Normal posts will resume later today, but I wanted to take a quick moment to point out that Mel Gibson is powerless against the twin forces and combined might of Black Run America and Disingenuous White Liberals.
The notion of Black Run America (BRA) should be obvious to all by now as white people must live on their knees in humble subservience to Black people, in supine acquiescence. The sins of the past are always at the forefront of any interracial discussion and monopolize all of the moral outrage that governs the rules of the debate.
Eric Holder knows America is primed for a true racial examination, although it will be a deliberation that has seen the pendulum swing mightily in the opposite direction of where “traditional” intolerance has purportedly always been found.
And Mel Gibson has shown us with the utterance of one word – the same word that Michael Richards had the misfortune of utilizing repeatedly in an uncomfortable monologue a few years back – just how entrenched and powerful Black Run America really is, and the terrifying reality that confronts anyone daring its omnipotence.
Indeed, Richard Spencer put it beautifully when he stated:
In 1977, Roman Polanski had sex with a 13-year-old girl, and though he remained notorious, he was able to continue his work as a director virtually uninterrupted for the next 30-odd years; Hollywood’s A List has little compunction in collaborating with him. The consensus with Mel is that his career is kaput, making known that, according to our age’s civic totem, using the N-word is a far graver sin than pedophilia.
I came up with the term BRA - Black Run America – when I read about the Black History Celebration at NBC and how a commemoration of “Soul Food” in the employee cafeteria was deemed offensive, though the culinary artist behind the celebratory meal was Black.
Offending Black people is not allowed (recall jokes at their expense) in BRA, and Mel Gibson’s greatest offense in his latest media-enhanced battle is his usage of the Dark Lord of Lexis, the dreaded “Word-That-Must-Not-Be-Named”.
The N-word. Even talking about this word leaves one feeling unpleasant, uncouth and in flagrant violation of one of the prevailing rules governing BRA (no using the N-word unless you are part of the ruling class of BRA), as it was ceremoniously buried in a highly-publicized funeral by the NAACP. Yet Gibson had to go and resurrect the “Word-That-Must-Not-Be-Named” and allow it to once again haunt us all while visions of water-hoses, barking dogs and alleged nooses dance in our frightened heads.
As one writer put it, when confirming the existence of Black Run America (BRA):
Again, Gibson said any number of extremely offensive things in his surreptitiously recorded private phone conversation with his former girl friend, including telling her that with the way she dressed she deserved to be gang raped. But the thing that got him in trouble, the thing that has all the tongues wagging, the thing that has scandalized the world, the thing that has people saying his movie career is over, was his single use of the word "niggers."
Some of the news stories even said that Gibson punched his ex-mistress in the mouth and broke her two front upper teeth. Yet in every story in which that charge has appeared, it is way down in the article, as a distant afterthought compared to the only news that really matters--his use of the "N" word. Is any further proof needed that the worst crime in liberal society--worse than disgusting invective, worse than wishing for a woman to be gang-raped, worse than punching a woman in the mouth and knocking her teeth out--is for a white person to say anything discriminatory about black people? We used to be a nation under God. Now we're a nation under blacks.
Update: To be more precise, we are a nation under the twin gods, which we ourselves have constructed, of black sacredness and white guilt.
How could Mel Gibson have had the indecency to resuscitate the dreaded N-word, knowing full well that such perverse actions as Bestiality, Pedophilia, Incest and Fratricide aren’t frowned upon nearly as much as the mere utterance of the “Word-That-Must-Not-Be-Named”?
Gibson has been in violation of the sacred orders that maintain BRA’s hegemony over this land and the people who dwell beneath its awesome omnipresence, for quite some time.
Recall the move The Patriot and the furor it caused for failing to wallow in self-pity and righteous indignation over slavery, the universal stain more lethal than the BP Oil Spill in the Gulf for which no amount of groveling, self-immolation, apologizing or reparations could ever clean:
Director Spike Lee has lashed out at The Patriot, and all but accused the Mel Gibson blockbuster of racism, in a forceful letter to the editor of the Hollywood Reporter. The Patriot stars Gibson as a hero of the American War of Independence and opened in the States to decent reviews and solid business on the July 4 holiday weekend.
But the Do the Right Thing director this week took issue with what he regards as the way The Patriot is portraying a gung-ho, sanitised version of history which turns a discreet blind eye to slavery.
In his letter, Lee, never known as the most retiring of film directors, writes that he traveled to see the film with his wife on its opening weekend. "We both came out of the theatre fuming," he claims. "For three hours The Patriot dodged around, skirted about or completely ignored slavery. How convenient... to have Mel Gibson's character not be a slaveholder... The Patriot is pure, blatant American Hollywood propaganda. A complete whitewashing of history."
Failure to maintain culpability for slavery is a mortal sin that Gibson accomplished with The Patriot. You can’t do this, and Spike Lee called Gibson out for the faux-pas in failing to capitulate to the eternal of white guilt and its twin brother, Black Sacredness, a veritable Hydra that can never be slain.
The N-word or the “Word-That-Must-Not-Be-Named” should have stayed dead and stayed buried. The NAACP was gracious enough to act as a gravedigger and lay it to rest, but Gibson had to exhume it, unearthing it once again to a reign of terror over the souls who suffer everlasting white guilt and who look upon BRA with joyous and tearful eyes of submission.
Most white people suffer from a debilitating form of timidity when they hear the “Word-That-Must-Not-Be-Named” spoken and convulse into a state of self-induced shock. Like an unstoppable zombie walking the earth in search of human flesh, the N-word haunts all white people and causes them to reflexively run with terror at its mere mention.
Though the NAACP buried it, Mel Gibson resurrected it.
And yet, actions around the country as of late are beginning to force the façade around BRA to crumble. Remember, for this epoch to end courage must be an unceasing, unwavering ally.
Perhaps though, as in the film Signs, there are no such things at coincidences. Maybe, just maybe, the resurrection of the “Word-That-Must-Not-Be-Named” by Mel Gibson happened for a reason.
Freedom from BRA is the goal of SBPDL, for once the tyrannical reign of this oppressive regime ends a true unity can rule where a notion of dis-unity has for too long infected a great nation.
Mel Gibson, having the temerity to dig up a buried statement, has brought us one step closer to a freedom few could ever imagine.
And just like in the denouement of Apocalypto, that very thought should bring a smile to your face.
