The Rachel Dolezal news media cycle was fantastic to watch. It was beautiful to see progressives struggling to reconcile the problem of glorifying Bruce Jenner’s transition from man to woman, while somehow not glorifying Dolezal’s transracial attempt.
There are problems. The NY Times op-ed (by a woman), which pushes back against Jenner’s move, reveals the torture the left is going through as they say “gender/race is biological but doesn’t have to be but hey why are you claiming to be part of my group and take on my struggle and claim my oppression.”
The coalition of victims is defensive about their identities because their unique suffering is their identity, making trans* a bit more tricky to handle than grafting on immigrants and homosexuals.
There is another revelation. The progressive system is practically exhausted and is at the point where the charlatans are out in the open. Dolezal is a sign that we have firmly reached the phase where progressive activism has reached performance art.
Dolezal is not that much different than Anita Sarkeesian, Deray McKesson, and Benjamin Crump. They’re all playing a role. The role is part of the progressive play to enact social legislation to bring about their utopia. The roles have changed, and if anything, they change like seasons. These roles were first started by more organic individuals like MLK or Susan B. Anthony (Liz Stanton if you want to split hairs). These are people used by elites, but in contrast to more modern renditions, they had actual, direct contact with whatever system of oppression they were facing. No one asked why Susan B. Anthony received media attention and praise. No one asked at the time just why the news cameras were present in Selma and the meetings between MLK and LBJ. The audience just watched and reacted. Agitators laid down the template that later pawns would follow: righteous crusaders sanctified by the media and academic elites.
That role changes and transforms as the political pay offs need to be made. This is where your Rev. Jesse Jackson-Rev. Al Sharpton types come in, as they play the role laid down by MLK, but have an entirely different goal: money. Feminists of the women’s lib generation surely took payoffs in the form of academic chairs, speaking circuits, and consultant roles. Naomi Wolf is a feminist example. Wolf made money spouting feminist claptrap, being pro-sex, being sexy, and being a faux-intellectual. The professional activist role became a performance, but the crowd has not caught on. There is still the whiff of believability to the struggle.
But the legislation has been enacted, so why are they still agitating? The audience does start to wonder, but still tunes in.
The further degeneration in the role is when hustlers like Crump, Sarkeesian, McKesson, and Dolezal enter the fray. The audience knows it is a sham. Coordination is easy to spot with White House visits, or MSNBC reporters goading protesters to become rioters for the cameras. The audience wonders what the hell these idiots are after, and after a couple of generations of affirmative action hires and sexual harassment lawsuits, knows the buffet of sewage these fools push. The audience now knows that some of those original agitators were pawns of big money, and these new professional activists definitely are. George Soros leaves behind a trail of cashed checks.
Crump is a lackluster attorney looking for attention and building a resume to become the next Sharpton or Jackson. Listen to him talk; he can’t even lie on MSNBC at Sharpton’s level. Sarkeesian was affiliated with a pick up artist in her early years, and has jumped on the urgent feminist concern of video games. She was looking for a role and paycheck. She is a fraud, yet there she is on the Colbert Report. McKesson is a black homosexual mouthing the words of two generations ago, despite having big media and big tech in his corner. He jumps from protest to protest with destroyed CVS and convenience stores in his wake, but the audience knows his game is a lie and has even started #GoHomeDeray.
These people see an avenue for fame and fortune. They know it. We know it. They just need that check to be cut. They know the prog system will reward them. It is postmodern when the players do not pretend it is real, the audience knows it’s an act, they know that we know, but it continues because the curtain has not dropped. There is more legislation and regulation needed to bring about heaven on earth. Academia is never done with America.
This brings us to Dolezal. She exemplifies this progressive performance perfectly. She takes it to the logical conclusion. The white, fair-haired girl who identifies with the cause, but unfortunately does not look the part. Like any good actress, she puts on her costume, gets her hair and makeup done, and mouths the words, not written by herself, but by academics years ago. She speaks the script, goes through the same struggle with fake death threats (ask Sarkeesian), and every single day is committed to the performance. The act is her life and her life an act.
Frauds will continue to pop up on the social radar. The further America gets from the Civil Rights Act or women’s suffrage and liberation, the more phony the oppressed biographies will be for new activists. In a few years, the only oppression a new Gloria Steinem or MLK will experience will be microaggressions in elevators (“after you, miss”) or verbal misunderstandings (“Demarcus, do your people take checks?”). The entire UVA debacle, organized by Sabrina Erdely and Emily Renda, was run by a sloppy, lying reporter who wanted to play the part of a good Jew fighting the evil, faceless goyim, and a young activist, who may or may not have been raped, but will still go to the White House and be appointed to governor’s committees to fight the patriarchy.
As long as the progressives hold the levers of power, these hustlers will show up on television and in your newspapers. Let us just recognize them for what they are: amateur level performance art.