Paralyzed whites unable to defend what is theirs.
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Since December 10 — that means for 87 days — hundreds of illegal alien Africans have occupied this beautiful 19th century building in the heart of Paris.
It’s called the Gaîté Lyrique theater. Last week, after 79 days of occupation, theatre management threw up its hands and abandoned the building, which is owned by the city of Paris. With “youths” everywhere, all performances had been canceled, revenue had plummeted to zero, and, claiming force majeure, management said it could no longer fulfill its contract to run the place.
Meanwhile, there have been demonstrations in front of the theater, with blacks demanding legalization, housing, food, and medical care. A judge has ordered the city of Paris to solve the problem by March 14, but so far, nothing has been done.
This is how Western Civilization could die — paralyzed whites unable to take the most obvious steps to protect what is theirs. It is a Camp of the Saints in miniature. Aliens invade and whites put up no resistance.
How did we get there? First, with the lefty stupidity of the theater’s management. Lyric Gaiety, to say its name in English, used to stage operas, but it fell into the hands of degenerates who don’t seem to like lyricism or gaiety. Here are the “next concerts” that had to be canceled or moved elsewhere.
Theodora is a Congolese rapper who “represents a diversity, musical and ideological, an explosive cocktail.”
Canblaster is a “unanimously respected and admired” synthesizer artiest. This is from his latest album LIBEROSIS.
And so, it was no surprise that when the theater put on a conference called “Refugees Welcome in France,” it let in 200 black street bums for free. But Lyric Gaiety was outflanked by an even more insanely lefty organization called the Collective of the Youth of Parc de Belleville, which rounded up the Africans.
The collective’s job is to make an infernal pest of itself. Here are its troops, last spring, occupying a cultural center, demanding housing, food, education, and medical care for illegal blacks.
And here they are outside, threatening to shut down the Paris Olympics if Africans don’t get what they want.
The collective is run by whites, but it has no trouble whipping up flash mobs.
They usually get the boot quickly enough, but this time they hit the jackpot. When the Africans refused to leave, this manager conceded that it was an illegal occupation, but he sympathized with the poor dears, who certainly could not be put out in the December cold.
And for 79 days, the staff played social worker, garbage collector, and security guard, while non-profits like this outfit, Samu Social, along with Doctors Without Borders, made sure the Africans were fed and medicated.
Meanwhile, the flash-mob collective was in high gear launching appeals.
On the left: Asking for donations of food, garbage bags, and cleaning supplies. Middle: “Racist government, mayor’s office. We are sick of
Here you can see Africans shouting into bullhorns and waving posters that say, “Equality means legalization, housing, education, and health care for everyone.” Or that say “Solidarity, disobedience, resistance, struggle. State racism paves the way for fascism.” Other banners appeal for help from leftist labor unions. As always, this kind of insanity has nitwit white supporters.
This all finally got to be too much for the theatre staff — look at those earnest white people.
They wrote an open letter to the mayor of Paris. They did not say, “Get these swine out, for God’s sake.” The said the theater faced an “explosive situation,” with “violence of increasing frequency and seriousness,” that there had already been one dangerous fire, that at last count there were 446 squatters under foot — for whom they begged the authorities to “find shelter.”
And with that, on March first, they walked out. The city has reportedly taken over, but the place is still pretty spooky.
A Soros-backed newspaper called Street Press had been using free offices in the theatre.
Street Press is proud to proclaim that it is: antiracist, against the radical right, feminist, against police violence, on the side of refugees, ecologist, and on the side of the poor.
But five days after theater management beat a retreat, Street Press’s Mathieu Molard — look at his nice X illustration — issued a statement.
He said staff had to move out “suddenly” for its own safety. He said that especially at night, there is “tension” in the building. He expressed continuing “solidarity” with the Africans, of course, and blamed their problems on “reactionaries” and “racist propaganda.” But he begged donors for “thousands of Euros” to pay for the staff’s narrow escape.
And that, ladies and gentlemen, is the current state of play at the venerable Gaîté Lyrique. The French media are surprisingly muted. Maybe they are waiting for an explosion.
I will close with a scene from a 1985 production of Jaques Offenbach’s opera, Voyage to the Moon, which premiered at the Gaîté Lyrique in 1875.
I think if Offenbach were to see what’s going on in his theater today, he’d rather be stuck on the moon.