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Chief of Plano fire department, Brian Crawford, revealed his to plan to “diversify” (replace) the mostly White staff in the fire department.
Anti-White Proposition: There can be NO all White Fire Departments!
“Out of the 250 applicants we had that took our last exam, about 79% were white or white male,” Crawford said.
“That does not reflect the community that we serve.”
“And they go, ‘Wow, I see someone who looks like me.’ That’s our best recruiting tool, and right now, that’s a challenge for us,” Crawford said.
Crawford’s department is 94% White, 6% non-White, or numerically, of the 333 firefighters, 313 are white, and 20 are non-White, with 10 of them being Hispanic (mixed-race).
The Fire chief is putting a strong emphasis on recruiting non-White firefighters, and he’s now traveling to minority White areas, groups, and institutions, such as schools, churches, and mosques, and encouraging them to join Plano Fire- Rescue.
There was a similar anti-White move in Los Angeles at the beginning of this year, where Mayor Eric Garcetti called the city’s fire department “too White”, at 50% White.
All anti-Whites agree that when an area is minority White it is “diversity”, but when an area is majority White it is “in need of diversity”.
“Diversity” has never been a global ideology. Why? Because a lot of countries don’t have White people in them. “Diversity” is simply a codeword for White genocide.
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I.
"Here’s a stumper: if the definition of irony is typically something like “that which goes against expectations,” then how could an Avant-Garde artist—one who is expected to test the boundaries of our expectations—ever satisfy popular, mainstream, garden-variety tastes in irony? At some point, the Avant-Garde artist will, according to his nature, go against the expected means by which the unexpected is supposed to be realized; he will offer us a new unexpectedness.
And a new unexpectedness is direly needed. For about a century now, ever since, say, Duchamp’s 1917 “Fountain”—a men’s urinal intended as a piece of ready-made statuary—so-called Avant-Garde artists have reveled in ironically overturning, at every turn, concepts of beauty, decency, and of art itself. Thus “shock art,” this militancy against the status quo in Western culture has paradoxically become the status quo and has rendered itself increasingly tame, passé, and hardly shocking at all. It is as the late Jonathan Bowden has said: “Revolutionary art becomes liberal wallpaper.” Thus whether it is Rick Gibson’s “Human Earrings” (earrings made from human fetuses), or a tin of “Artist’s Shit” by Piero Manzoni, or Tracy Emin’s “My Bed” (unmade with soiled sheets and menstrual-stained undies), or . . . well you get the idea. The point is that a little of this goes a long way. Soon being “edgy” looses its edge as the masses become ever-more desensitized. Soon irony devours itself."
Article continues with a nice piece on White Rabbit Radio and AntiRacist Hitler.
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