Sunday, March 02, 2014

Katha Pollitt vs. Sarah Kendzior, another Mikki Kendall enabler

UPDATE 6/10/2014 - I'm suddenly getting a bunch of visits to this article, so I had to check out what's up. It seems that Sarah Kendzior is making a name for herself by attacking leftists. Again.

It is truly stunning how often Social Justice Warriors like Kendzior and former Nation columnist Aura Bogado and the famous bully and yellow journalist Mikki Kendall and the infamous grade A fancy ninny Suey Park (good buddy of Michelle Malkin) attack liberals and leftists when they themselves are supposed to be part of the left.

I think it's time somebody did a little investigative journalism on these SJWs.

While of course it's entirely possible that they're all just stupid and wrong-headed and priority-wacked, I really do wonder if the right is paying them to attack liberals. It would be easy enough to do - there seems to be very little background information available on notorious Tweeters in spite of all the fame and celebrity they receive. It would be extremely easy for the right - which has plenty of money for astroturfing as anybody who has studied the Koch brothers knows - to invent Tweeters or pay off social justice warriors to attack the left.

In fact it's so easy to do why wouldn't the right attempt to use a bunch of tweeting stooges to attack real liberals and leftists?

Sarah Kendzior in particular has it in for Katha Pollitt, as this recent tweet demonstrates:



Kendzior doesn't provide anything to back up her claim about Pollitt, and she's already lied about Pollitt previously (see below) - and now she seems to have misrepresented - or lied about, if you will - what Elias Isquith said.

Kendzior is not big on backing up her claims about the alleged evil that leftists do, as we see again from a recent post on her blog:
For the past few weeks, I have been receiving rape threats and constant harassment from people who describe themselves as leftists or communists, and apparently want to rape their way to revolution.
So I have to ask the people visiting this post: has Sarah Kendzior provided any evidence whatsoever of actual leftists or communists rape threats to her? And I mean, threats that can be connected to actual people, rather than just random pseudonymous Twitter accounts?

Does anybody do investigative journalism any more?

I think I finally got to the bottom of Kendzior's charge against Pollitt. Apparently a friend of Kendzior's someone named Joshua Foust who writes for The Atlantic, is claiming this:


You can read the entire exchange here, where Foust basically insults people for questioning his claim. Another Twitterer made a reference to Foust's claim and Pollitt said this:


Clearly Kendzior has no interest in accuracy or fairness - she wants to get Pollitt by hook and by crook and she will use every nasty unethical trick in the book to do it. Typical operating procedure of a Social Justice Warrior.

As Pollitt said, many women get rape threats - it's certainly plausible Kendzior got some, although she doesn't offer any evidence. But even if you accept she did, why should you accept Kendzior's claim the threats are from "leftists" and "communists"? And on the basis of this "leftists or communists" Kendzior's friend Foust claimed the perps were writers for Jacobin and Salon.

Is that what it means to be a writer for The Atlantic these days?



ORIGINAL MARCH 2, 2014 post:

Wow, I was wondering if Katha Pollitt would ever be attacked by the Mikki Kendall gang and it finally happened.

I blogged recently about a member of Kendall's gang, Aaminah Khan, whining about poor Mikki Kendall, who only gets published by the Guardian and Salon and Jane and praised in Mother Jones, being picked on by people in big media outlets. What she means of course is the very moderate examination by The Nation's Michelle Goldberg of the viciousness of Tumblr bully slash Twitter bigot Kendall. Then today I found another Mikki Kendall pity party, this time hosted in Al Jazeera by one of Mikki Kendall's good friends Sarah Kendzior (you can observe Mikki Kendall and Sarah Kendzior's mutual admiration in this Twitter exchange, three months before Kendzior's defense of Kendall). Kendizor writes:
"Twitter is a poisonous well of bad faith and viciousness," tweeted Nation columnist Katha Pollitt after engaging in Twitter debate with feminists who disagreed with her views. Pollitt's comments were followed up by a Nation cover story called "Feminism's Toxic Twitter Wars", which described Twitter as a site of "Maoist hazing" and "perpetual psychodrama".
The article was written by Michelle Goldberg, a journalist, who in December wrote a spirited defense of Justine Sacco, the white PR executive who tweeted a racist joke mocking black Africans dying of AIDS. The antagonists of Goldberg's "Toxic Twitter" were female activists of color, although particular wrath was reserved for Mikki Kendall, a prominent black intellectual best known for starting the hashtag #SolidarityIsForWhiteWomen to highlight the lack of support for women of color in the mainstream feminist community. The hashtag was partly inspired by white feminist defense of Hugo Schwyzer, a writer who had attacked women of color online and confessed to numerous acts of harassment, describing himself as "a breathtakingly cocky fraud" and a "piss-poor feminist".
Wow, I have to say it blew my mind to see someone describe Mikki Kendall as an "intellectual" while attacking a bona fide intellectual like Pollitt. And then I laughed a long and hearty out loud at the idea of someone who spends her time tweeting inanities and bigotry inspired hashtags being described as an intellectual.

Now Katha Pollitt has faced down far more formidable anti-feminists disguised as feminists long before Mikki Kendall and her horde of sycophants. She's been up against Rush Limbaugh's friend Camille Paglia decades ago and handed anti-feminist Katie Roiphe her ass in 1993.

If Pollitt is not going to put up with shit from pseudo-feminists like Paglia and Roiphe she certainly isn't going to take it from even lesser minds like Kendall and Kendzior. Pollitt responded to Kendzior in the comments of the Al Jazeera article:
That tweet of mine was not preceded by a debate on Twitter with feminists who "disagreed with my views." That is just false. It was a free-standing tweet (it came out of a discussion on a listserv). It is absurd to compare me to a dictator or the Saudi regime. Two people can have different problems with the same thing. But that idea is too subtle for Sarah Kendzior, who prefers wild potshots and smears.
Oh yes - now that is how you do a smack-down, ladies and gentlemen!

I couldn't resist - I tracked down Kendzior's email address at her web site and asked her directly what exactly she considers Mikki Kendall's intellectual accomplishments and if she's ever heard of Katha Pollitt before smearing her in her article. I doubt I'll get a response - social justice warriors like Kendzior just throw bombs and run away like the sad little cowards they are - they are certainly not going to face the people they've smeared. Just as Mikki Kendall makes damn sure nobody can find her email address to get a chance to virtually confront her on her viciousness and bullying.

But on the off-chance she does respond I will post it here.

UPDATE: she did respond:
Mikki is a public intellectual. She has published widely in both mainstream outlets (Guardian, Salon) and on her own website, Hood Feminism, and gives public talks. She has started hashtag movements that have attracted millions of people. Her works have reshaped public debate on race and feminism. 
As for your question about Katha Pollitt, yes, I knew who she was. I don't have a particular opinion about her as a person, only about her work and ideas. 

Well this is good news - I have my own web site, and have given public talks (about theater, but it still counts) so I guess I'm pretty much a public intellectual too.

And of course Kendall's infamous Salon article claiming, on no evidence, that a doctor wanted to see her dead before she got a life-saving abortion, should be counted as one of the lowest points in Salon's history. It would seem that the prestigious Salon doesn't actually bother with such things as editors.

And of course her hashtag movements generally reflect how much Mikki Kendall hates white women.

The idea that Mikki Kendall would be critiqued, even as gently as it was done in The Nation article, clearly drives social justice warriors/unethical journalists like Sarah Kendzior into a frenzy - Mikki Kendall can do no wrong in their minds, and so anybody who dares to criticize her in the least is just a meanie and probably - of course - a racist.

It should be noted that the SJW movement has one of their own writing for the Nation - Aura Bogado was a big participant in the #solidarityisforwhitewomen hash tag bigotry festival. You have to wonder why they don't acknowledge Bogado ever. I mean, Bogado loves Mikki Kendall:



Reply to  
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Social Justice Warriors love to tell people to shut up - that's one of their methods of social control and power.

I really do wonder how many of these extremists have heard of Pollitt - their idea of a true feminist is someone, like Mikki Kendall or Camille Paglia for that matter, whose claim to fame is attacking real feminists. And just as Camille Paglia found much common ground with Rush Limbaugh, it is inevitable that Mikki Kendall will find her very own right-wing buddy to help boost her feminist-bashing career.

Meanwhile, back to a true feminist and intellectual - I'm pleased to see that my contribution to the Katha Pollitt wiki (I added the bit about the Smurfette Principle) hasn't been stomped on by the wiki editors.

Saturday, March 01, 2014

My mother and I are very different people

From a recent email from my mother, on the occasion of my birthday...

We are having our St. Patrick's party here on the 14th and a couple of my friends are coming as guests. One man has a granddaughter who is in an Irish dance group and they come every year to entertain us plus a fun DJ.  So who says "it's no fun getting old."
It's nice to know there's something to look forward to...

Thursday, February 27, 2014

Sonnet review 2014


Cartoon from this week's New Yorker.
I was cleaning out files at my web hosting site and decided to review my old sonnets. I wrote them as therapy, over the course of three years. I talk about that in this video monologue from 2012, "The Dark Lady Sonnets."

I admit in the monologue that most of the sonnets are not very good. What I don't mention is that some of them are pretty sexually explicit and I'm kind of embarrassed about them now. Granted I was in a weird love-lorn distraught state of mind when I wrote them and so felt the need to express all the emotions generated by my unrequited love, but this one about kung-fu porn is so over-the-top I have to laugh - and to be honest I was trying to be funny. But it's pretty dirty.

And Amoureuse, which I think is pretty good, even now, is nevertheless pretty blatant. I think most people get exactly what I'm talking about, even this part, which is my favorite:
The luscious swollen token of no-doubt -
His approval manifest unspoken.
Although I was only following Shakepeare's lead in broaching the topic of penile hydraulics. And I did try to protect the casual visitor to the site - except for the first ten sonnets I wrote, all were placed on an internal page of the site - the only way you could read the sonnet was to deliberately click a link labeled "sonnet." So if you got a shock, it was your own fault.

But I have posted naughty ones right on this page, below - consider yourself warned.

I find that on reviewing the sonnets, some of which I haven't read since the week I wrote them, they are not as bad as I remember. Looking back after several years, what really surprises me is that I seem to have a knack for ending the sonnets pretty well.

The last two lines of a Shakespearean-style sonnet are called the couplet, or volta and should have a certain zing. According to Wiki:
In Shakespeare's sonnets, however, the volta usually comes in the couplet, and usually summarizes the theme of the poem or introduces a fresh new look at the theme.
I make a big deal of the final couplet of Shakespeare's Sonnet 147 in the aforementioned Dark Lady monologue:
For I have sworn thee fair, and thought the bright;
Who art as black as hell, as dark as night.
Now that's a zingy volta.

In Secret Sonnet #7 I alluded to Poe's The Raven - and borrowed "only this and nothing more." While most of the poem is just OK, I think the ending is quite effective:
Upon a mid-day dreary at my trade
I ponder if it's you that I adore
Or some unworldly shadow that I made - 
A mere shade. Only this and nothing more.
Despair comes blacker than a raven's wing
And only fantasy can make me well
With bliss the true deluded mind can bring
To save me from a serpent-tortured hell.
Cloud Cuckoo Land where we, impassioned, love 
On petals blessed by rosy-fingered Dawn;
No croaking fiend in feathers black above;
In Cuckoo Land my love will turn you on.
Pallas frowns - her wrath falls fierce and mighty
On such sorry fools of Aphrodite.
Pallas is a reference to the bust of Pallas Athene mentioned in The Raven. I think the volta is a nice finish to a sonnet where I'm basically mocking myself for indulging in fantasies of a love that's not gonna happen. Athene was the Greek goddess of wisdom, whereas Aphrodite was the Greek goddess of love - a good metaphor for the head/heart dichotomy. This sonnet also includes a shout-out to Lennon's "Oh Yoko" - "my love will turn you on."

***

This next one doesn't work very well at all - except for the final couplet. The conceit here is that the beloved's soul is separate from the rest of him, and that's what I really love. And then I laugh at myself in the last two lines - this is another head/heart dichotomy poem. Of course I'm conflating the religious soul with the artistic soul, but it works OK.
Dear beloved soul whom I know so well,
I mourn for you locked in a stone cold frame.
To be parted from you is holy hell
And I proclaim I adore you sans shame.
How is it possible that you are trapped
Inside a cruel and petty little man?
Who needs a shaking, whose face should be slapped
For refusing ever to understand
That devotion is scarce to be found
In the lives of most on this damned planet
More precious than platinum by the pound,
Should be welcomed by sweetness not granite.
But rave no more - Reason take the controls.
An atheist does not believe in souls. 
***

Wow, this one is embarrassingly naughty - but I really like the volta:
Oh lay me down my sweet and darling man.
It's my sonnet, I'll make you what I will,
So "sweet" and "darling" I'll use since I can,
Transforming good of what, in truth, is ill.
And so bewitched - oh gently cover me
With your nakedness. Occupy the space
That quivers for you so covetously
With your solidity, then kiss my face
Now radiant in love and ecstasy.
Caress me with exquisite fingertips;
Fiercely, my champion stallion, thrust me
Into derangement with your lightning hips.
Oh your masculine praises I will sing
'Til neighbors pound the ceiling, my darling.
I think that's a very zingy volta. Too zingy for a sonnet, it's more like a Broadway show tune - but considering the lines that come before, I can hardly complain about the want of gravitas - "thrust me into derangement" - oh lordy.

And once again the sonnet acknowledges the beloved doesn't return my feelings but I'll fantasize anyway. I should also note that this was written two years before the Occupy Wall Street movement.

***

This one was based on an actual dream I had.
We were last night in Dreamland, you and me,
In a mansion or a hotel? A crowd
Of people everywhere, fantastically
Arrayed. You must realize that I am proud
And you were cruel to me. Until the day
That you apologize I am unbowed.
I look for shelter on the premises,
Escape by climbing the spiral staircase -
Which leads straight to my mortal nemesis.
You smile like a god of divine grace.
O curséd dream that bares my naked wish!
I cry awake in heartbroken anguish.
 
In the dream I did see the beloved at a party at a rather grand country estate - almost like a castle. And I ran away from him, because I was mad at him for hurting me. I'm all - look how proud and in control I am. Only to meet him, impossibly, at the top of the spiral staircase, wearing a big gotcha grin. My damn libido was clearly saying, "sorry, you can't escape your true desire that easily." I especially like the "naked wish" which obviously has a double meaning. 

Wednesday, February 26, 2014

Mikki Kendall pity party

Aw, Aaminah Khan is sad because people won't just lie down and allow the Mikki Kendall bulldozer to run over them without occasionally complaining.

If you want to see the sleazy "journalism" of social justice warriors in action, check this typical move that Khan uses. Right in the middle of an article about "mainstream feminism's gatekeepers" - and in case you're unclear, mainstream always means "white" to social justice warriors - she sticks this in:
It’s true that painting non-white people as menacing, scary, and even savage is not a new tactic. The “angry black woman” narrative, in particular, has been around a very long time and continues to be used routinely, including in characterizations of First Lady Michelle Obama.
The link goes to a Salon article complaining about the way Michelle Obama was portrayed in the Washington Post and the New York Daily News and Business Insider and the Huffington Post* and Wonkette.

Do you see what Aaminah Khan did there? She conflated "mainstream feminism" with all those media outlets. And she thinks you're too stupid to realize that she's deliberately smearing feminists with the sins of non-feminist media. And if you're a social justice warrior you probably are too stupid to understand that's what she did.

Although of all the obnoxious things that Aaminah Khan says in the article, this might be the worst:
It’s worth pointing out that detractors of women like Kendall publish their “critiques” in online publications with huge readerships, leaving their targets left to defend themselves on Twitter or in personal blogs.
How amusing that Khan would say this about detractors of Kendall, when Kendall herself has been published in Salon and Jane and promoted as a heroine of feminism by Michel Martin at NPR and at Mother Jones.

I'm not the only one who has been personally attacked and smeared by Mikki Kendall and her mob of social justice warriors via social media. I recently found this, which explains how Kendall operates:

The facts about me and Mikki Kendall
3. She has a long history of calling people liars about being survivors. 
Even if I was the most racist shit to ever crawl out from under a rock? That doesn't justify her standing up repeated and saying I lie about being a survivor. It doesn't justify her being part of pile ons that consisted of people repeatedly saying I was lying about being a survivor.
#Ibelieveher is important, it is not #Ibelievehersolongassheneversaysanythingoppressive. 
Even if someone lies? By doing this, she tells other survivors that they were at risk of being called liars if Karnythia decided they were awful people. She silences survivors with that tactic. It's harmful. 
She also accused a grieving mother of 'lying' about her babies death and attacked countless other people.

3. She have never acknowledged or apologised for any of this. When people talk about what she's done, they get attacked and she doesn't bat an eyelid.
Mikki Kendall continues to enjoy a media platform and the following that denies that when Ms Kendall is crossed in any way, she behaves in ways that actively perpetuated oppressions.
Those of us with genuine reasons to criticise her get lumped in with those who don't and dismissed. We continue to be subjected to her oppressive actions and it is time this was acknowledged. 
Long story short? I'm sorry she's getting attacked and subjected to many of the tactics she's wielded against others, but I am also tired of being gaslighted by people who insist she isn't a bully and doesn't do this stuff. I am tired of being called a liar by people who self righteously tweet #Ibelieveher until someone tells them about Ms Kendall's past (or the past of any popular SJ advocate) and then they don't believe us.
Mikki Kendall will never apologize because Mikki Kendall believes she has never done anything wrong. And why should she admit to doing anything wrong? It seems that no matter what she does, her media enablers will promote her as a heroine and leader and defend her against any charges of bullying.

And look at the way Khan whines about the one liberal media outlet that isn't quaking in terror of the Mikki Kendall/Social Justice Warrior smear machine:
Why the sudden change? In a word, says Mikki Kendall, who tweets as @Karnythia and curates the site Hood Feminism: fear. Kendall was recently the target of what could only be described as a hit piece by Michelle Goldberg of The Nation, one that called her “feared” and “obsessed.”
Can you imagine what a shock it must have been for the Mikki Kendall brigade when, instead of promoting and praising Kendall, she actually got called out by liberal media for being a bully? It must have felt like they suddenly cancelled Christmas.

To borrow a phrase from Blogmother - you don't have to bow down to Mikki Kendall and the Social Justice Warrior bigotry/smear/bully campaign.

* maybe Khan considers HuffPo feminist because she writes for it?

Tuesday, February 25, 2014

Cotton Mather on film

Cute piece in the New Yorker.

The Hobbit: The Desolation of Smaug”
★☆☆☆☆
A Small Pagan is enlisted by a Scheming Warlock to help a Pack of Bearded Devils recover their Gold from a Wicked Serpent. What can I say, I loved this Film. Nay, that was but Sarcasm! I have used the Great Deceiver’s own Device against him. In Truth, “The Desolation of Smaug” is an Endless Satanical Parade of Witchcraft and Lycanthropy, designed to lure all good People of God toward the hateful Flames of Perdition. I can only hope that the Third Installment is better.
I don't remember why I thought that would be a good way to spend my time now.

Monday, February 24, 2014

Dark Market over-stock

I've been researching the 2008 financial meltdown for my play DARK MARKET but it's almost getting to be too much - the Mighty Krug-man alone is burying me in an avalanche of knowledge. He even posted online one of his economics class Powerpoints. Which of course I love but between that and all the other stuff it's going to take me weeks to sort it all out. My brain hurts.

Sunday, February 23, 2014

You are stepping on him with your knife foot

I'm not big into the Olympics, but I do enjoy ice dancing, the closest the Olympics gets to the arts.

I especially enjoy watching the American skaters Davis and White, especially White, with his big beautiful hair.

But I do have to agree with this Buzzfeed article: 27 Things You’re Really Thinking When You Watch Figure Skating, especially this one, with Davis's skate on White's thigh.


And I LOLd at #24 Oh Hell No.

Saturday, February 22, 2014

Buckingham ~ McVie ~ Nicks

Just as I was hitting my teen years, Fleetwood Mac in its Buckingham-Nicks incarnation hit it big and so I will always feel a certain connection with them. And the group featured two women songwriters, which was still rare in the 1970s.

I wouldn't call myself a huge Fleetwood head, but I do consider their first four albums to be masterpieces, and Lindsey Buckingham, Christina McVie and Steve Nicks to be masters of pop song writing.

Unlike the Beatles, with two great songwriters and Harrison a distant third (except for the occasional It's All Too Much) the Mac had three equally talented writers.

McVie is technically the leading writer, if you base your assessment on their Greatest Hits album.

  1. "Rhiannon" (Stevie Nicks) – 4:11
  2. "Don't Stop" (Christine McVie) – 3:12
  3. "Go Your Own Way" (Lindsey Buckingham) – 3:38
  4. "Hold Me" (McVie, Robbie Patton) – 3:45
  5. "Everywhere" (McVie) – 3:42
  6. "Gypsy" (Nicks) – 4:24
  7. "You Make Loving Fun" (McVie) – 3:31
  8. "As Long as You Follow" (McVie, Eddy Quintela) – 4:10
  9. "Dreams" (Nicks) – 4:14
  10. "Say You Love Me" (McVie) – 4:10
  11. "Tusk" (Buckingham) – 3:30
  12. "Little Lies" (McVie, Quintela) – 3:38
  13. "Sara" (Nicks) – 6:22
  14. "Big Love" (Buckingham) – 3:38
  15. "Over My Head" (McVie) – 3:34
  16. "No Questions Asked" (Nicks, Kelly Johnston) – 4:40

The tally is McVie with 8 hits, Nicks with 5 and Buckingham with 3. However, three of McVie's hits are co-written, including my favorite McVie song "Hold Me" and Nicks co-wrote "No Questions Asked." 

Except for The Chain, written by all the Macs, the three Mac composers rarely collaborated. Most surprising, Buckingham/Nicks share only one co-writing credit that I've found, and that was on their self-titled album released before they joined Fleetwood Mac. McVie and Buckingham collaborated a few times, most notably for World Turning, one of their better songs, although not one of their biggest hits.

Stevie Nicks
Nicks is a pretty woman and she writes pretty songs - and of a consistently high quality even when they aren't big hits. At worst, she overplays the whole witchy-woman thing, must egregiously on Gypsy. So it's hard to pick my favorite Nicks song. Of course there's Rhiannon, which was their first monster hit but I've heard it so many times over the years it hardly registers any more. 

I find her Sara to be most irresistible though - especially when it kicks it with drums and piano on the transition from the intro to the main tune. It also highlights Nick's charming female empowerment inclinations, her tendency to celebrate womanliness and female friendships. The song is allegedly about a friend of Nicks': "Sara, you're the poet in my heart."




Christine McVie 
McVie is the most formally trained musician of the three composers and her tunes are very piano-centric which I love. Her songs are more straight-up traditionalist pop tunes, pretty much exclusively about romantic relationships. When she's good she's great, but she can write fairly uninspired stuff, like "Sugar Daddy." And my favorite tune by her is co-written. But still, what she lacks in originality and consistency she makes up for in pop-essence purity. Listen to the piano opening of Hold Me and you'll see. And the vocal harmonies are to die for.


Lindsey Buckingham
Buckingham has crafted some solid tunes, from Go Your Own Way, to Monday Morning, to I'm So Afraid, but as the most experimental songwriter of the trio can come up with some pretty iffy songs. But that experimentalism paid off, big time, with Tusk, a tune I have adored since the first time I heard and and which is without a doubt my favorite Fleetwood Mac song. One Tusk is worth five or six Don't Stop Thinking About Tomorrow's in my opinion. And the appearance of the USC Marching Band on the track adds to the fun.