peace and hotep,

In keeping with this symbolic order, there is a song in the Christian religion called “Nothing But The Blood of Jesus”. The chorus is as follows:

Oh precious is the flow,
That makes me white as snow
No other font I know
Nothing but the blood of Jesus.

This can be translated as, “As long as the genetic material from the black male is spilling on the ground from castration, whites can remain white as snow.”

The pattern of worshipping a suffering, dying Jesus on the cross, is fully comprehended only when it is understood that Jesus was a black man and that the black wooden cross represents the black male genitalia separated from the man. Only by the removal and destruction of the black male genitals can whites have “everlasting life” in the most fundamental genetic senses. Jesus, of course, had to be rationalized as willing to make this “castration-sacrifice” – giving up his genes so that whites might live.

There is a profound and striking parallel between the above interpretation of the crucifixion and the destruction of black bulls with swords at bullfights. Bullfighting became a prominent sport in Spain after the Moors (black men) finally had been chased out of Europe, back across the Mediterranean, into Africa. The Moors had conquered Spain for seven hundred years. By the time they left, ton once white population had become dark (via the dominant black genetic material): dark skin, dark hair and dark eyes. Cirlot’s A Dictionary of Symbols states that the bull as an historic symbol represents the superiority of the Aryan over the Negro. This could not possibly the logically correct meaning of the symbol. If this analysis were correct, there would be no need for “whites” to kill a black bull wit a sword. Obviously, a more logical and accurate interpretation of the bull symbol is the opposite of Cirlot’s interpretation---the bull represents the superiority or genetic dominance of the blacks over the genetic recessive whites. Again, the sword used to kill the black bull, as Cirlot also noted, comes into play as the weapon of the “forces of light” over the “forces of darkness”. The sword signifies the weapon of the possessor of the white genitals or recessive white genetic material, against the dominant black genitals and their genetic material.

By the fourth century A.D., Jesus had been changed in color from black “Jesus” to white”Christ” (then to be known as “Jesus Christ” or simply, “Christ”.) This was the conscious or unconscious attempt to further repress from the collective white consciousness the true source of white anxiety and fear—the black male and his genitals. INSTEAD OF A LYNCHED BLACK JESUS, A FRAIL, WEAK, EFFEMINATE, SUFFERING AND DYING WHITE CHRIST WAS HUNG AGAINST a black wooden cross AS THE DOMINANT SYMBOL IN THE RELIGIOUS PRACTICES OF THE white supremacy system/culture.

Instead of the woolly, kinky head of the “Lamb of God”, there was the straight, almost blond hair of the white Christ hung up against the black wooden cross. However, this symbolic image achieved a more important goal. In a single-picture-paragraph it states, “The weak, genetic recessive, white male, will be destroyed genetically-speaking, when up against the white- annihilating, genetically dominant, black male genital apparatus (THE CROSS)”.

Arnold Toynbee, in Mankind and Mother Earth, states,

Fifteenth century western Christians were obsessed with the horror of death (the antitheses of the Pharonic Egyptian’s pleasurable anticipation of a post-mortem eternity), and they were fascinated by the physical suffering of Christ on the Cross. Contemporary western painter, engravers and sculptors – especially in the transalpine countries – extended their art to portray these themes with gruesome realism.

The 15th century also heralded the Europeans’ (the whites) world travel to conquer and control the entire non-white world, in order to prevent white genetic annihilation and death. This horrendous fear was then translated in European art.

Joel Kovel, in his book White Racism (A Psychohistory) writes:

Christianity spread over the West and created a community out of what had been barbarian splinters. It did this through the powers of a concrete institution, the Catholic Church. It was the church’s immediate influence that held aloft the subliminatory ideal of Christ and, through that ideal, gave Europeans a scaffold of identification with which to bind them selves into a unified civilization.

Men, however, remained men, torn and driven by their obscure passions into striving for greed and domination which culture could scarcely regulate. Intense aggression resisted the Church’s unification, continued to plague European culture, and delayed its growth. Within the original world-view, there was no way to rationalize or include the striving for greed and domination that persisted with civilization. After all, the Christian revolution was superimposed upon a basically dominative way of life, it could only account for the guilt that arose from the dominative style of society by turning away from the given world.

What Kovel fails to understand is that fundamental reason Catholic Christianity, from its early days of European organization and interpretation of the Jesus theology, was able to unite the global white collective (then the warring white tribes of Europe) was because of the CROSS symbolism and the deep meaning it projected. When Christianity projected ”the cross”, especially the cross with the LIMP, pale body of Christ hung on it, everyone in the global white collective unconsciously understood that they must unite against the threat of black (non-white) male genital material, which the BLACK WOODEN CROSS represented. White genetic survival could be achieved only by a united, continuous offensive attack by the global white minority. This organized attack is now at least 2000 years old. The greed and the strivings for domination, which Kovel fails to fully understand, were compensation for a profound sense of genetic inadequacy.

Only in this context of symbol translation can the Christian hymn, “Onward Christian Soldier”, be appreciated. This is not only an important religious song, but also a significant battle song in the white supremacy culture, One stanza of the song is as follows:

Onward Christian Soldier,
Marching as to war,

With the cross of Jesus,
Going on before.

Christ our loyal master,
Leads against the foe,

Forward into battle,
See his banners glow.

cHORUS

Onward Christian Soldier,
Marching as to war,

With the cross of Jesus,
Going on before.

My translation in prose of the above words and symbol-images in this song is, “Onward white male (and white female) soldiers, marching to war to establish and maintain white genetic survival. You have the symbol of the black male genitals before you keeping your true purpose in mind so that you can unite to subdue this common threat. Christ (the white male image) is you loyal master, who is leading you in the attack against the black male genital-monster enemy. The white male leads you into battle behind our glowing flags (phallic symbols)”.

Whit the picture of a dying, weak white man held firmly in mind, white people fully understand what they must prevent from occurring, and why they must fight and, if necessary, die so that whites can survive.
“Onward Christian Soldier” is a marching religious ssong for the white supremacy culture, but “Were You There When They Crucified My Lord?” in stark contrast, is a song of deep pain and sorrow about the castration and destruction of the black male by the marching white supremacy army or its individual storm troopers.

In modern time, the gun has become the contemporary symbolic weapon used against the non-white male and his white and his white annihilating genetic potential. Also, the gun is an abstraction of the male genitalia, functioning exactly like the male genital apparatus. (See Chapter 8.) Thus, it is no accident that Dr. Martin Luther King, Jr. -- the modern day Jesus- was killed by a gun after being brought into focus on the CROSS of the CROSS HAIRS on the telescopic gun site. Dr. King brought only love to the white collective, but mating love (black withe white) causes white genetic annihilation, so he had to be destroyed.

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