The Real Avengers

When Aristotle, Ptolemy and their pupils were thumbing through the Egyptian papyri Alexander had just plageristically stolen from the temple of Thebes, do you think that the embryonic Greek mind, that scarcely knew what an eclipse was, marveled in fascination at the dynamism of Egyptian accomplishment through megalithic black hero’s? The Greek intellectuals had no imagination capable of inventing the stories they viewed as mythological, that were in actuality real supernatural events that occurred on Egyptian soil when all skin tones were sun drenched. Fascination is part envy, and part wonderment. The envy in the Greek pathology made the thieves of this rich history give the heroes a white face, while the wonderment made them simultaneously pay inconspicuous homage to the genius black wielders of awe. Stan Lee shares the sentimentality of those Greek thieves of Egyptian aboriginality, conjuring fanciful tales of superhuman accomplishment by white people with colored abilities while simultaneously paying homage to the black gods that scintillated by giving the super hero cryptic Afrocentric identification. The Avengers is a story contrived to hide the magnificence of black power in marvelous white abnormality. If you write a story about grandiose black gods existing inside the genetic abnormality of white power advantage, you make the white race look magical and superior and the black gods look innocuous. Who has more to “avenge” then the original gods of human conjuring, who happened to be black because the world knew the original people were black and were victims of identity theft by white inadequates? It is my contention that the movie Avengers is a story inadvertently giving homage to black gods through white embodiment. Foremost, Iron Man is the personification of a deified being traversing through the expanses of heaven and the confines of earth. Yet interestingly, in Yoruba culture, there is an Iron god who came to earth when the god Obatala was unable to craft earth from a sea shell, a Guinea Hen, sand and an Ikin. The Iron god Ogun gave mother Africa metallurgy so they could build communities in the jungle. The iron god was venerated and beseeched for giving man a higher capacity for civilization. The word Ogun in English connotes the will to survive and is likened to the voraciousness of male testosterone. Hence, Tony Stark is a decadent hedonistic, ego maniacal imparter of genius technological ingenuity symbolized by his embodiment as the black god of iron who gave the world technological advancement through the golden age of metallurgy. Without the god of iron, there would be no instruments for Africans to explore the fifth dimension which they believe is a long spectrum of light that is undetectable by the naked eye. After being illuminated by the iron instrumentation the eye was trained to see the dimension allowing the body to pass through portals in Africa and reappear, similar to the iron god, Iron Man, passing through portals in the movie. The Iron God that represents the invigoration of light is accompanied by a goddess who is a widow, and mother to the god of illumination. Marvel calls her the black widow, supposedly a Russian spy, Natalia Romanov, who is merely a metaphor for Isis, who is the most notable black widow of storied repute because she was married to the great god Osiris who was killed by his brother Set and avenged by Osiris and Isis’ son Horus, the black illumination god of wisdom. In the comic stories she is attracted to Hawkeye who is a representation of The Eye of Horus who himself is symbolized by a hawk. Horus lost his right eye to his uncle Set in his battle to avenge his father Osiris, and since it has been called the all seeing eye, for its reputation of wisdom in Horus’ craftiness to defeat a greater opponent, Hawkeye, is a representation of the “Hawk’s (Horus) Eye” on the back of the dollar bill this country uses to emblemize its wise conquest over the ominous nations of the world. Hawkeye is an archer and the black god hawk on the dollar bill has 13 arrows in its right talons symbolizing the Egyptian number of transformation, giving more credence to the analogy of the black god America has given arrows to being the white impersonator metaphor who shoots arrows at dimension intruders. The black hawk god Horus was known to travel in a self propelled solar sky boat while Hawkeye, the marvelous misrepresentation, travels in a self propelled solar sky cycle. In 4000 BC, many Hulk’s roamed the earth, only they were called Nephilim. God caused a flood to destroy the earth because wicked angels saw black women from heaven and in their lust materialized into human flesh to bear offspring by them. The offspring they produced were a giant race of half god, half man tyrants who pillaged humankind through barbaric tantrums. The land of mention in Gen 6:4 is the land of Canaan which then was called Sumer Akhad, Babylon, Chaldea or Shinar, all names referring to an Africanized race of people begat by Cush whose name means Ethiopia. White people as a race weren’t seen on the planet until about 1600 BC and it is notable that while the Egyptians had Semite or albino slaves prior, they didn’t become peoplized until at least 4 millennia later. Another way to analyze the color of the people in Babylon in 4000 BC is not by race, but by complexion, we know they were dark skinned because the inhabitants of the Middle East migrated from Ethiopia. There was an Ethiopian civilization in southern Mesopotamia who called themselves Babylonians. Cush’s son Nimrod ruled over this land that was comprised of dark skinned Ethiopians. Canaan was the youngest son of Ham the son of Noah from which all African nations progenated and the nation was called such because of the complexion oriented ethnicity of the people that dwelled there before and after the Flood. Hulks were also seen rampaging the land of Canaan when the Israelites were spying it out for the Promised Land, Numbers13:33 laments that the Israelites looked like grasshoppers in their eyes and Amos 2:9 frets that they were the size of cedar trees. The black giants were wrath actuated hybrid monstrosities that terrorized men because they were part god and part quintessential aboriginal stock. These Hulks were worshiped by men out of awe and faint fear because of their superhuman strength and immensity as seen in their symbolism in aggrandized fables that are homages to their massiveness. Thor is the son of the god Odin who disarticulated his son’s spirit and placed it inside of a crippled medical student on earth. Odin is the Scandinavian embodiment of the Egyptian god Horus. The German, Finland, Denmark, Sweden, and Norwegian articulation of the Egyptian god in Eurocentric trans-analysis is that Odin resembles white godliness, instead of the black godliness his authenticity hails him to be. Before Egyptian miracles were called myths by Greeks, it was customarily acknowledged that the only gods of existence were black because it was widely acknowledged that black is the color, substance, and genotype from which all things sprang. Thor is a white bastardization mocking the improbability of a black god having a white son, he is the supremist’s agenda that masquerades Eurotheism in the place of Afrotheism. Furthermore, this host of black gods and goddesses, being misrepresented by either whiteness or mutation is led by Steve Rogers whose alter ego is Captain America, and his sole weapon, a shield, is all powerful due to properties of Afrocentric chemistry. Captain America’s shield is made of the fictitious metal vibranium which is said to come from the fictitious African land Wakanda where the Marvel comic hero Black Panther hails from and uses the metal shards to make his suit impregnable. Vibranium is a metal that absorbs frequency to empower itself and it is said, by Marvel, to have come from a meteorite that struck Wakanda and turned it’s African inhabitants into demon people. There exists a popular scientific theory that says meteorites striking the earth 4.6 billion years ago caused creation by imparting nitrogen through ammonia acids, the basic building blocks of life, into the ocean. Thus, the Marvel meteor is synonymous to the creation meteors that struck earth, which would have had to have stricken near the place that is the cradle of civilization- Ethiopia, Kenya and Tanzania. Coincidentally, the fictitious African Marvel land of Wakanda is said to be located in East Africa just north of Tanzania and is indicative of the actual Wakamba tribe of Kenya. This brings us to the realization that Captain America gets his greatest power from black power, in the sense that the Black Panther’s source of power is his indigenous African dwelling where meteor deposits make him supernatural. Captain America is not a black god like his counterparts, but he derives his greatest power from that which caused the origin of humanity, whom were the earliest Africans which anthropologists say spawned from Kenya, Tanzania or Ethiopia. He represents more than black godship, he represents the possessor of secrets of cosmic power that composes the heavenly abode of the black gods and once propelled to earth can create life. Captain America is to the black gods avenging their anonymity and falsification what the passage on the back of the dollar bill is to the African insignias surrounding it. He represents the entity chosen to lead the impersonating gods in the universal conquest of Afrotheistic blasphemy and deity pontification. Emergently, the original black gods have more to avenge than any other personages because they gave us conception and purpose. In reality they will avenge themselves by heralding their blackness as the vessel nature chose to advance itself to become supernatural. My name is Kinshasa and these are my waking thoughts, you may disagree, but rest assured my intelligence is superior.

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The Original Hood and Hoodlum that Trayvon came to Symbolize

We are told at Genesis 3:1 that the serpent proved to be the most cautious of all wild beasts of the field that God had made and it began to say to Eve, “Is it really so that God said you must not eat from every tree of the garden?” Uncannily, this biblical account gives us the inception of the hoods that embed in the collective unconsciousness of humankind and corrupted the perception of the message the hood conveys. When Trayvon was seen looking suspicious, it was due to the donning of the hoodie that he wore that conveyed something disturbing and sinister to the psyche of the white preconceiving notioners that were obstructed from seeing a villainously incredulous 17 year old African American teenager. As is with everything behavioral, there underlies a deeper more perverse mentality that provokes the insidious evil in man’s unleashing. We all have dreamed images of the scene that is the serpent deceiving Eve and Adam partaking what God forbade from human consumption because it is an integral part of the human subconscious experience, we fundamentally base our theory of morality from the impropriety of this account. The dream is unanimous because we are taught that it is the origin of humanity’s undoing, the impetus for sin thus damnation, furthermore we innately aspire for heavenly utopia to ratify condemnation to morbidity. When I see images of Trayvon wearing the hood I am taken to that subconscious part of my mind where hoods exist as anatomical appendage covers, not apparel and symbolize why the creation of the stereotype is subconsciously inescapable. The hood Trayvon wore is man made, but Genesis tells us that the first hoods of existence were created by the almighty, first the hood on the vulva of a the first woman Eve, and secondly the hood that extends circumferentially around the head of the cobra, which is a serpent by manner of the word serpent being analogous to snake. The clitoral hood is similar to the foreskin that is circumcised from the genital of the male, it is a fold of skin that protects the female clitoris. The cobra’s hood is created by the presence of elongated ribs that extend the, looser, neck skin outward as its neck flattens to form the hood shape while standing erect to intimidate predators. If indeed Eve was approached by a talking serpent, it likely would have been the cobra because it is renowned through history for its powers of entrancing and spell binding; it is the quintessential mystical creature that is capable of conducting the esoteric energy of the transcendental spirit. Cobras are analogous only to Asia and Africa and tree cobras are said to live in western and central Africa, the proposed geography for Eden. In our collective unconsciousness we share a universal dream of the cobra speaking to the black woman Eve, as the two hoods interconnect to create a third, the devil speaking through the cobra, using its hood to entrance Eve, whose clitoral hood was a part of the clitoris sensationing caused by the fear of the cobra’s language and entrancement through its hood. I have been told by some women that they unknowingly orgasm when they become nervous or afraid, and since the clitoris’ sole purpose is to cause orgasm, the clitoral hood is also instrumental because it secretes the sebum between it and the clitoris to allow for stimulation to take place. Perhaps Eve became so petrified at the sight of a talking cobra that she orgasmed out of fear, this could possibly constitute the first orgasm since the bible mentions the serpent’s encounter immediately after her creation from Adam’s rib extraction. Furthermore, in the birthing of humankind’s damnation the devil wore a hood in his possessing the serpent, the first orgasm as the personification of fear wore a hood as the covering atop the anatomical progenitor of the orgasm and the hoodless Adam was transformed in to the first hoodlum. Adam was coerced by the trickery of both hoods, the deception of the serpent wearing the hood and the arousal the contracting vagina gave him as Eve’s clitoral hood and clitoris mimicked the fear contraction the vagina was given from the talking serpent’s appearance. It’s possible that our universal dream of the Edenic Deception stereotypes the presence of the hood: as being mystical because it perpetuated the magic that was responsible for duping Eve, as being sexual because it could have been the clitoral hood’s sexual manipulation that convinced Adam to defy god and as being wicked because the first sinner became the first hoodlum. The bible says at Romans 5:12 that is was Adam who, through villainy, brought inherited sin upon mankind, not Eve, thus the black male hoodlum was born. In our subconscious dream of the Edenic Deception, the black male hoodlum is born by the interaction of two hoods creating a third as the sum of the two. These form the universal trilogy of the hood whose ponderance over purports the anatomical boy to reach manhood. Manhood is defined as the state of coming into manly maturity or as physically being the male genetalia that is the foreskin covering the penis. When male babies are born, their “manhood” or foreskin is removed during circumcision so, psychologically, males are forced to quest the plight of retrieving our manhood through the acquisition of interpreting the dream of man becoming hoodlum: the serpent’s hood, teaching Eve’s hood vaginal contraction, which she used to sexually coerce Adam to become the first defiant one, the first hoodlum. When we articulate the meaning of this dream to our psyche during adolescence, we are translating what it means to become man by interpreting what it means to become a transgressor, and while our man’s-hood is reached, inequity or degeneracy is born. But what happens when people that are born genetically degenerate due to the absence of melanin process this dream? Perhaps they not only see Adam as being black, but they define their coming into transgressing as the mimicry of black sin, thus they despise the black male for giving them sinful tendencies, and they repulse the black woman for birthing them defective, lacking pigmentation which makes their propensity to sin ungodly and disturbing. They see the black male as the original sinner or hoodlum, the black male as the devil because the oldest magic was euphemized as black magic and the Edenic Deception’s antiquity would associate the devil’s entrancing of Eve as being a black art to the white male psyche. Lastly, the white male psyche, along with these other descriptions sees a black male in a hood as a term other black males call one of their own who is a defector of his manhood, a “pussy ass nigga.” The idiom becomes an alliteration when a black male is actually seen wearing a hood because, psychologically, he is seen as the cause of sin because he replicates Eve’s clitoral hood, thus he appears to be a “pussy” in a psychological sense. In reality when we see black males with hoods we should think about the first priest, the Ethiopian Melchezideck who instructed Abraham in Canaan, or the Desert Men of the third century AD who were esteemed as the originators of the monastic life and the first monasteries, or the Coptic Monks of 271 AD and the Augustinian Monks who taught Catholic priest their ritualistic existence. When Zimmerman saw Trayvon wearing a hood, in his subconscious mind, he saw the devil or serpent in his hood, a “pussy ass nigga” or Eve’s manipulating clitoris under her clitoral hood, and the original black male hoodlum that was the defector of perfection perpetuating the unlikely state of whiteness. When male babies are born, the hood that covers the penis is circumcised to expose the appendage that is the identifying mark of manhood. In a metaphorical sense, the circumcising of the hood that covered the manhood accruing Trayvon symbolized Zimmerman removing that covering over what he saw as the devilment that led to his genetic demise and phenotypical insecurity that inferiorized his manhood. My name is Kinshasa and these are my waking thoughts, you may disagree, but rest assured my intelligence is superior.

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Black Girl Lost? An Original Take on the Psyche of Attraction

Academia and religion would have no conceptual lure were it not for the Egyptian Mystery Schools that taught the unification of the “astral body” represented by the god Osiris and the “etheric body” represented by the goddess Isis. The etheric body is the lowest layer of the human energy field called aura and is a facet in the system of seven planes and bodies in the human’s acquisition to becoming divine. It is said to be a field of energy that comes into contact with the physical plane to sustain and purport it to connect with higher divine beings. The Etheric body or etheric aura draws energy from the sun to sustain the physical body until death to nurture its ascension into becoming god like; it is the method by which the soul becomes clairvoyant. The astral body is referred to as the subtle body which is the intermediate between the awakened soul and the physical body as the flesh attempts to have an outer body experience with the beyond and becomes ecstatic through the ascension of the etheric body represented by the black goddess Isis. Astral projection can only take place through the metaphysical heightening of the soul by the black woman taking it to higher energy states. The earliest ancient monarchs were viewed as demigods when the two bodies joined allowing for the individual to move through cosmic worlds after having become enlightened enough in the senses. When Aristotle began plagiarizing Egyptian papyri after Alexander’s invasion in 331 BC, the Greeks took credit for calling the study of the body’s transformation into spirit, Metaphysics, and pontificated the truths the Egyptians espoused about their grandiloquent goddess Isis, which made clairvoyance possible. Sigmund Freud and Carl Jung were privy to much of the ancient philosophies about the material body’s transfiguration through the prowess of intellect and ecstatic energy taught by the Egyptians and used this edification in their psychoanalytical studies, but they refused to acknowledge the significance of Isis representing the ability to transcend enlightenment. They called the part of the mind where memories are collected from human experience respective to a species, collective unconsciousness, and the Egyptians called it the superconsciouness. This place in the mind is where characteristics and ideals reside that causes us to have natural inclinations toward certain emotions or predispositions without consciously choosing to do so. In The Drama of Sacred Life the Egyptians say in A Dynasty 12 papyrus that Man had a conversation with his “Ba”, or spiritual counterpart about wanting his soul to pass on to death to become god like. The black Egyptian male’s spiritual counterpart was the Isis embodiment, the grand black woman, that energized his soul to the cosmic heights that allowed it to be transfigured divinely, and the black males spiritual counterpart today is the grand black woman who should be the Isis embodiment that energizes his soul to cosmic heights, he calls her his “Boo”. The Drama of Sacred Life still plays in the collective unconsciousness of black people because it was embedded in the unconscious mind of the black people who invented it of which we share the same species. In the black woman’s collective unconsciousness something is kinetic, but terribly malfunctioned in the sense that instead of being the black man’s spiritual counterpart that helps his soul become divine, she is the spiritual deterrent that incites and corroborates with him to become a subhuman imbecile, lacking real intellect. Perhaps it has to do with the fact that in the Garden of Eden, which some say is metaphorical for the etheric body woman taking the astral body man to that ecstatic level to become god like by Eve giving the apple to Adam which symbolized his consumption of her aura purporting him to either glorification or damnation, the first black woman was destructively impressed by the first black man. Gen 2:23 says that Adam told Eve she was at last bone of his bone and flesh of his flesh, which constituted the first rapport or “rap,” which just so happened to be projected to black woman with enhanced esoteric powers of deduction who became smitten and enamored by the poetic insurgence of her male counterpart. She processed this and internalized an affinity for a black man jargoning with her through rhythmic rapport, or “rap” and this became programmed in her collective unconsciousness causing black women today to internalize and be impressed upon by the same phenomenon, the rapping of a black male. Somehow Eve forgot that it was her that was supposed to be the one giving ascension to Adam’s soul, but his words were what the Egyptians called “sexual magic” that was to arouse the vital body to travel outside of the physical realm, but it gave her the outer body experience of losing her mind and her metaphysical purpose of heightening man. Therefore when black women hear the sexual magic in the rap from a black man, their collective unconsciousness takes them to a place of complete vulnerability and ecstatic lunacy where they lose the capacity become the cosmic catalyst for the black man’s immortality. Moreover, there are times in history when sacrament synchronizes with incident to make what nature has been trying to tell us all along more apparent. Namely, that the black woman who represented the most potent god because she makes the black male god eternal, is losing her splendor and awe to the mediocrity of terrestrial and common thinking. The city of Paris was named such because Europeans were avid in their worship of Isis in that part of France, so they called the city Para Isisdos, or house of Isis. She was routinely worshiped in a cathedral called Notre Dame, which means grand woman, named such because the grand woman of supplication was Isis herself. At present, institutions that refer to themselves by this name cater to the veneration of white supremacy, which is why they emblemize themselves with the Celtic image of the Leprechaun. The irony or blasphemy in this is that an institution bearing the name of the cathedral where the black goddess was worshiped for eternalizing the black male should extol black supremacy, not white supremacy. The fact is that they know that if they augment the truth about why the black woman should be venerated, and exclaim why white purity should be venerated, the black woman’s true role in her immortalizing the black man’s godship will go unrecognized. Skylar Diggins plays basketball for Notre Dame’s female team and her abilities are seen as god like, or supernatural. She probably doesn’t know that she is supposed to be embodying the role of the advent of Isis since she represents the Grand Woman Isis and her ability to preserve the black male through preservation of his phallic virility which represents his cosmic rejuvenation. The Isis Papers tells us that the basketball is brown because it represents controlling the black man’s testicle and passing it through a brown rimmed orifice that represents colored conception with the ovum of a black woman. Skylar, like the Grand Woman Isis, who saved Osiris’ phallus from a frog and brought it to the god Ra for his resurrection, is also harnessing the power of the black man’s sexual vitality and should be metaphorically making it holy, which means that since she is Isis on the world stage, she should be stalwart in her responsibility to enrich her black male god counterpart’s soul, as if she is taking it upward to make it divine. Sadly, she is unknowingly doing the bidding of white supremacy that wants the Isis embodiment to be attracted to and perpetuate their black male god counterpart’s low sink of ignorance. Driven by the compulsion of her collective unconsciousness, she is smitten by the sexual magic in the rap of Lil Wayne, just like Eve was and has forgotten that she is supposed to be the energy imparter that takes his soul to the sun. Instead, on the grand stage, where sacrament and incident only meet one time in a specific junction, where she has become the grand woman Isis for the world to see, she ingratiates the ignorant rant of a man who prefixes himself as a boy and claims to be the son of a grown man called Baby. He couldn’t be more emasculated and she couldn’t be more uninformed of her responsibility to make him clairvoyant before the world so they can see The Drama of Sacred Life as it is supposed to be, black and transfiguring. The racist, sexist white men that translated the bible relegated Isis in the holy trinity to be a holy ghost, with no identity, and it was she that caused Jesus to be transfigured as Elijah and Moses before Peter James and John. Through this experience he was audibly called the “sun.” Skylar means scholar and is indicative of one who enlightens, as the symbol of the grand enlightener, Isis, she should be causing the transfiguration of the man-boy into man by enlightening Wayne with her aura, instead it seems she is giving him a “transniggeration” by fancying his ignorance she is assisting in the reduction of himself into recidivistic infant.My name is Kinshasa and these are my waking thoughts, you may disagree, but rest assured my intelligence is superior.

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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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Red Tails

A snippet from a supposed conversation held in George Lucas’ mind: “How can I pretend to be engendering to the black audience while simultaneously appeasing my black wife by making a movie about black accomplishment, that would in reality exploit the achievement, sabotage the future of black films and portray black people to be what I truly perceive them as, monkeys? Well, I can be covert about the derogatory nature of my symbolism because not many people know who Babi is, the underworld baboon deity who assisted Thoth in weighing the scales of the righteous and unrighteous and simultaneously was the devourer of the souls Ma’at (the personification of the concept of truth and order) sentenced to the underworld. The great Egyptian king Menes who united the upper and lower kingdoms of Egypt in 3100 BC and instituted the first dynasty after the Asians infiltrated and corrupted it was said to have transformed into Babi, the god bull of the baboons and alpha male of all baboons. My observers are too uneducated to understand that most of my science fiction is in fact historical accounts of the ancient black world mixed with Egyptian mythology, so they will never catch on to me being erstwhile and clever about making a movie to call black people monkeys. They could never know that Babi is said to be the transformed son of Osiris which is important because one of the greatest black men to ever live will continue to live because his father is the god of resurrection unless I turn his legacy into one of baboonery to prevent black people from reincarnating his exploits. Black people are too uninformed to know of their true greatness, King Menes built the early capital city of Egypt called Memphis which the ancients said was so vast that it was a day’s journey in every direction. He is the reason we call the presidents quarters the white house today because he built the Pharaoh’s quarters enclosed in a double white wall which shared the name “White House” in his day. His real name is Narmer or Aha which is where the word “Aha moment” comes from as a tribute to his epiphanizing intelligence. Because of him the Africans referred to their land as Kemet (the black land) and its inhabitants as Kemiu (the blacks). Black people are too inept to know that the word pharaoh is an Asian term; Menes had the foresight to call an Egyptian king, whom was coal black as the name Kemet indicates because the hieroglyph is a charred black block of wood, a “Ngu” in the Medu Netcher language. This word having the appropriate vowels would be rendered “Nigu” or pronounced “Nigga”. Some niggas of are versed enough to know where the word Negro comes from but are foolish enough to believe the dictionary’s definition of “Nigga” as an ignorant person and are idiotic enough to allow white critics, who in Narmer’s day were his Semite slaves, to condemn them for referring to each other in that manner. In actuality it identifies that they are black kings. Menes was the keeper of the teachings of Ptah, the imposter Asiatic Africans believed in the cult of Horus, but the teachings of Ptah was to be the true religion of the African. Ptah was the god of creation, the god of true wisdom, the opener, the god who ceremmonialized the opening of the mouth as speech, the craftsman or potter of all divine beings, the universe came into existence because of him by speaking words and causing them to become matter, he is said to be the grandfather of Imhotep which is the first multi genius and first man to be given the name “The Christ”, the man who reversed the current of the Nile, the smartest man who ever lived. Niggas can never know that they are “Ngu” because of king Narmer and shall never know that Narmer was the keeper of their true religion of which the primordial god begat a black man who was to be their prototype had his religion flourished. It’s up to smart white people to fictionalize their history just like Bill Everett did in creating the first Marvel superhero mutant comic character, the Submariner, whose name was Namor, a variation of the name Narmer. You see we take black history and contort it into cartoonery and comic satire so that people will never believe it’s real and its subjects, black people, will never be smart enough to decode it so as to repeat profound history making. Everett relegated Narmer to a prince in his comic, who was called a savage having a high propensity of rage, as they say of strong black conquerors. He was the ruler of the oceanic underworld, a contortion of Narmer, turned Babi being a ruler of the Hadenic underworld, but who at one point was said to be destitute having amnesia. Everett was portraying, that black men this great are destined to have ancestors who will lose their historical and cultural wealth and forget who they are. Yet this Namor found his people and waged war on New York City for destroying his Atlantean city. Narmer’s city of Memphis was similarly destroyed but instead of him finding his people through later re-advents, because of smart white people like us, they remain the lost tribe of Shabazz wandering in the wilderness we have created for them. The wilderness I am creating for them is to fictionalize their figurehead into a caricature of what he transformed into in the underworld, a baboon. Niggas should be monkeys, not kings, because as kings white people are their slaves, but as monkeys white people are their superiors. So let’s see, baboons have red buttocks and are from the species of primate from the family Cercopithecidae of which contains the Cercopithecus which actually have red tails. “Aha” I shall make a movie called “Red Tails” to overtly describe the crimson paint on the P-51 Mustangs the Tuskegee Airmen flew as a tribute to their achievement. Yet this will actually be my way of relegating intelligent black men into baboons while simultaneously telling their subconscious mind that Narmer is a baboon with a red tail, not the greatest king to ever live. So I’ll get the nigga John Ridley to give me his script so that I can get the nigga who intentionally turns his people into baboonish cartoons, Aaron Mcgruder to co write it so the nigga Anthony Hemmingway, who I indoctrinated when he worked for me on the Indiana Jones series, to believe that white people should be the possessors of holy black grails, to direct it! Niggas will never know that I am indirectly demeaning them, the film will portray the most intelligent black men of the country as baboons and rascal cavorting imbeciles who have the jovialness of monkeys at play, their anger propensity and high sex drive. Niggas are too dumb to see that there is not one black woman in the movie, in fact, I took the only African, David Oyelewo and made him act out his animalistic sex drive on a white woman he calls his beautiful goddess. I shall call him Joe Little, niggas are too dumb to know that his name indicates his level of emasculation by white supremacy, niggas are too dumb to know that since baboons are constantly showing their teeth I will have the characters do the same in their buffoonery sessions. They will be more worried about merry making than history making! I will have one of the niggas writing the movie open it with a military quote about black intellectual inferiority and I will prove it by buffonerizing them through infantile play, showing no mature cognition. The film will not feel monumental, prestigious or prodigious, it will feel like a comic book, it will not be poignant, nor prolific it will be pitiable profuse with explosions and pod race adaptations from my contemporary Star Wars movies. It will not bespeak of prominent black historicity as did “Glory” because these niggas I employed will make it feel like Roll Bounce or Stomp the Yard, they’re too dumb to know they never see the black community, or America in 1944, there will be no contextualization between racism at home and privilege in civil service. I will make sure their double consciousness is not portrayed, and I will cast people who look like they are better suited to act in Glee than a movie of such grandiose proportions. Niggas are too dumb to know that the Tuskegee Airmen’s allies most often referred to them as “Red Tail Angels” and their emblem was a Black Panther spiting red fire. These images carry a totally different connotation, thank god they don’t read! You’re a genius George, you’ve managed to sabotage black cinema by making a movie that black people think is uplifting them, but is adroitly dehumanizing them! George, you’ve managed to call black people baboons, and desecrate their greatest leader who is the keeper of their true religion, you are ensuring that they will stay Niggas, not Ngus! Niggas are too dumb to know that they were called monkeys in WWI by the Japanese generals who told their soldiers to have no remorse shooting nigggas because they aren’t even human, they have monkey tails tucked in their fatigues. Their too stupid to know that in Bill Everett’s fictionalization of King Narmer he belongs to what the comic calls a clandestine policy group called the “Ill——i” (*see Wikipedia Namor last paragraph under “Character”) to infer that black people’s greatest king is the founder of the secrets of the group that some say takes black kings today and makes them slaves. In our line of work we call this foreshadowing, I’ve been contorting black people’s history the same in cryptic movies my entire career, I’ve mastered making their legacy a mockery so well that the NAACP will give me their coveted Vanguard Award for this cinematic insult, stupid niggas!..” I am not really George Lucas, my name is Kinshasa and these are my waking thoughts, you may disagree, but rest assured my intelligence is superior.

Posted in African American, Black Culture, black culture and black consciousness, black news, genetics, Hip Hop, history, mythology, racism | Tagged , , , , , , , , , , , , , , , , , | 1 Comment

The Ali Conspiracy

When black men become gods, petrified beings become subjects, and when nationalism enriches its tan, patriotism becomes decrepit through white supremacy’s overthrow by Afrotheism. In one of Joe Frazier’s final interviews, he revealed that before his fight with Ali in 1971 that Ali exclaimed being god himself. If Ali considered himself to be the omnipotent because his religio-Afrocentric advent made him the messianic redeemer of his people, then the government that contended his holy mission were crucifiers of his black righteousness. The black revolutionary Jesus left the legacy of Christianity and the world augmented instantaneously, the Jesus like Ali was bequeathing the legacy of black pantheism and the world that is more black than not, would have instantaneously augmented by virtue of humanity’s core intuitions: to love and to fear. To love being black is instinctual because the chemical that allows nature and the universe to communicate is black, and to fear relinquishing the black color is to fear not being natural, thus Ali’s gospel was black pride’s conservation for fear that the loss of it is against panegyric order. If a single black man could be the amalgamation of Jesus, Gandhi, King and Malcolm, through a message of black acclamation, in the embodiment of immaculate virility, would the government allow him to recognify the black human’s self image? If the messianic revolutionary is stripped of his voice and the biological configuration of his strength, then his gospel is left up to interpretation and his revolution is fought less laudably by misinterpreters. My logic does not allow my emotion to believe that Ali’s onset of Parkinson’s, at a time during the most pivotal nexus of humanity’s reaffirmation, was accidental. If indeed Parkinson’s is a common disease amongst fighters, surely other fighters have acquired it through pugilism. Most fighters that acquire a cognitive disorder from repeated concussions have what’s called Dementia Pugilistica or Punch-Drunk Syndrome where 15-20 percent of boxers maintain the deficit after 16-20 years of fighting. In most cases it only manifest as slurred speech, slowed cognitive recall and slowed movements, not the uncontrollable shaking of Parkinson’s. We have may have never seen another fighter with Ali’s version of Parkinson’s disease. It was said that Jack Dempsey suffered from DP but he kept his mental wherewithal until he was 87, professionals claimed that Joe Louis had it but then reattributed it to be schizophrenia from his father’s genes or his cocaine use. Floyd Patterson suffered from Alzheimer’s which they surmise was caused by Dementia Pugilistica but the condition can only be diagnosed accurately through autopsy, which never occurred. Sugar Ray Robinson was also diagnosed with Alzheimer’s, possibly but inconclusively caused by DP because it wasn’t examined in autopsy. Medical professionals asses that Joe Frazier had DP but again it was never revealed in the autopsy. To be more specific, Ali does not have Parkinson’s disease, he has Parkinson’s Syndrome because having the disease implies that it is idiopathic or of genetic causing, but since Ali’s condition is not genetic in orientation and he only suffers from the muscular palsy, it is considered a disorder of unknown origin. Jerry Quarry whom Ali fought in 1970 and 72 developed dementia pugalistica from repeated head trauma, and eventually couldn’t feed or dress himself, but never attained Parkinson’s. Former fighter and boxing trainer Freddie Roach acquired Parkinson’s in 1990, but it manifests more like a form of Turrets Syndrome in that he seldom shakes and can converse with almost fully functional normalcy. It is said that Roach is able to control the disease through medication, injections, and actively training other fighters. His doctors profess that his surpassing hand eye coordination has slowed down the debilitation of the disease. But if this were conclusive medical evaluation then surely Ali’s hand eye coordination would have prevented his condition from being so incapacitating that it deprives speech articulation. And if telling Freddie Roach that training would abate his condition was conclusive medical admonition, surely Ali would have been told the same, the difference is that Freddie Roach is Caucasian and poses no threat to the government. Consider further that it is Dementia Pugilistica that is common in fighters as a result of head trauma, seldom does it manifest as Parkinson’s and even when it does as in the case of Freddie Roach, it is not a severe speech inhibitor. Again, Ali does not have Parkinson’s disease because the cause of his condition is unknown and not genetic; rather he has Parkinson’s syndrome of which he was diagnosed with in 1984 while training to fight Larry Holmes. Ali showed symptoms of the disease in 1981 when he was 39 by the time he was diagnosed he had slurred speech, tremors and slow body movements. Ali was checked into a facility while training for the Holmes fight and it was discovered that he had several cerebral deficits one of which was Ali not being able to locate his nose with his index finger, yet he was cleared to fight because they diagnosed that he was only deficient of recall. At age 50 Freddie Roach can train with his fighters for up to 12 hours a day, at age 50 Ali was not so dexterous, uncanny for a man termed by some to be the best athlete they had ever seen. At the Mayo clinic, it was discovered that Ali had brain deformations which anyone subjected to perpetual head trauma could acquire, he had a hole in the membrane that separated the halves of his brain and he possessed a brain stem abnormality where dopamine functioning persists. Perhaps Ali was exhibiting symptoms of Dementia Pugilistica and not Parkinson’s, yet the discovery of his brain defects made it prime to infer that he had or was going to be induced with a greater affliction, one that rendered him unable to speak in public by the time the first black president was elected. At the Pharmacology and Toxicology University of San Pablo Monteprincipie in Madrid, it was discovered that amphetamine users could kill dopamine cells in the central nervous system of the brain which causes the onset of Parkinson’s, and the drug MPTP- methyl phenyl tetrahydropyridine causes permanent symptoms of Parkinson’s by destroying dopamine neurons in the mid brain. MPTP is an opioid drug and has similar effects as Morphine and Demurral. Parkinson’s itself is classified as a degenerative disorder of the central nervous system caused by the death of dopamine generating cells in the substantia nigra, also known as the midbrain. It was referred to as a the substantia nigra by the ancients because it was the part of the brain that was black in that in is the region where melanin centrally circulates near the pineal gland. Dopamine is a neurotransmitter and hormone that is a precursor to adrenaline. It is the black athlete’s higher concentration of melanin in the brain that makes him superior and a higher melanin concentration means a higher dopamine concentration which equates to a more voluminous adrenaline flow. Thus black athletes are able to jump over 7 foot tall men on the basketball court or impromptarily flip over 6 and a half inch plus men on the football field with full gear on, or throw a punch at 4 one hundredths of a second! This is how fast Ali threw, what came to be called the “phantom punch,” that knocked out Sonny Liston, it was so fast the referee didn’t see it. Only black men with high amounts of melanin in the brain are this athletically gifted, and higher dopamine due to higher melanin should mean less susceptibility to Parkinson’s because black men have more dopamine to lose. It is my belief that the only way a black man, especially a black athlete that is not genetically predisposed, could acquire Parkinson’s is if he was injected with a chemical that could kill a vast amount of dopamine relatively quickly. I’m going to quote the toxicity report for methyl phenyl tetrahydropyrinide: “Injection of MPTP causes rapid onset of Parkinsonism.” In 1976, a chemistry graduate from Maryland named Barry Kidston injected himself with MPTP and in three days started exhibiting symptoms of Parkinson’s disease. It is my belief that when Ali was examined by the Mayo Clinic in 1981 and it was discovered that he had dementia pugilistica, it was conspired that he be injected with MPTP to give him Parkinson’s because the world would assume that his condition was an extension of DP, a stealthy, yet perfect cover up. The government had already killed Kennedy, Malcolm, King, and abroad the father of black consciousness Steven Biko was killed and Nelson Mandela was in jail, and they had one more influential black man they had to silence. Ali won the Olympic gold medal in Rome the same year that Kennedy was elected president-1960; he won the heavyweight title and joined the Nation of Islam the same year that Civil Rights Bill was passed-1964. In 1966 the Black Panther Party was formed and Ali was inducted into the military in 1967 to keep his influence away from the movement but he foiled the government’s plans by refusing to go. In 1973 Eldrige Cleaver ran for Mayor of Oakland and in 1974 Ali was a the zenith of his influence after he beat Foreman in Africa and galvanized the African Diaspora by simultaneously championing black nationalism over Christianity. Ali is now the most famous person in the world, but he was on his way to becoming the most influential person in the world and he was too public a figure for the government to murder in the context of the atrocities they had recently committed. As a Black Nationalist, Ali couldn’t be allowed to become that prominent, and it is my belief that the government injected Muhammad Ali with MPTP to give him Parkinson’s to silence his gospel that would have changed the world unprecedentedly. My name is Kinshasa and these are my waking thoughts, you may disagree, but rest assured my intelligence is superior.

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Pariah

How does a white penis infiltrate into a film about Afrocentricity, cultural betrayal, the destruction of the black family through clandestine adultery and marital strife based off of discriminatory economic disadvantage and sexual disorientation? How does a white penis materialize in a film that uses woman versus society and woman versus self conflict as the anecdotal recalibration of the black masculine subjugation by patriarchy? How does a white penis find its way into a film where dreadlocks and kinky hair are celebrated in the absence of Eurocentric hair politics and African names ring of past life prominence and pre colonial efficaciousness? How can a white penis be present where inner city urbanism mantras aggrandize culturally primordial identities over European attributes given by amalgamation? How does a white penis appear amidst the vindication of ethnicity and individuality through the exoneration of poetry, the idiomatic slang of Hip Hop’s nativity with blackness, the labor intensive commitment to love through the refracted self loathing of social bottom feeding? A white penis finds itself erect on the pelvis of the preemptive woman with preoccupations of gender revolutionizing because she consciously wants to possess the vessel that makes her fictitious manhood palpable. I watched in shock at the emergence of the biological distortedness that compromised Pariah’s Afrocentric integrity by giving the main character, Alike, a white penis. I pondered in an all white theatre amidst thunderous applause how destructive that symbolism is to the “psyche of blackness” that actuates the modus operandi of our being. I can attempt to compare it this way: There is a species of frog in the Amazon that has been known to change its gender when exposed to sudden atmospheric changes such that a female can morph into a male and then back into a female for the purpose of furthering its kind in the face of extinction. These Androgynous frogs undergo what’s called gender metamorphosis to become male to fertilize its female eggs in the absence of intercourse’s opportunity. In Pariah Alike decides to morph into a male so that she can possess more virility to impact the masculinity of her image to impress on the girls she wants to make solvent sexually. Thus in a sense, she undergoes a gender metamorphosis of sorts, like the frog, because subconsciously she wants to maintain the ability to reproduce without having to indulge copulation for the sake of furthering the disposition of her psyche. The problem with this is that when nature decides to alter the biological composition of these frogs, it gives them the masculine hormones analogous to the specificity of their species. It would make no logical sense for nature to give frogs the testes or sperm of a snake because snakes are frog’s predators and the reason for their threatened extinction, not to mention that its offspring would be a genetically abnormal abomination. To that end, it is preposterous for Alike to equip herself with a white penis as a representation of gender metamorphosis because the white penis is the predator of the black genome because since slavery it has made vocation out of forcibly amalgamating the black race to become a lighter hue hybrid through rape. Dee Rees (the writer/director) is attempting to create an image of a black girl trying to find herself through the ratification of her femininity through the seizure of what “the penis” stands for. Alike tells her friend in the movie that she wants a strap to help embolden her image because she is aware that effectively acquiescing a woman sexually requires the presence of the male appendage. Her friend buys her a white dildo from a sex store and the movie depicts Alike and her friend putting it on her in Alike’s bedroom only to have her younger sister intrude and see the penis erect atop her boxer drawers. Dee Rees may not understand that to give Alike a white penis is to give a frog snake testes because it promotes the reproduction of the abominable psyche that says “black women who like black women can dominate them with patriarchy’s white genocidal vessel that has dominated the brown races since genetic envy gave birth to savagery.” It says that “black women who like black women can further the destruction of the black civilization by ridding black women of the psyche of blackness and infesting them with the mentality of white phallic gene corruption so that they psychologically see themselves not as identity reaffirmed black women but as subjects of white supremacy.” It says that even “the black woman can be emasculated and given the penis of the oppressor so that she can residually penetrate another black woman’s psyche with subconscious thoughts of the white penis decreasing the black color.” A Microsoft ad targeted at IT professionals photo shopped a white man’s face on a black man’s body who was the original professional in the advertisement. They placed the white man’s head on the black man’s body when they sent it to Poland whom they accused of having a viler race problem. Well America still has a virulent race problem and to give a black girl a white man’s penis in a black movie says to the racist white mind, “this premise is acceptable because it is about the black psyche’s acquisition of power through white supremacy.” John Mayer was ostracized by black musicians because he made a statement about his penis being a white power symbol that subjugates the black woman, so we know that white supremist think of their penis as their racist emblem. When a black writer/director intentionally gives her black lesbian character the white supremist symbol to subjugate black women with, it says that in her psyche, she adheres to the furtherance of white supremacy through black male absenteeism and racial gender metamorphosis. My name is Kinshasa and these are my waking thoughts, you may disagree, but rest assured my intelligence is superior.

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