Analysis by Joe Schaeffer, 247 Real News
The attempt to destroy the Old Republic and construct the “New America” is radical, pagan, and well-funded.
News item: The Bill & Melinda Gates Foundation in March granted a crisp $15 million to the Smithsonian Institution to "support the planning and development of the Smithsonian American Women's History Museum."
Do you even need to be told where this is going?
A disturbing synopsis is provided by "Women's History," the magazine of the National Women's History Alliance (see page 5 of pdf):
Lisa Sasaki, Interim Director of the forthcoming museum, explained that the new institution will "ensure that stories of women from all walks of life are told. Sharing these diverse perspectives will shine a light on what it means not just to be a woman in America, but to be an American."
In the planning process, the key will be an expansive view of women's history, including women of different abilities, trans and queer communities, and the experiences of women across time and throughout the nation.The Smithsonian website itself freely lays out the full radical nature of the new initiative:
To create a more equitable America, the Smithsonian is researching, disseminating, and amplifying the histories of American women through its American Women’s History Initiative in preparation for the future Smithsonian American Women’s History Museum.All the diseases of Cultural Marxism will be celebrated at "America's Museum":
Voting rights. Civil Rights. Reproductive rights. A living wage. Equal access to education. Progress on these and every other major social issue of our time has its roots in the activism and advocacy of everyday people in the past. Did you know it took 100 years for the 19th Amendment to be ratified into the Constitution? One hundred years of American women organizing, campaigning, marching, writing, speaking, protesting, and being jailed.The phrase "other" includes, bizarrely, a transgender street revolutionary of the 1970s:
A Lifelong Crusader for Trans Rights
A forerunner in the fight against gender identity discrimination
As a trans Latina, Sylvia Rivera was an outlier among white gay men and lesbian feminists. In 1970, she cofounded the militant group and youth shelter STAR (Street Transvestite Action Revolutionaries) with African American trans activist Marsha P. Johnson (1945–1992), providing vulnerable and homeless trans teenagers with food and clothing.Yes, the transgender agenda was targeting the young and the helpless as far back as 50 years ago. 1960s Black Panther radical and admitted proud communist Angela Davis is also heralded. Davis, in her autobiography, writes of declaring during a speech she once gave in the Caribbean island of Guadeloupe:
"Yes, I am a Communist and I consider it one of the greatest honors, because we are struggling for the total liberation of the human race."Thanks to Bill Gates, she is being honored at the Smithsonian today. From the Videos section of the “activism” page:
In 1970, activist Angela Davis was charged with murder. A movement arose to free her, and her time in jail inspired her to work to change the prison system. Kemi, a student, talks with Kelly Elaine Navies, oral historian at our National Museum of African American History and Culture.The racial identity politics are so poisonous at the Smithsonian that they even endorse pre-Christian paganism as a path to liberation from the “colonialism” of the white man’s West. Tey Marianna Nunn is Director of the American Women’s History Initiative for the Smithsonian.
In Sept. 30, 2021 Nunn penned a tribute to a Chicano feminist social revolutionary named Yolanda Lopez. Nunn salutes Lopez for having "transformed and reinterpreted images like the Virgin of Guadalupe, a Mexican colonial representation of the Virgin Mary who is revered as the patroness of the Americas," having helped defend seven infamous accused cop killers in San Francisco who were labeled "Los Siete de La Raza" (The Seven of The Race) and for her reconquista-styled pro-illegal alien advocacy:
Another of López' powerful images, "Who's the Illegal Alien, Pilgrim?" was also part of ¡Printing the Revolution! Here, López plays on the imagery of World War II era broadsides. In this work from 1978, she replaces Uncle Sam with an Indigenous warrior crushing anti-immigration plans. The work responds to the then-current immigration plan created by President Jimmy Carter. By using patriotic imagery, López argues immigration is a key social justice issue.An April 2 Los Angeles Times article on a Lopez exhibit in San Diego highlights just how subversive her Virgin reinterpretations were meant to be:
The Virgin of Guadalupe couldn’t be a more complex icon to tackle. She was a tool of Catholic colonial proselytizing, intended to help convert the Indigenous masses to Christianity. Frequently rendered in painting with brown skin, her creation myth involves an apparition in 1531 to an Indigenous man named Juan Diego (original name: Cuauhtlatoatzin).
But the Virgin is also a syncretic figure, one who embodies Indigenous belief in female Aztec deities variously known as Tonantzin or Coatlicue. She is also indicative of the impossible gender standards to which women in Catholic society are expected to aspire: virginal, pure, maternal.
It was daring for López to reimagine this figure — turning a myth into womanly flesh. And it was not without controversy. The artist received death threats; strangers vandalized her work.
I was particularly moved by the myriad small-scale studies the artist created as part of the project, showing the Virgin reimagined as Aztec deities, everyday women and even Botticelli’s Venus.An October San Diego Union-Tribune report written one month after her death in September 2021 adds to the chorus, presenting Lopez's work as an effort to infuse ancient Aztec paganism into modern Chicano national identity:
“She distills and incorporates this imagery that really talks about indigeneity. It’s not just the patron saints and Catholic imagery, but it’s also the powerful, pre-Columbian Aztec goddess,” says Mesa College professor and gallery director Alessandra Moctezuma. “That can be a very powerful image to see for students, especially Latinx students. It can help them to understand that their identity is very complex. Yes, we have that European language and religion that got incorporated, but we still have, within us, those connections to the indigenous.”Lopez would be well on her way to being rightfully forgotten today, Nunn admits, were it not for...
Though López's legacy has often been overlooked by mainstream institutions, her work is present here at the Smithsonian.It's important to note that your taxpayer dollars help fund all this cultural destruction:
The Smithsonian American Women’s History Museum will be brought to life via a public-private partnership. In addition to federal appropriations, philanthropy and support from the public will be essential for the development of the Museum.