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I used to talk about this on my nightly radio program on 2GB, probably a couple of times a week. The subject would arise or an example of society’s inexorable slide would be in the daily papers.

Whenever people asked (as they are now) where the hell are we are going as a society and what’s driving it, I used to give a six word answer: The Frankfurt School, Critical Theory and Antonio Gramsci.

Unfortunately, to this day whenever I mention it, it usually draws a blank stare. They have no idea. They want to know but then all of a sudden it becomes too hard.

The words and phrases we hear a lot of these days like tolerance, diversity, political correctness, cultural Marxism etc all have their contemporary derivations and meanings in the teachings and philosophy of The Frankfurt School and critical theory. This is the well spring, this is the crucible of what passes for much that alarms citizens in society today.

Notice in this video (at the bottom of the list) the reference to repressive tolerance (ie) political correctness. Notice too how it’s always the hard left that are the ones who, on the one hand preach tolerance and diversity yet will not tolerate a diversity of other angles, ideas or opinions and violently shut down debate or threaten venues with protests as in the case with various guest speakers on university campus or the screening of the documentary, The Red Pill or the boycott of Coopers beer over an easy going gay marriage discussion and the subsequent demand for an apology.

The language has been put through the shredder. Tolerance for example, as Tammy Bruce points out in the extract below, was once a genuine Western ideal but it has now become a code word for moral relativism.

All of this had its genesis with The Frankfurt School and its Critical Theory and Antonio Gramsci.

For example approximately three and a half minutes into this video you get into the familiar territory that we see with the Safe Schools program. It’s about breaking down and smashing societal norms and dissolving the glue, the key mores, and bedrock values and traditions of society that underpin, bind and hold it all together.

This is no accident. This attack, attack, attack of critical theory, this deliberate rolling chaos is real. It’s not your imagination. The two most recent iterations of these attacks, one totally confected being that of white male privilege and the other the attack on traditional marriage. The fact that so many of the naïve and gullible have swallowed the “equality” Kool-Aid demonstrates how easily they’ve been to manipulate though appeals to fairness and equality. Its all in the language and the pitch and appeals to guilt.  

The point the narrator makes at the end is compelling and cogent and that it is, that so embedded and entrenched is this stuff now, that we don’t even recognise that it exists. Stick with this till the end as it will open your eyes as to where this deliberately, destructive and metastasizing agenda came from.

We all just assumed I think, that everyone would want their share of the good life. It never occurred to us that there were and are, dark and sinister forces determined to destroy what generations, over hundreds of year have built.


As disgusting and offensive as it is, it’s important that you read the extract below from the Tammy Bruce book The Death of Right and Wrong — Exposing the Lefts Assault On Our Culture and Values — For other examples of “art” designed to debase, corrupt and erode western values, think of the Piss Christ (a crucifix in a jar of urine or the Virgin Mary decorated with elephant dung that sold at auction for $4.6 million. 

Another version of this kind of “performance art” is the batch of stand up “comedians” of the last 20 years or so. All swearing and obscenities and no comedy. The take down of George Pell by Tim Minchin Is a case in point. Pell hasn’t even been so much as taken into custody or charged. His only crime would seem to be that he’s a Catholic priest.

The following description of “performance art” goes to the heart of the debauchery promoted by the Frankfurt School in their efforts to chip away band collapse Western Civilisation.

“…The noble effort in the 1960s to encourage individuality apparently had no braking mechanism. It continued to a point where self-gratification became the goal, at the expense of values that could coexist with and even enhance our newfound sense of our individuality and sexual self-awareness. Faith, family, fidelity, truth, and honour all became casualties of America’s Cultural Elite.  Tolerance, once a genuine American ideal, has become a code word for moral relativism and all its side effects. Once it was realized that the American people were willing to accept diversity and even some challenge to the status quo, the Left’s goal changed from extending the boundaries of what was considered right to having no boundaries at all. Moral relativism became the order of the day—a view that moral standards are entirely grounded in social custom, varying from culture to culture, moment to moment, circumstance to circumstance.

It is this attitude that allows a jury to set Montoun Hart free because, after all, who are we to judge? The death of right and wrong is most dramatic in cases like Montoun Hart’s or Mumia Abu-Jamal’s, but it may be more easily seen by taking a look at the core of our culture—the art world. The disintegration of our culture, and the conditioning of people into accepting it in silence, begins with legitimizing the depraved. This requires a trip to San Francisco. “Art” and the Inhuman Our institutions of higher learning are places where some sort of moral foundation and understanding of right and wrong are to be reinforced. Right? No longer.  While this country’s academic intelligentsia work themselves into a frenzy to squelch any kind of speech that challenges the left-wing status quo, they are also busily leading the next generation to embrace a perverse moral relativism that will take us further into a world devoid of right and wrong. I’ll offer more details about the moral misadventures of the academic and art worlds later on, but consider this for now. 
 At the San Francisco Art Institute, the 24-year-old “scholar” Jonathan Yegge, after getting the go-ahead from his instructor, Tony Labat, presented a performance piece for a class in the school’s New Genres department. The project involved himself and a student “volunteer.” I don’t enjoy giving accounts like the one that follows, but it is precisely the reluctance of the mainstream press to give graphic descriptions of disgusting acts that has kept the general public in ignorance of exactly what sort of “art” has been allowed to flourish—often with the support of our tax dollars. Here’s how Yegge himself described his “art” to the San Francisco Weekly: He [Yegge’s student volunteer] was tied up. He had a blindfold and a gag, but he could see and talk through it. He had freedom of movement of his pelvis. I engaged in oral sex with him and he engaged in oral sex with me. I had given him an enema, and I had taken a shit and stuffed it in his ass. That goes on, he shits all over me, I shit in him.

There was a security guard present. There was an instructor from the school present. It was videoed, and the piece was over. This depraved trash actually satisfied one of Yegge’s course requirements at an institution entrusted with the cultivation and nurturing of our society’s next generation of artists. In The New Thought Police, I encouraged all of us to speak our minds and live as we choose; but what makes us great and our lives valuable is the fact that although we could do anything we please, we don’t. The value of freedom is the recognition that the choices we make in the process of exercising that freedom are what is most important, and what makes us who we are. Remember, too, that valuing freedom of expression does not mean remaining silent or withholding our opinion when it contradicts someone else’s opinion. We have a duty to interact with those who are determined to change our culture, because our very liberty—the right to determine our future and make it worthy of our children—is at stake. Unfun Pod? Yegge’s appalling, inhuman, and simply wrong..” Yegge’s appalling, inhuman, and simply wrong behaviour is fairly typical of what you’ll see on performance-art stages today.

One of the more famous alumnae of the San Francisco Art Institute is Karen Finley. Her “art” involves forcing candied yams into her anus, defecating into a bowl and having another “artist” eat the result, then inviting the audience to lick goo off her naked body. You probably remember Finley. Quite a dust up was caused when it was revealed that she had received funding from the National Endowment for the Arts to create this garbage. Even now, I sometimes fall into the trap of asking myself if something is wrong with me for thinking these actions are not just outrageous but wrong. My answer to myself, after asking if I have grown into some unfun Pod Person, is a resounding No! Our social conditioning to not question and not judge has been so complete, so successful, that it is now virtually automatic to retreat and wonder and even doubt. When that happens, all you have to do is ask yourself: Is this what I want for my children? For any child? For the next generation? Is this what I want my generation’s cultural legacy to be? The answer to these questions is what you should trust. Let’s be honest. Most of us are concerned about not being aware enough, about being so stuck in our present paths that we automatically reject change, even when it might be for the better. These are legitimate concerns. Here, though, we are dealing with a dynamic that is inherently different. The Left Elite wants us to go blithely along, accepting Yegge and Finley as comparable to what the Beatles represented for modern music. Nothing could be further from the truth…” The Architects of Western Decline: A study on the Frankfurt School and Cultural Marxism