The American negro transvestite calling himself (in French?) “le Gateau Chocolat (“the chocolate cake”) complains about being booed and and launches a reverse attack, as do many narcissists and psychopaths, on his victims. Fabled French WN author Hervé Ryssen calls this tactic the “accusation inversatoire” (accusatory inversion), and the German / white audience at the Bayreuth Festival 2019 felt the brunt of it.
Interior of the Bayreuth opera house, designed by Richard Wagner
Most evil Wagner fan ever at Bayreuth, who probably WOULD have gassed six million black transvestites
Hitler in Bayreuth with conductor Franz von Hässlin, singer Maria Müller, unidentified man, and Joseph Goebbels
Bayreuth becomes Gayreuth: https://slippedisc.com/2019/07/first-night-review-bayreuth-becomes-gayreuth/
Translation by me:
Bayreuth Festival – Trouble after “Tannhäuser” premiere — Black tranvestite artist feels discriminated against
07/26/2019
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https://www.br-klassik.de/themen/bayreuther-festspiele/tannhaeuser-travestiekuenstler-le-gateau-chocolat-buh-missverstanden-publikum-beschwerde-100.html
One day after the “Tannhäuser” premiere at the Bayreuth Festival, the black transvestite artist “Le Gateau Chocolat” condemned his own audience. In contrast to the other performers, in the final applause he got some booing, too. This annoyed “Le Gateau Chocolat” so much that he now complained to the public through the social networks.
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“Being the only character booed on this stage says a lot about who you Germans/whites/heterosexuals] are (still),” he wrote in English on Twitter and Facebook on Friday. It was important for the directorial team to preserve and display the “queer identity” of the artist. It is an identity that “is obviously alien to many of you.”
Comparison with the first black Venus [at Bayreuth]
The transvestite artist recalled Grace Bumbry, the “black Venus” in his Twitter post. The black opera singer was on stage in 1961 in Bayreuth. “I stood upon her shoulders last night,” the artist wrote on Facebook. “To proudly carry that on [a black performing Wagner, whose themes were ultra-Aryan] should really not have been seen as a provocation.” He addressed his mail “Dear Bayreuth” and asked in the end: “So the question is, Pilgrim, what exactly are you booing? What a miserable shame.”
Drag queen in the new “Tannhäuser” production
“Le Gateau Chocolat” plays an important role in the new production of director Tobias Kratzer [photo].
As a comrade-in-arms of Venus, he forms the freedom-loving counterpart to the strict high culture [of Wagner] and performs in the first break with a vocal insert in the park of the Festspielhaus. After the premiere, it was applauded by large parts of the audience, but there was also isolated booing. The directorial team and, above all, conductor Valery Gergiev also had to accept expressions of displeasure. All other actors were celebrated.
Theodor Körner
Just glad that the great Richard does not have to experience this cultural crashing-and-burning of his nation. The Wagner family of this generation is no longer worthy to manage the master’s cultural heritage.
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John De-Nugent
Theodore, yes, that is true, but Wagner saw what was coming. He was one of the best-known anti-Semites in world high culture, and for decades his operas in IsraHell were basically banned.
This was his big blast in 1869 at Jews in music: “Judaism in Music” judaism-In-music-richard-wagner
Peter Hagen
What a puke !!!
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Edineide Bühring
Excerpt from the Wiki article:
Ultimately, according to Wagner, the Jews have only one possibility of returning to the ranks of civilized humanity: by means of a “work of salvation and re-birth through self-destruction.” As an example, Wagner leads in the final part of his pamphlet of 1850 Ludwig Börne […. ]:
“We have one other Jew to mention, who appeared among us as a writer. […] To become a human being, for us, means for the Jew to stop being a Jew. Then he will stop being the Wandering Jew, Ahasverus”
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A contemporary anti-Wagner cartoon, where the master directs above, while, below, numerous Jews with hooked noses listen. But it is precisely this condition that proves the composer’s courage, for many Jews liked Wagner then and still like his operas today. So Wagner dared to criticize much of his own audience, which had to be detrimental to the box office receipts, and Wagner always had debts. One must consider that opera performances require a huge budget because of the many technical and artistic personal who must be paid and the maintenance of the opera theater.
Wiki on Ahasverus (https://en.wikipedia.org/wiki/Wandering_Jew):
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The Wandering Jew is a mythical immortal man whose legend began to spread in Europe in the 13th century.[1] The original legend concerns a Jew who taunted Jesus on the way to the Crucifixion and was then cursed to walk the earth until the Second Coming
The Wandering Jew by Gustave Doré
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…. Why no self-destruction of the Jews will happen
First, because in their own opinion they are on the verge of achieving their trimillennial goal! This is the enslavement and annihilation of the other earthlings, except for the 500 million gy slaves (the number that is named on the Georgia Guidestones) who are spared to becoem the Jews’ wretched work and sex slaves.
Secret Jewess Hillary and the open Jew and sex predator Harvey Weinstein
“What is the common feature of all these sexual predators?” – Their Judaism!
Secondly , the Jews themselves are not at all a sovereign entity, but actually foreign-controlled. They do not decide their own destiny.
They were created and brought here three millennia ago. The Jewish people were created in a very different galaxy by reptiloids, as fantastic as it sounds, to enslave and annihilate humanity.
That is why they differ enormously from the other Semitic peoples (Arabs and other Muslims), who are also unpleasant in appearance and behavior, but have no uncanny genius for conspiracies of all kinds.
And Rabbi Michael Laitman has admitted most of what I wrote.
These articles should be astonishing:
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