It’s one of the loveliest melodies ever written, from a wonderful, uplifting family movie without so much as a “shit,” a “damn,” or a bare tit to be found therein, much less any HEROIC!!! transgender-butt-rape sex scenes. So of course the fuckwit Left has to politicize and then shit all over it.
On Thursday, a New York Post reporter tweeted that President Donald Trump played the song “Edelweiss” at the White House. The New York Times’s White House correspondent, Maggie Haberman, suggested the song was a Nazi anthem, inspiring rightful backlash on Twitter. She seemed to stick with this false view, even after she was called out on it.
As National Review’s Alexandra DeSanctis noted, “Edelweiss” originated in The Sound of Music (1965), an American musical about the ravages of the Nazi rise to power in Austria. The song was a tribute to pre-Nazi Austria and a rebuke to the Nazis.
Don’t even ask: yes, they ARE this stupid. They really, really are.
The moronization of society proceeds apace. As we mentioned on the show, a bigshot New York Times correspondent thinks that playing “Edelweiss” at the White House is some kind of Nazi dog-whistle to Trump supporters. It is tragic and profound the way even small artifacts of our inheritance get trashed in these witless arguments, so, if you want to know the real story of the very last song in the Oscar Hammerstein catalogue, here’s what I had to say a couple of years back:
Not long after Rodgers & Hammerstein wrote the song, Theodore Bikel was leaving the theatre when he found a fan and fellow immigrant waiting at the stage door for his autograph: ‘I love that “Edelweiss”,’ said the theatregoer. ‘Of course, I have known it a long time, but only in German.’
Not for the first time, Hammerstein had done too good a job. Just as his ‘Ol’ Man River’ for Show Boat is assumed by many to be an authentic Negro spiritual, so ‘Edelweiss’ is assumed to be an authentic Austrian folk song. Not so. In both cases, a great craftsman manufactured them to solve a structural problem with the storytelling. But he did it so well that they have become for real what they were only intended to simulate. Some years ago ‘Edelweiss’ was played at the White House, at a state dinner for Austria’s President Kirschschlager, and everyone but the Austrians stood up for the national anthem. Actually, no. The current Austrian anthem is ‘Land der Berge, Land am Strome’, and the only official anthem by Rodgers & Hammerstein is their title number for their very first show, which serves as the state song of Oklahoma.
Steyn, natch, before going on to mention that Kate Smith has also been purged by the juiceless SJW skinbags at Yankee Stadium. Mark winds it up:
Eighty years later, the social-justice wankers can barely comprehend anything written before 2008. So it’s not enough that, hedged in by the ever narrowing restraints of correct attitudes, our age cannot make anything of its own; it is also necessary that the entirety of the past be erased. Hence, at top right, that ludicrous cover-up of the Kate Smith statue in Philly. As I said on Rush, she looks like the third child bride of Mullah Omar.
But that’s what pop culture is reduced to in 2019: a literal cover version of Kate Smith. Incidentally, if Miss Smith’s “God Bless America” cannot be heard because she also sang “That’s Why Darkies Were Born”, why should Bing Crosby get away with singing “White Christmas” on the all-holiday radio playlists every December? After all, in the very film where he introduced that song to the world, he also appeared in blackface!!!
So “White Christmas” should also be banned – unless, of course, Bing happens to be a Democrat Governor of Virginia.
We are in Pol Pot’s Year Zero. The demolishers (as Victor Hugo calls them in our Notre Dame Tale for Our Time) are determined to ensure there will be nothing left.
What else could anyone expect from Pol Pot’s ideological offspring?