#Metoo, Medusa and the Law: What Feminist Subversion of Ancient Myth tells us about the Post-Covid Anglosphere

Since the statues of slave owners, racist politicians and confederate generals were pulled down by BLM protesters, the Anglo-American world been filling those vacant public spaces with 'woke' artworks which supposedly 'challenge' the cultural establishment. Predictably, feminists have been quick to install such a 'subversive' artwork opposite New York's criminal court:

A new Medusa sculpture now stands victoriously across from NYC criminal court

The statue flips the classic myth on its head, presenting Medusa as victorious over those who would blame and slay her. 

A statue of Medusa, the mythological monster with snakes for hair, was unveiled in front of the New York County Criminal Court on Tuesday, and while it may seem random, it's meant to be a picture of empowerment for victims. 

Medusa With The Head of Perseus by Argentine-Italian artist Luciano Garbati stands seven feet tall in Collect Pond Park on Centre St. The figure, a nude woman, holds a sword in one hand and the head of Perseus in the other. It was cast in bronze by Vanessa Solomon of Carbon Sculpt Studios in Red Hook and Laran Bronze Foundry in Philadelphia. 

For those who are a little rusty on their Greek mythology, Medusa was a maiden in Athena's temple who was stalked and "violated" or raped by Poseidon, according to Ovid’s Metamorphosis. "She was once most beautiful, and the jealous aspiration of many suitors. Of all her beauties none was more admired than her hair," the story says. 

When Athena finds out about the rape, she banishes and curses Medusa (the victim) with a head of snakes and a gaze that turns men to stone. Athena and Poseidon aid the epic hero Perseus to hunt her down and behead her. Perseus displays her head as a trophy on his shield. 

Medusa With The Head (MWTH) is an artist-led project that explores the narrative habits of classical stories as well as their role in present culture and vision of the future. It says Medusa's story is part of a narrative of victim shaming stories of sexual violence through time and is relevant to this day. By flipping the story on its head, presenting Medusa as victorious over those who would blame and slay her, Garbati asks "How can a triumph be possible if you are defeating a victim?" By exploring the woman behind the myth, she hopes to give her a moment of empowerment.

Its placement across from criminal court is also meaningful—high profile abuse cases, including the Harvey Weinstein trial, have taken place here. By installing the statue here, it becomes "an icon of justice and the power of narrative." 

MWTH makes sculptural editions and other iconographic representations, like Garbati's statue, available with 10 percent of proceeds donated to the National Women’s Law Center. 

It'll be up through April 30, 2021. 

SOURCE: Time Out New York, October 14 2020

What can we learn from this sorry, sordid excuse for a news story? Actually, quite a lot. Unfortunately, the lessons we learn only show the depths of cultural and moral decay in which our world is drowning. 

Inverted Myths, Inverted Values

Myths and legends exist to provide functional guidance to society, revealing eternal truths in a comprehensible, symbolic form that everyone can understand. The story of Beauty and the Beast is a good example of this. Although it can be interpreted as piece of a blue-pilled fiction denying the importance of looks, the tale gently guides young women towards rational mate-choices (as opposed to chad-chasing and fooling with dogs). In most variants of the tale, the unattractive Beast turns into a handsome prince once Beauty declares her love for him. At a deeper moralistic level, the story is trying to reconcile foids to an effective (if unattractive) husband within the patriarchal framework of a functional society.

In short, myth has a functional purpose; it is not there to be ‘inverted’, as this ugly statue attempts to do. ‘Inverting’ myths discredits the values they were devised to uphold, thereby celebrating dysfunction and deviance by default. Of course, this is what feminism is all about: a swift glance at contemporary Anglo-American culture provides ample evidence of this. Young children are encouraged to ‘transition’ into the opposite gender, every form of lifestyle degeneracy is actively celebrated while pea-brained women are exalted as deities in every sphere of life.

As we know, the top three female Internet searches are for rape, gang-bangs and bestiality. As feminism gathers even more power and influence, we will soon be seeing statues of women mating with dogs in every public square.  

Women’s General Crapness and Stupidity

Part of the controversy surrounding this statue is the fact that a man designed and created it. Feminists involved in the statue project argued that a male artist is unfit to represent the #metoo movement, purely because of his gender. However, they had to use a statue created by a male artist for one simple reason: women lack the talent and intelligence to create an original or impressive artwork. 

In fact, women cannot create anything unique or original: they can only exploit, subvert or destroy what men have already created. The human female is a bone-headed clown completely incapable of original thought or endeavour. Consider how women's ‘culture’ (fashion, hairdressing, interior décor, cooking) is invariably the creation of gay men, whose IQs are infinitely higher than their own.

The most flat-headed thing about feminism is how it continually called for sex-negative gender-separatism, even while pillaging male thought, talent and culture for everything they do.  The very fact that this 'revolutionary' feminist statue was created by a man only demonstrates women’s general crapness and lack of talent, intelligence or originality. Even in revolt, they can only emulate male vision and genius; like the worm-brained maggots they are.

Feminism IS ‘the Establishment’

The erection of Medusa’s 'subverted' statue opposite New York's Criminal Court teaches us another important lesson: far from being a revolutionary movement, Feminism IS the establishment in English-speaking countries. Courts give women lenient sentences (or no sentences) for serious crimes such as bestiality, murder and child abuse. Colleges shower them with scholarships and opportunities while men receive no equivalent opportunities (virtually no lower-class white men attend college in the Anglosphere west, for example). The courts divorce-rape thousands of men every day while sex-negative witch-hunts like #timesup and #metoo are given the full backing of the state. 

The lamestream media exalts women at every turn, brazenly denying their endemic racism and sexual elitism. Elite American law schools all have special feminist societies funded by the taxpayer, allowing misandrist feminists to dominate Anglo-American law and politics. All the while, women give nothing back to society in terms of active military service, draft registration or other other form of social obligation.

And now, on top of everything, they get man-hating feminist statues as well!

How is that not ‘the establishment’?

Feminist values are not ‘revolutionary’ and ‘marginalised’ but hold centre stage across the whole Anglosphere. By peddling the myth that women are downtrodden, feminists have cleverly masked the fact that low-value men are underclass untouchables in Anglo-American countries.

'Bombs in the Harbour'?

Baron Nathaniel Rothschild claimed that 'Great fortunes are made when bombs fall in the harbour, not when violins play in the ballroom'. Hardly debatable; and he surely knew what he was talking about. Moreover, it is notable that Anglo-American feminism is using the global pandemic to strengthen its grasp on power. Erecting subversive statues that exalt women and denigrate men might seem a marginalised and obscure strategy at such a time; but statues and other public artworks are crystallised ideology that 'normalise' socio-cultural values, however warped they might be. 

If and when Covid is finally subdued (it might never be 'conquered', from a medical perspective), the Anglosphere is going to wake up to a world in which misandrist, sex-negative feminism dominates every public space, every facade and precinct. Think about it: a statue of a woman holding a man's severed head outside a public court in a major city sends powerful messages about gender-relations in a crude, unobstructed manner that has never been seen before - not even in the degenerate, man-hating Anglosphere.

As always, one word of advice springs to mind: emigrate.

 

Perseus with Medusa's Head: The Way it should be

Sex Trafficking: the Anglobitch Myth

The great myth of Anglo Saxon feminism is that all women who engage in prostitution are coerced into the job by inhuman slave-traders. Prostitution always inheres to 'trafficking' in any feminist-liberal discussion of the subject. Presently, we shall discover why feminists seeks to blandish prostitution. However, the evidence that most women engage in prostitution of their own free will is overwhelming, and supported by a recently released British study. Essentially, an extensive police investigation produced NO convictions for trafficking. The details below are taken from the Guardian:

The UK's biggest ever investigation of sex trafficking failed to find a single person who had forced anybody into prostitution in spite of hundreds of raids on sex workers in a six-month campaign by government departments, specialist agencies and every police force in the country.

The failure has been disclosed by a Guardian investigation which also suggests that the scale of and nature of sex trafficking into the UK has been exaggerated by politicians and media.

Current and former ministers have claimed that thousands of women have been imported into the UK and forced to work as sex slaves, but most of these statements were either based on distortions of quoted sources or fabrications without any source at all.

While some prosecutions have been made, the Guardian investigation suggests the number of people who have been brought into the UK and forced against their will into prostitution is much smaller than claimed; and that the problem of trafficking is one of a cluster of factors which expose sex workers to coercion and exploitation.

Acting on the distorted information, the government has produced a bill, now moving through its final parliamentary phase, which itself has provoked an outcry from sex workers who complain that, instead of protecting them, it will expose them to extra danger.

When police in July last year announced the results of Operation Pentameter Two, Jacqui Smith, then home secretary, hailed it as "a great success". Its operational head, Tim Brain, said it had seriously disrupted organised crime networks responsible for human trafficking. "The figures show how successful we have been in achieving our goals," he said. Those figures credited Pentameter with "arresting 528 criminals associated with one of the worst crimes threatening our society". But an internal police analysis of Pentameter, obtained by the Guardian after a lengthy legal struggle, paints a very different picture.

The analysis, produced by the police Human Trafficking Centre in Sheffield and marked "restricted", suggests there was a striking shortage of sex traffickers to be found in spite of six months of effort by all 55 police forces in England, Wales, Scotland and Northern Ireland together with the UK Border Agency, the Serious and Organised Crime Agency, the Foreign Office, the Northern Ireland Office, the Scottish government, the Crown Prosecution Service and various NGOs in what was trumpeted as "the largest ever police crackdown on human trafficking".

The analysis reveals that 10 of the 55 police forces never found anyone to arrest. And 122 of the 528 arrests announced by police never happened: they were wrongly recorded either through honest bureaucratic error or apparent deceit by forces trying to chalk up arrests which they had not made. Among the 406 real arrests, more than half of those arrested (230) were women, and most were never implicated in trafficking at all.

Of the 406 real arrests, 153 had been released weeks before the police announced the success of the operation: 106 of them without any charge at all and 47 after being cautioned for minor offences. Most of the remaining 253 were not accused of trafficking: 73 were charged with immigration breaches; 76 were eventually convicted of non-trafficking offences involving drugs, driving or management of a brothel; others died, absconded or disappeared off police records.

Although police described the operation as "the culmination of months of planning and intelligence-gathering from all those stakeholders involved", the reality was that, during six months of national effort, they found only 96 people to arrest for trafficking, of whom 67 were charged.

Forty-seven of those never made it to court.

Only 22 people were finally prosecuted for trafficking, including two women who had originally been "rescued" as supposed victims. Seven of them were acquitted. The end result was that, after raiding 822 brothels, flats and massage parlours all over the UK, Pentameter finally convicted of trafficking a grand total of only 15 men and women.

Police claimed that Pentameter used the international definition of sex trafficking contained in the UN's Palermo protocol, which involves the use of coercion or deceit to transport an unwilling man or woman into prostitution. But, in reality, Pentameter used a very different definition, from the UK's 2003 Sexual Offences Act, which makes it an offence to transport a man or woman into prostitution even if this involves assisting a willing sex worker.

Internal police documents reveal that 10 of Pentameter's 15 convictions were of men and women who were jailed on the basis that there was no evidence of their coercing the prostitutes they had worked with. There were just five men who were convicted of importing women and forcing them to work as prostitutes. These genuinely were traffickers, but none of them was detected by Pentameter, although its investigations are still continuing.

Two of them — Zhen Xu and Fei Zhang — had been in custody since March 2007, a clear seven months before Pentameter started work in October 2007.

The other three, Ali Arslan, Edward Facuna and Roman Pacan, were arrested and charged as a result of an operation which began when a female victim went to police in April 2006, well over a year before Pentameter Two began, although the arrests were made while Pentameter was running.

The head of the UK Human Trafficking Centre, Grahame Maxwell, who is chief constable of North Yorkshire, acknowledged the importance of the figures: "The facts speak for themselves. I'm not trying to argue with them in any shape or form," he said.

He said he had commissioned fresh research from regional intelligence units to try to get a clearer picture of the scale of sex trafficking. "What we're trying to do is to get it gently back to some reality here," he said. "It's not where you go down on every street corner in every street in Britain, and there's a trafficked individual. There are more people trafficked for labour exploitation than there are for sexual exploitation. We need to redress the balance here. People just seem to grab figures from the air."

Ah yes, those figures from the air... how feminists love them! One is reminded of Andrea Dwokin's 'millions' of anorexia victims in the US (the real annual fatality figure is a mere 100), or Sher Hite's nonsensical 'research' on human sexuality.

Despite our amusement at feminist thought processes, there is a serious message here. Feminists will project any delusion to attain their demented ends. But what are their ends? And why do they have to lie to pursue them? Why are feminists so obsessed by painting prostitution in a negative light, when all evidence refutes that perspective?

Simply put, Anglo-American feminists fear prostitution because it cheapens sex. As Schopenhauer argues, women need to secure a male while they are still young and relatively attractive, for very few males would willingly marry a woman over thirty. Simply put, women are strongly committed to marriage because it binds a male to them for a lifetime, even when their primary attraction (namely, sexual allure) is only present for a few fleeting years. Given the choice, most men would trade in their partner when she hit thirty and get themselves a fresh young model. Of course, while few males have the resources to enjoy such serial polygamy, many do have the resources to enjoy young, nubile prostitutes whenever the need takes them. Women have little to offer any male after the age of thirty - indeed, even most young females are fairly repulsive - so marriage suits women perfectly.

And now we see why women go to such lengths to ration sex, not only in their personal lives but as a matter of official policy: having nothing else to offer a man, rationing sex enhances its scarcity value. Prostitution, however, blows that agenda apart. In cultures where prostitution is legal and approved, women have very limited status since their sexual 'value' is correspondingly low. This is why feminist politicians like Harriet Harman or Hilary Clinton go to such enormous lengths to criminalize and stigmatize prostitution: essentially, prostitution weakens their manipulative hold over men. Hence the hysterical cult of 'trafficking' that surrounds all feminist discourse around prostitution in the modern Anglosphere.

Finally, for those who quibble with my claim that the contemporary Anglosphere is a misandrist matriarchy with a puritanical agenda, consider how the British media unthinkingly accepts unfounded feminist assumptions about the nature of prostitution. The liberal media are particularly compliant to feminist claims, as might be expected. And the same effect can no doubt be observed around the Anglosphere, with varying modifications.

Rambo: Pan-Anglosphere Archetype of Male Alienation

In Rambo: First Blood - the first, definitive Rambo movie - we see how Anglo-American society relates to men – especially white, working class men. In the first first scenes, Vietnam veteran John Rambo is seen approaching a small town.

From the first, Rambo is made to feel unwelcome by the town’s Police Chief. Soon, he is imprisoned and savagely beaten for virtually no reason and, after a daring escape, hunted down by the authorities like an animal.


If these themes were mere fantasy, they would not have stroked the deep chord they obviously did. Throughout the Anglo-American world, John Rambo became an instant, sympathetic archetype for working class, disenfranchised males. Though expressing a distinctly American experience, Rambo's impact was universal.


Rambo immediately became a mythopoietic icon of Anglo-American culture because he summates post-feminist male experience. His utter rejection by society expresses the offhand vilification of the Anglo-American male. Rambo is a fallen war hero: someone who is ‘pulled out of the hat’ when his martial valour is needed, then vilified when his immediate utility is exhausted. This ‘redundant workhorse’ syndrome characterises Anglo-American attitudes to men in general. Unwelcome in the normal course of things, men are tolerated only as a necessary evil occasionally needed as expendable cannon fodder. Moreover, the offhand contempt and even hatred aimed at Rambo by the institutions of social authority (Courts, the Police and politicians) perfectly illustrates Anglo-American attitudes to men.


The events in Rambo coincided with the Hungerford massacre in the UK, wherein a sexually, economically and socially disenfranchised male called Michael Ryan stalked the streets of an idyllic English village, shooting sixteen people down with a variety of firearms before blowing his own head off in the secondary school he had attended as a boy.

Predictably, media hacks and apologetic psychologists argued that Rambo had directly inspired the massacre. However, it is far more plausible that the movie provided an imago of identification for festering resentments that already existed in Ryan’s psyche, legitimating his grievances and easing any last inhibition to their violent expiation. Most discussion focussed narrowly on the space between Ryan’s ears, omitting the all-important post-feminist factors that might lead an Anglo-American working class male to such behaviour: sexual disenfranchisement; economic exclusion; constant vilification in the media; discrimination before the law. All of these themes are addressed in Rambo, which explains the character’s iconic power and resonance.


It is fallacious to consider myth as a dead, ossified cultural construct. Mythic narratives emerge continually from the cultural nexus. Indeed, the contemporary era must be considered especially rich in myth, since the electronic media and the Internet are ubiquitous conceptual oceans across which symbols and narratives collide with unprecedented fecundity. We live in a culture abounding with legendary riches. And John Rambo is one of the most resonant archetypal characters to have emerged in recent years: his plight highlights the ‘male crisis’ currently afflicting men across the Anglosphere.