RUTHFULLY YOURS

https://pjmedia.com/news-and-politics/lincolnbrown/2022/12/13/the-cambridge-dictionary-redefines-man-and-woman-n1653318

EXCERPT:

Once upon a time, a dictionary could be used to provide you with the correct spelling of a given word, as well as its definition. No political commentary, no “directing” people to an acceptable mindset. Just the information you needed to help you express yourself properly.

Now? Not so much.

The Cambridge Dictionary has changed its definition of “man” to the following:

man

noun (MALE)

an adult male human being:

an adult who lives and identifies as male though they may have been said to have a different sex at birth:

Mark is a trans man (= a man who was said to be female when they were born).
Their doctor encouraged them to live as a man for a while before undergoing surgical transition.

The definition of “woman” now reads:

woman

noun

an adult who lives and identifies as female though they may have been said to have a different sex at birth:

She was the first trans woman elected to a national office.
mary [sic] is a woman who was assigned male at birth.

https://www.frontpagemag.com/standing-up-to-trans-tyrants/

Now 46 years old, the British choreographer Rosie Kay founded the Rosie Kay Dance Company in 2004 and, to quote the BBC, “has been making challenging, socially committed and political work for decades.” She’s the kind of artist, in other words, that the left-wing media love to celebrate. In August 2020, for example, when she premiered 5 Soldiers – for which she’d prepared by embedding herself in an infantry battalion – the Guardian reviewer summed up his verdict as follows: “The life of a soldier is already full of choreography, and Kay works with that to make dance that feels rooted in reality.” In May 2021, the Guardian’s critic described her dance piece Adult Female Dancer, about “a woman’s struggle to define herself, inside and out,” as “superb.” And in September 2021, her Romeo + Juliet was praised by not one but two Guardian writers, both of whom used the word “brilliant.”

Then, quite suddenly, Kay’s star fell. On the evening of August 28 of last year, she held a dinner party at her home for the Romeo + Juliet troupe, which skewed very young. It began well enough. The wine, by all accounts, flowed. But when Kay was asked about her next project, an adaptation of Virginia Woolf’s 1928 novel Orlando, the conservation entered what is, in high-culture circles in the year 2022, exceedingly dangerous territory. Since Orlando is about a man who changes sex mysteriously, it was no surprise that mention of it led to a discussion of gender. Two of Kay’s dancers, as it happened, identify as “non-binary.” She asked them about that.

“Initially,” one of the dancers later told the BBC, “I was OK with her asking about why we identify as non-binary. It’s OK to be a bit curious. But her repeated questioning stepped into micro-aggression territory, then into something more potent. If you’ve seen as many YouTube videos by self-identified transgender people as I have, you know that asking questions about their pronouns and the like is more than welcome until, suddenly, it isn’t.

https://www.wsj.com/articles/drag-queen-story-hour-is-just-the-beginning-american-library-association-woke-social-justice-book-banning-white-supremacy-11668193580?mod=opinion_lead_pos8

In 2006 the American Library Association offered its members buttons emblazoned “radical militant librarian.” We should have taken the message at its word. The American library, once a haven of neutral calm, has become a battleground in the culture wars.

In 2018 the ALA dropped the name of Laura Ingalls Wilder from its annual children’s literature award. The reason? The supposed culturally insensitive portrayals in her landmark “Little House on the Prairie” series. Three years later, the organization issued a “Resolution to Condemn White Supremacy and Fascism as Antithetical to Library Work.” It claimed that “libraries have upheld and encouraged white supremacy both actively through discriminatory practices and passively through a misplaced emphasis on neutrality.”

The quiet, neutral library was out. Full-throated progressive politics were in. As Emily Drabinski, who was recently elected president of the ALA, said on her website: “So many of us find ourselves at the ends of our worlds. The consequences of decades of unchecked climate change, class war, white supremacy, and imperialism have led us here.”

The condemnation of the history of the American library, by its own gatekeepers, has done more than bring “Drag Queen Story Hour” to children’s reading rooms. It has also upended the library’s traditional role as an organization primarily dedicated to the acquisition, preservation and circulation of books. This radical overhaul is the work of some of America’s largest cultural philanthropies.

Last month the Mellon Foundation hosted a panel discussion on the American library with Mellon president Elizabeth Alexander, ALA executive director Tracie D. Hall and Los Angeles City Librarian John F. Szabo. “Library workers are on the front lines of some of our most pressing social justice issues,” began the discussion. They are “no longer relegated to the reference desk.”

What does this all mean? For one, that today’s librarians mock “the shushing part” of the traditional library: “I can’t think of too many contemporary library spaces I’ve been in where the librarian is going to be a shusher,” Ms. Hall said. “I probably was the librarian that others might have wanted to shush.” The panel spoke of “fulfilling the promise of what libraries were meant to be in terms of equity” through sewing classes, co-working spaces and “entrepreneurial incubators.”

https://www.frontpagemag.com/candace-video-able-bodied-norwegian-man-now-identifies-as-disabled-woman/

A Norwegian man who identifies as a woman has inspired ire on social media for also identifying as disabled and using a wheelchair despite not physically needing one. Candace sheds light on just how surreal the Woke trans agenda is. Don’t miss it!

https://www.americanthinker.com/blog/2022/07/who_exactly_gets_offended_by_cultural_appropriation.html

We live in an age of mass stupidity, with totally ridiculous notions elevated to the status of self-righteous causes. But among the most absurd complaints that predominantly young wokesters embrace is the censure of what they call “cultural appropriation.” By this, they mean people of one ethnicity using cultural artifacts of another culture.

Having lived in Japan, which eagerly embraced Westernization more than 150 years ago, and where classical music is far more popular than in the United States, this seems an odd complaint. Cultural appropriation has made Japan rich, diverse, and happy. McDonald’s is the biggest restaurant chain, thiough sushi and ramen remain immensely popular too. It is a delightful mix of opportunities for fun in every realm of human endeavor, with all the world’s cultural achievements available for sa,p[ling on today’s Japan. 

The wokesters, of course, have no knowledge of such matters, and focus almost exclusively on complaining about Caucasians dressing, eating, singing, or otherwise sampling cultures which the wokesters have decided are victims.

But what they fail to understand is the cultural pride almost everyone feels when others find their own practices worthy of emulation.