The Holy Wood Crucifixion

The inertia behind the story of “The Help” is not new, as early as 1839, a sentiment was brewing for slave abolition because the Amistad case was at the fore, and an English actress named Fanny Kemble felt akin to abolitionizing because she married Pierce Butler whose occupation was human captivity. He owned over 800 slaves, helped write the constitution and was a US senator twice over. His literary contributions to the constitution were underscored by his personal remarks on the African race, “they are an inferior race incapable of cultural or moral improvement teaching them to read destroys their value as slaves, for it destroys their contentedness.” Upon asking her husband to take her to Georgia to see slavery first hand, she visited an infirmary and remarked that the slaves were buried in tattered and filthy blankets, groveling on the cold sepsis floor with the unattended purgatory of miscarriage, excruciating fever, rheumatism, left to fend death like brute beasts. Calling the slave infirmaries wretched and extreme, sparked the entreaty of some of slave women to bring Fanny Kemble their stories, the type of occurrences that Hollywood would come to see as a sensationalizing extravaganza. She was brought stories of a slave woman named Nanny who lost two of her three children because the slave master would send them into the field three weeks after birth, Sophy had ten children, five were dead due to similar atrocities, Sarah had seven children and lost five, yet continues to work the field unrequitedly with no hospitalization. Fanny wrote stories about the heathenism of Roswell King, the overseer of the Butler Island plantations who repeatedly raped his head slave, Frank’s, wife. She inundated her husband, Peirce Butler, with petitions from the slaves asking for more food, clothing and rest after childbirth since they were being impregnated like horses forced to copulate in stalls to bring about super slaves voluminously. The real response to Hollywood’s fanciful adaptation of this story was Peirce Butler telling his wife, “niggers are liars.” The point is that the real incident from which Hollywood stole its muse ended in the manner that white supremacy dictates that empathy wielding for the colored oppressed should end, in loathsome antagonism. Hollywood performs a dastardly deception on its uneducated parishioners who believe that there is such a thing as innocently protagonist abolition, when in fact that goes against the very nature of the oppressor/slaver. Yet Hollywood takes this historical event and cinematically augments it to premise through a Mammy setting a century later, makes Fanny Kemble an erstwhile benevolent journalist turned author who takes the women’s stories of abuse and torment to the publishing house and instead of being told that nigger are liars, she becomes the savior of a people to unintelligent to help themselves through activism. This is the Hollywood Crucifixion, to use our history exploitively to venerate the white race messianically. The psychosis from which Caucasian racism toward African American people is derived is rooted in the belief that black people are intellectually inferior thus child like in their aptitude. Slavery has taken African people from their paradasaic dwelling in heaven like Utopia in their indigenous home of civilization’s cradle to the American zoo where the tropic is replaced with the caucus that debases human life into illusion’s strife where they were forced to exist as merchandise in a circus of white faced clowns perpetually masquerading make up smiles. The artificial habitat of the plantation became the natural habitat because the new slaves were born there and knew nothing of their original home, and we became more uncouth in our aberrancy warring with one another on the basis of light versus dark color, abusing our women as punishment for the slave master abusing them, even sexually assaulting young black girls because they were the only unviolated chattel. We began abusing our children to project the hate that the slave master wrought upon us having even digressed to the point of killing our own preferring non existence for them than human bondage. These atrocities became memorialized and canonized in the annals of history books and documentaries that tell the wretched truth about our pilferage and plummet from supremacy. The psychotic slave mind in the conscious of the slave mater’s descendants created Hollywood in 1914, as a proposition to get black people to reenact behaving like the animals the residual metamorphosis of slavery forced them to become, and it asks it’s colored subjects if they will dehumanize themselves for a trophy, in the same manner in which a child will humiliate himself for a toy. Some of us indulge because the trophy is significant, it represents the thespian’s god becoming, hence the object given is a statue of a god in beseech beckoning posture. Lauryn Hill said in Forgive Them Father, “I try to keep it civilized like… African czars observing stars with scars,” as an alliteration to the fact that the word “czar is more than a term used to describe Russian kings before 1917, and more than the root word from which Caesar was taken from, but as is the case with most European traditions, it comes from Africa. African gods and kings were called tsar, or czar, and Hollywood knowing this, bronzes the idol that is homage to a black god given the name Oscar, or “Oh czar.” This is in fact an act of supplication thanking the black god for endowing them with extraordinary thespianism through the muses. This practice has been adopted from the Egyptian mystery school system by Hollywood whose leaders know that as early as 670 BC Pythagoras was trying to implore admission into the schools as was Thales in 570 BC. The Egyptian mystery school taught the Sacred Science called the Summon Bonum which was the pathway of the flesh to become the divine and non blacks were excluded from its grand intellectualism until Socrates was admitted opening the door for Alexander to invade so that Aristotle could steal the wealth of knowledge in 331 BC. The mystery school taught through “Academies” that used thespianism to teach the immortalizing of the soul, erudite actors and students of acting were deified as gods, Hollywood does the same through their “Academy” that anoints prolific students of acting with godship by giving them the statue of the black czar. Hollywood is also a variant of the words “holy wood”, which in history signifies the “True Cross” which is actually the physical remnants of the wood upon which Jesus was impaled. The people that run Hollywood are of the faith that the bible says god made a covenant with exclusively. The Mosaic Law Covenant stipulated that no Gentile could attain salvation, then Jesus the Christ arose and his death constituted a radical new covenant which extended salvation to all of humanity and it just so happens that the people who ascribe to the religion that killed Jesus are white and Jesus himself was a melanated human of African descent (see my blog The Real X Men), thus black. The Holy Wood, or the True Cross, as it was called by statesmen in 325, is the blame for the portent it gave the Queen of Sheba causing her to tell Solomon that that it would bring about the end of the non Gentile covenant. The Golden Legend recorded in 1260 by the Bishop of Genoa says that the Holy Wood was a part of the Tree of the Knowledge of Good and Bad that Adam ate from bringing mortality to human perfection. It was planted on Adam’s grave by Seth until the time of Solomon. The tree was extracted and used to make the bridge the Queen of Sheba crossed to meet Solomon, and told her that Jesus would end the non Gentile covenant and Solomon, fearful for the safety of his nation buried it only for it to unearth fourteen generations later as the impalement weapon of Jesus. The non Gentile people’s possession of the True Cross or Holy Wood, or the metaphorical “Hollywood,” gives the non Gentile people back the control they lost when their covenant gave them supremacy. It is their way of undoing losing that covenant. Hollywood allows the same people that crucified the black man Jesus and funded the slave trade, to crucify black people by making them subhuman in the “Academy’s” thespian sciences, crucifying them through exploitation to make their people “chosen like” once more. Black people threaten their supremacy because the cinematic mysteries their fellowmen learn in order to be given the black Czar, black people already have innately. Non Gentile people know that god’s covenant was originally for melanated people so they impale us every chance they get by making us look too imbecilic to be holy. Hollywood Crucified Hattie McDaniel in 1939 by giving her the black god for playing a mammy and black America was in an uproar, they give Octavia Spencer the Oscar today for the same portrayal and black people bizarrely feel empowered. It appears as though the crucifixion is serving its purpose. If the black god trophy anoints them as the chosen, then what does the act of giving it to us for portrayals of debasement through resurrected historical torment say? It says, we anoint you for making small the godity within you so they we may be glorified through your self indulged humiliation. My name is Kinshasa and these are my waking thoughts, you may disagree, but rest assured my intelligence is superior.

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This entry was posted in African American, Black Culture, black culture and black consciousness, black entertainment gossip, black news, Black Polotics, history, racism, Screen Actor's Guild and tagged , , , , , , , , , , , , , , , , , , . Bookmark the permalink.

One Response to The Holy Wood Crucifixion

  1. Joseph says:

    You should really consider putting the blogs to paper for mass consumption. Everyone I’ve read evokes thought.

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