The Woke Liberals That Control Lincoln Center In Manhattan Have Replaced Their Annual ‘Mostly Mozart’ Festival With Drag Queen Duets And BLM Offerings

In the case of Lincoln Center, this distortion of the historical record to satisfy the whims of identity-obsessed elites has distorted reality itself and undermined a historic institution, Mozart and all.

As a child, my mother insisted that I was exposed to classical music and that took the form of beginning piano lessons at the age of 9 and violin lesson shortly thereafter. I started with the basics and then was introduced to the classical masters like Bach, Beethoven, Mozart, Brahms and the rest. But the music of Mozart was different, it had a strength and power that seemed to put it into its own classification of music. Mozart has been called the greatest composer of all time, and rightly so. But even the great Mozart cannot stand up to the hordes of Black Lives Matter revolutionaries who insist on erasing everything that does not align itself with their Marxist theology. Ladies and gentlemen, Wolfgang Amadeus Mozart has been cancelled. What is his crime? He’s too talented, and he’s too white.

“Behold their sitting down, and their rising up; I am their musick.” Lamentations 3:63 (KJB)

How well I remember back in the 1970’s, being taken to New York City by my parents for a night of ‘classics and culture’ at Lincoln Center. My mother loved their ‘Mostly Mozart’ festival, and I grew to love it, too. We came from a small, little town, located the rural foothills of old New Jersey, but mom insisted on a little culture if only to balance out the incessant watching of Monday Night Football my dad and I would do. (years later I would get saved in part from reading the John 3:16 signs displayed whenever points were scored). Now Lincoln Center, that great bastion of culture and classical music, has jettisoned Mozart in favor of events like drag queen duets and the Kumbia Queers Live that looks as bad as it sounds. Lincoln Center has drunk the Kool-Aid, becoming a mouthpiece for the various anarchist groups that continue to plague this country. Racism in America will never, ever end, because the Liberals that control the media and our government will not allow it to end. It is their main weapon to refashion society as they prepare to receive the coming Antichrist. That’s the memo.

Lincoln Center cancels Mozart and goes woke — based on a historical lie

FROM THE NY POST: When Black Lives Matter becomes a marketing strategy, facts offer little impediment to speaking “one’s truth.” Take the case of New York’s Lincoln Center for the Performing Arts, which banked its pandemic recovery on a narrative of its own abhorrence.

In 2020, the center began promoting a story that a vibrant black community known as San Juan Hill had been deliberately snuffed out in the 1950s to make way for its creation.

“The displacement of Indigenous, Black, and Latinx families that took place prior to the construction of our campus is abhorrent,” declares the center’s “Message on Our Commitment to Change.”

“We may never know its full impact on those dispossessed of the land on which Lincoln Center sits. But only by acknowledging this history can we begin to confront the racism from which our institution has benefited.”

With the blood-and-soil essentialism of today’s identity politics, this commitment fell in line with the new progressive rhetoric of land acknowledgments, colonialist dispossession and unearthed legacies of systemic oppression.

The story was also left unchallenged by the many news sources that repeated it.

For the racial pathologists, the center’s four-block campus obviously owed its existence to the destruction of a historic black neighborhood, paving over those “Indigenous, Black, and Latinx families” with white travertine and white culture.

These days, such self-abnegation offers a chance for our managerial class to treat their organizations’ supposed pathologies with a patent mixture of tinctures, elixirs and balms. For Lincoln Center’s leadership, this has meant attacking from within an institution largely dedicated to the culture of the West by developing programming and even a new campus plan based around this original sin of race-based displacement.

In consequence, last summer the center canceled its “Mostly Mozart” festival in favor of more “inclusive” fare — sponsoring rappers, pop groups and an LGBTQ mariachi band while hanging a 10-foot-wide disco ball above its fountain.

This summer’s programming, just announced, will lead off with “the debut duet of two superstar queens from the blockbuster reality competition ‘RuPaul’s Drag Race,’” followed by “Argentinian queercore,” comedians of “Indian heritage” and “silent disco.”

Shanta Thake, the center’s chief artistic officer, pledged to “really confront our past head-on as we move into the future” by “opening this up and really saying that this is music that belongs to everyone” — implying, of course, that Mozart does not belong to everyone. Yet as with much of today’s racialized mythology, this new battle of San Juan Hill has been a story of wishful thinking. There indeed was a time when this area was a nexus of black New York. But its cultural height had come and gone long before Robert Moses turned his attention to redeveloping this outmoded and fire-prone section of the West Side.

By then, the “entire area was in an advanced state of decay,” according to the city.

The Lincoln Square Renewal Project of 1955 was remarkable not for the 17 blocks it cleared but for what was created in its place: a Manhattan campus for Fordham University, a new headquarters for the American Red Cross, 4,000 units of middle-income housing and a home for multiple performing-arts organizations of world renown.

As Lincoln Center took ownership of its parcel, it kept close tabs on the residents it helped relocate. Most of them remained in Manhattan, with 900 families staying on the Upper West Side. A study of the first 742 relocated showed that they mainly moved into larger quarters, all with up-to-date sanitary conditions.

Most notably, for all the “abhorrent” claims of the “displacement of Indigenous, Black, and Latinx families,” an internal census revealed a population that was, in fact, overwhelmingly white, with a ratio of three to one, while the area’s black population was in the single percentage points.

As it turns out, Lincoln Center’s self-accusation has been nothing more than a false confession. The year 2020 deserves a reckoning in more ways than one, but the race hustling in our institutions is a good place to start. In the case of Lincoln Center, this distortion of the historical record to satisfy the whims of identity-obsessed elites has distorted reality itself and undermined a historic institution, Mozart and all. READ MORE

The sheer magnitude of Mozart’s musical output is staggering, considering his short life of 35 years. While the exact number of compositions is uncertain, it is believed to be at least 626. His manuscripts are remarkably free of errors; appearing as if they were laid out in divine perfection in his mind. The Symphony No. 1 in E♭ major, K. 16, is a symphony written in 1764 by Wolfgang Amadeus Mozart at the age of eight!

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