Philly Combats History with SJW Propaganda

Yesterday, a publicly funded organization called Monument Lab unveiled its latest Fall installment at Dilworth Park in Center City Philadelphia. The “monument” is an 800 lb. statue of an afro pick topped with a “Black Power” fist…because a slogan and symbol associated with African American terrorist groups like The Black Panthers is seen by the social justice left as an appropriate image to display outside of our City Hall & Municipal Building.

If Philly really wanted to send a message, they’d install a new statue of the first black Mayor of Philadelphia: Wilson Goode! That’ll show a history of pride and—oh wait, the MOVE bombings that they decided to blame on someone else…yikes on a bike.

But clearly, the right answer to “Monument Hysteria” is the force removal of statues dedicated to the men and women who fought for the country, established the constitution, and contributed to the stability of major parts of the nation…and replace them with black supremacist Afro Picks that conjure up nothing more powerful than a certain scene from Spaceballs.

The modern artist, Hank Willis Thomas is responsible for several other art installments highlighting similar themes from black cultural branding, black criminal demonization, and the “hands up don’t shoot” mythology.

To some, this installment has been seen as a ‘refreshing take’ on a part of the city’s history not expressly covered by the limitless black history and cultural murals scattered everywhere in the city.

To others, it’s an obvious gut response to the recent faux outrage over the continued presence of the statue of Philly’s former Mayor Frank Rizzo led by Councilwoman-at-Large and Babadook/Elisa Lam Ghoul stand-in, Helen Gym.

But it doesn’t stop there.

A few weeks prior, another publicly funded art project started up at the Municipal Services Building in Dilworth Park. This one seems more like an exercise in how distinctly anti-American and pro-Eastern culture we could force ourselves to be while still spending taxpayer money in a public space.

This installation is set to continue through the end of the year and is titled “Immigrant Alphabet.” It includes an A-Z of childish and insulting cultural amalgamations sponsored by the Islamic Al-Bustan Seeds of Culture. Puzzling panels like:

• K is for Knowledge (featuring a picture of the Koran…why not just “K is for Koran”?)
• O is for Occupy (featuring an image of a foot stomping down on Africa on a map)
• R is for Refugee (featuring a picture of…just a black woman with a book)
• S is for Stereotype (featuring an Asian girl wearing glasses holding a textbook)

  

  Why would any Asian Woman want to be associated with family support and education?

  …and my personal favorite…

• X is for….”X is not a letter in Bengali, Turkish, Urdu, Arabic”

What does your city do with your money? Self-described social justice public installations served to shame and disorient the majority of Americans? Or maybe productive architectural and reconstructive efforts on sections that have been forgotten or left in disrepair?

But, hey…why bother trying to attain sustainable employment, improved educational institutions, and communities strengthened by families and order?

We’ve got a statue of a fucking comb.

—X