snuff that they will have a diversity and inclusion policy which implicitly — and increasingly explicitly — tells you that you are a bad person. It would be easy to declare that you will have nothing to do with any organization which has such a policy, but only given that you have no need to work or use a bank or send your kids to be ‘educated’.
London is a beautiful, wonderful, historical city. But, like the underground rivers that crisscross that city beneath its pavements (which American readers would call ‘sidewalks’), there is hidden activity in its great and founding institutions. Whites are now a minority in London, not simply because of influx but because whites are leaving, for which they will of course be blamed. Britain is just as close to the USA to a civil war, and I hope the first places torched are the treasonous ones I have mentioned here. People may be unforgiving when, as The Clash sang in London Calling, war is declared, and battle come down.