The Musical Trojan Horse | WHAT REALLY HAPPENED X-Frame-Options: DENY X-Frame-Options: SAMEORIGIN

The Musical Trojan Horse

One of the significant aspects of the current revolutionary madness sweeping the nation is the unrestrained assault on the cultural artifacts of Western Christian civilization. In effect the attack on monuments and the nomenclature of Army forts, schools and streets, and on so much more is emblematic of something more profound and irreparable, an assault on what those symbols signify.

In a broader sense, this assault portends a basic denial of the richness and nourishing fruits of our culture and what that culture has given us. For that denial goes far beyond visible symbols in copper and granite or in place names. We have seen this in the increasing demands for a Taliban-like “cultural cleansing” of our society. And thus the mounting attacks on our artistic heritage—on those works of art that remind us of what our civilization has created and, indeed, of its bounty, goodness and creativity that have helped fashion who we are as a people.

In this climate of nihilism the remarkable art, the superb literature, and the great classical musical heritage which have held us in delighted rapture, are being despoiled, even withdrawn from accessibility like the film classic “Gone With the Wind” (now no longer available via HBO video platforms). In some cases this has resulted in de facto or outright banning. And if a work of our heritage is simply too significant to be erased, then it will be re-cast and reinterpreted to support the revolutionary agenda.

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