The Ethnic Cleansing being promoted by the New Zealand School of Music in its self-proclaimed enthusiasm for Only Black Lives Matter (currently looting, rioting and burning in Philadelphia) originated, of course, from American Academia and Media. It boasts about "De-Centering Whiteness" (note American spelling). That means, of course, dropping such pesky white males as Bach, Beethoven and Brahms down the memory-hole. Here's a supreme example of the execrable tosh being spewed by the Woke-Fascists. It is impossible to spoof; not even the most gifted satirist could make it up. Excerpt:

The past several decades have seen the world of American classical music reckoning with its racist and sexist history; as it has with many other areas of culture, that process has greatly accelerated over the past year. In my own corner of academia, the previous several months have seen an explosive focus on the inherent white supremacy and male-centrism within academic music research. This explosion was sparked by a lecture and an ensuing article by Philip Ewell, published in September, in which he calls out mainstream American music theory for its institutional racism. This flashpoint was preceded by work in similar veins by scholars like Ellie Hisama and Robin Attas, and subsequently brought into mainstream musical conservations by YouTuber Adam Neely and New Yorker writer Alex Ross.

College-level music pedagogy has responded by dramatically reconsidering which composers and musical traditions we do and don’t discuss in the classroom. The world of music theory has seen working groups designed to analyze and advocate for the music of composers with marginalized identities, accompanied by online resources of musical examples by these composers. If you’re a music teacher who’s been demonstrating some concept with a piece by Ludwig van Beethoven or Wolfgang Mozart, these resources will guide you to an alternative piece of music by, say, Elizabeth Cotten (the guitarist responsible for the “Cotten picking” performance style). Similar dynamics are increasingly evident within other musical fields, including music performance. The Metropolitan Opera, upon canceling its 2020–21 season, also announced that it would begin its next season with Terence Blanchard’s Fire Shut Up in My Bones, the first opera by a Black composer to appear on the Met’s stage.

Encouraging as it is, this trend is butting headlong into the Western European musical canon.

Full tsunami of sewage:

https://slate.com/culture/2020...

Hilarious, except for the fact that this is actually going on, and formerly civilised countries are swarming with brainwashed, pampered little deformities like this:

Including Dame Kiri, who narrated this?

It's more like "anything-civilized phobia"...

...it's a lost cause. Disgusting that they did that. First I've heard about it, though, because I simply can't watch the local news here, anymore, too much propaganda. (It's so bad that I can't even listen to rock radio stations. It's all gone woke with TDS.) And depending on how this election goes, I just might have to leave PA altogether.

I was dismayed to read this. How appallingly ignorant.

From my parents I have kept two Mario Lanza 45's. He was justly famous as a singer.

The madness and sickness of Foucault'd followers seems to have no end, limit or balance. Art and aesthetics are about the individual's sensibility, playfulness at being fully alive.