A year or so before Caitlyn Jenner was a thing, so to speak, I had a conversation with an old friend who informed me that men could now be women, and vice versa. I had no idea what he was talking about, but I’d been living halfway across the world for several years, and all goings-on in the West passed me by, among them, it would seem, a phase or two of the transgender-normalization push.

As adults, we are more conscious that culture is rarely organic, but cultivated by actors. And where we as Whites most often fail in our diagnoses of such phenomena is attributing it not to these actors but instead to abstractions: capitalism, communism, wokeness, etc. Once over that hurdle, reality becomes clearer, and we can fire up that internet engine and connect the dots with ease.

Take, for example, the Museum of Transology (don’t laugh, bigot) located in Brighton, England. In appearance, the Museum of Transology ranges from, well, your call…

… to something akin to a second-grade classroom.

Race, specifically antiwhite discourse, of course, emphatically reinforces the hierarchy: “White gays are indebted to black trans people” … “White queers[,] we must do better” … “The gay rights movement was built on the backs of black trans women,” which seems dubious, though defer we must to the lead curator.

Farcical as it may look, however, the Museum of Transology is a financial subsidiary of a major institution: the Bishopsgate Institute, which unsurprisingly shares similar interests, as:

The breadth of [Bishopsgate’s] queer grassroots collections is unrivalled in the UK.

Home to the “UK Leather and Fetish Archive,” Bishopsgate is a natural parent organization of the Museum of Transology. But Bishopsgate has numerous associations with another major institution: Tate, an art gallery network with the most annual visitors of any museum in the UK—more than the Natural History Museum and the British Museum—and among the largest in the world.

At least three of the twelve Bishopsgate trustees are current or former employees of Tate, including Kathryn Martindale, Tate’s current Chief Financial Officer.

Tate receives funding from the UK government, but has notable private donors, as well, such as John Studzinski, former Tate board member and executive at the Blackstone Group, and current Managing Director and Vice Chairman of PIMCO, an investment-management firm with $2 trillion in assets, and Semitic oligarch Sir Leonard Valentinovich Blavatnik, worth an estimated $35.4 billion.

The Museum of Transology is nothing special in itself, but it feeds from the top, and none of it, to say anything in history, was “built on the backs of black trans women.” So-called “transology” is not organic, it never was, and few over 30 likely grew up aware that transgenderism even existed as a semi-serious thing. It has been and continues to be pushed by powerful people and institutions onto young, vulnerable, and primarily White children, because strong, cohesive, and collectively conscious White families are what they seek to break.

What alone defeats that are stronger, more cohesive, and more collectively conscious White families. Build one.