William
Moulton Marston was born on May 9th of 1893, in the town
of Saugus, Massachusetts. He was a psychologist, inventor, comic book
writer, and the creator of the comic book super-heroine,
“Wonder Woman”.
He was educated at Harvard University, graduated “Phi Beta Kappa” and received his B.A. in 1915, an L.L.B. (undergrad law degree) in 1918, and a PhD in psychology in 1921. After teaching at “American University” in Washington, D.C., and “Tufts University” in Medford, Massachusetts, he worked at Universal Studios, California in 1929, as the Director of Public Services.
Now, for all intents and purposes, Marston was a conservative sort of fellow—outwardly—but for the 1930's, he was a bit of an iconoclast, being that he not only had a wife, Elizabeth Holloway Marston, with whom he had two children, but he also had a “live-in” mistress by the name of Olive Byrne. And let me just say, “officially”, Olive was playing the role of “nanny” to Marston's children—“unofficially”, she was accompanying Marston and his wife in various acts of “intimate play”. But I'll give you a bit more details about that later...
Max Gaines, a comic book publisher who hired Marston as an “educational consultant” for “National Periodicals” and “All-American Publications”, the two companies that became “DC Comics”, first heard of Marston through an article appearing in “Family Circle”. And in that magazine Marston said there was “great educational potential” in comics. Mind you, this was the late 1940's were talking about—so almost from the comic book's inception, they weren't meant to merely entertain children, but to “educate” and “influence” them. Coincidentally, the first comic book published in america was called, “Famous Funnies”, and it was released in 1933. And if you've followed this Blog at all, you'll understand how white fascist freemasons revere the number “33” cause it relates to the 33 vertebrate in the spinal cord, leading up to an organ called the “Pineal Gland”. And according to them, this is where a person's “consciousness” is kept.
Now, at the time, the DC Comics roster was fronted exclusively by male super-heros like “Batman” and “Superman”, but Marston came up with an idea to create a superhero who could conquer with their minds, instead of their fists. When Marston told his wife, Elizabeth this, she said: “Fine—but make her a woman.”
And after Marston got the “green-light” from Max Gaines, he was tasked with saying he based Wonder Woman (WW) on the newly liberated, unconventional and powerful females of his day. Meaning, it was that generation of white women, who would be the ones spear-heading what we now know as “feminism”. In accordance with this, Marston wrote in a 1943 issue of “American Scholar” that: “Not even girls want to be girls, so long as our feminine archetypes lack force, strength and power...”
Now, I know I've said this ad nauseum, but “feminism” was nothing but a trick played on women, just like integration was a trick played on Black people to get our money into the pockets of white fascists (Mind you, I'm in no way equating feminism, with Black liberation struggles. You can't have the white privilege and call yourself an “oppressed minority” at the same time—sorry feminists).
So, I think it's fitting that I retell the reason(s) why white fascists thought up feminism—and it goes a little sumthin' like this: A mature white male aristocrat, on a Public Broadcasting Station (PBS), channel thirteen in New York, confessed to being in a conversation with a Rockefeller at some upper-scale party. The aristocrat, who bore a striking resemblance to George Soros, said the Rockefeller asked him: "What do you think of the “Women's Lib” movement (*Note:Women's Lib was the 1970's moniker for feminism). The mature aristocrat said, he thought it was positive for women to demand equal pay for equal work. The Rockefeller then explained how they “funded” Women's Lib—before he confessed this: “We couldn't tax half the population, if women were staying home, being housewives...we had to get them into the workforce to be able to tax that revenue." The Rockefeller then went on to explain, "Also, we knew with both parents out of the house, what would essentially be raising their kids would be the TV, so that generation and the following ones, would be more easily programmable than this one."
He was educated at Harvard University, graduated “Phi Beta Kappa” and received his B.A. in 1915, an L.L.B. (undergrad law degree) in 1918, and a PhD in psychology in 1921. After teaching at “American University” in Washington, D.C., and “Tufts University” in Medford, Massachusetts, he worked at Universal Studios, California in 1929, as the Director of Public Services.
Now, for all intents and purposes, Marston was a conservative sort of fellow—outwardly—but for the 1930's, he was a bit of an iconoclast, being that he not only had a wife, Elizabeth Holloway Marston, with whom he had two children, but he also had a “live-in” mistress by the name of Olive Byrne. And let me just say, “officially”, Olive was playing the role of “nanny” to Marston's children—“unofficially”, she was accompanying Marston and his wife in various acts of “intimate play”. But I'll give you a bit more details about that later...
Max Gaines, a comic book publisher who hired Marston as an “educational consultant” for “National Periodicals” and “All-American Publications”, the two companies that became “DC Comics”, first heard of Marston through an article appearing in “Family Circle”. And in that magazine Marston said there was “great educational potential” in comics. Mind you, this was the late 1940's were talking about—so almost from the comic book's inception, they weren't meant to merely entertain children, but to “educate” and “influence” them. Coincidentally, the first comic book published in america was called, “Famous Funnies”, and it was released in 1933. And if you've followed this Blog at all, you'll understand how white fascist freemasons revere the number “33” cause it relates to the 33 vertebrate in the spinal cord, leading up to an organ called the “Pineal Gland”. And according to them, this is where a person's “consciousness” is kept.
Now, at the time, the DC Comics roster was fronted exclusively by male super-heros like “Batman” and “Superman”, but Marston came up with an idea to create a superhero who could conquer with their minds, instead of their fists. When Marston told his wife, Elizabeth this, she said: “Fine—but make her a woman.”
And after Marston got the “green-light” from Max Gaines, he was tasked with saying he based Wonder Woman (WW) on the newly liberated, unconventional and powerful females of his day. Meaning, it was that generation of white women, who would be the ones spear-heading what we now know as “feminism”. In accordance with this, Marston wrote in a 1943 issue of “American Scholar” that: “Not even girls want to be girls, so long as our feminine archetypes lack force, strength and power...”
Now, I know I've said this ad nauseum, but “feminism” was nothing but a trick played on women, just like integration was a trick played on Black people to get our money into the pockets of white fascists (Mind you, I'm in no way equating feminism, with Black liberation struggles. You can't have the white privilege and call yourself an “oppressed minority” at the same time—sorry feminists).
So, I think it's fitting that I retell the reason(s) why white fascists thought up feminism—and it goes a little sumthin' like this: A mature white male aristocrat, on a Public Broadcasting Station (PBS), channel thirteen in New York, confessed to being in a conversation with a Rockefeller at some upper-scale party. The aristocrat, who bore a striking resemblance to George Soros, said the Rockefeller asked him: "What do you think of the “Women's Lib” movement (*Note:Women's Lib was the 1970's moniker for feminism). The mature aristocrat said, he thought it was positive for women to demand equal pay for equal work. The Rockefeller then explained how they “funded” Women's Lib—before he confessed this: “We couldn't tax half the population, if women were staying home, being housewives...we had to get them into the workforce to be able to tax that revenue." The Rockefeller then went on to explain, "Also, we knew with both parents out of the house, what would essentially be raising their kids would be the TV, so that generation and the following ones, would be more easily programmable than this one."
Now,
let me tell ya' why this “trick” also fits the narrative of
Marston and the creation of WW: it's noted that in many of the WW
comics, WW is bound, gagged, and usually put in some sort of
restraints—as is evident in the illustration above. Also note
that in the comic book illustration besides the one where WW is tied
and helpless, she ponders on being happily dominated by a mistress (You can click onto this pic to enlarge it).
Mind you, this is the kind of “intimate play” that Martson would
engage his “women” in behind closed doors. Now, the message WW's
brand of implicit S&M sends is this: contextually, a woman's
liberation is best tempered by some kind of social boundaries, or obedience to a higher authority.
It means , the reason white fascists want today's women watching “Sex and the City” and “Scandal”, which glorifies the oversexed female, is these women are being made to think their hyper-sexuality is actually liberating them, when it's really doing two things: one, it's keeping these women out of long-term relationships and marriages, and two: because these women are being kept out of relationships and marriages, it keeps them more corruptible than not.
Well, white fascists know that women who are oversexed are looked upon as less “marriage-worthy”, than a chaste woman would be. And when I use the word “chaste”, I don't mean virginal. I'm using chaste in the context of women who don't have dozens of sex partners. And if women are told that they should embrace promiscuity (Amber Rose's “Slutwalk”), then more and more of them will wind up creating single-parent households. So not only is the mother of this household gonna' have less inhibitions when it comes to sleeping around, but the children she bares, will more than likely be very promiscuous as well, and they'll most likely have less resources at their disposal, being that there's no father in the home. Also, especially in the case of young girls, there won't be a father in the home to give them the moral guidance to make better life choices, especially when it comes to choosing men. So more than likely, these young girls will grow up doing things they might not, if they had a stable, two-parent home to grow up in. So ironically enough, this woman, more than most, will always be looking for some kind of stability/security, and doing whatever's necessary to get it—thus, the “SlutWalk” lifestyle ultimately keeps women more complicit with america's status quo, not less.
That's easy. I distinctly remember about a decade ago, on a TV news show, a journalist asked a white woman, if she thought there'd ever be a Black president in america. Unhesitatingly, this white woman said: “I think they'll be a woman president, before there's a Black one.” Fast forward to the 2016 presidential campaign of Hillary Clinton .
Now, after eight years of a “Black president” (Barack Obama), Hillary threw her hat in the political ring to be “executive-in-chief”. And it seemed that women, white women especially, had their moment to vote one of their own kind into office. Additionally, they had the numbers to do it—cause women make up more than half of america's population.
But overwhelmingly, white women voted for Donald Trump.
Here's the answer: what a woman desires most is SECURITY—period. Women feel they're at a physical disadvantage compared to men, so it makes them fiends for safety—whether it be physical, financial, or both. And, it's the reason why young women will always pick the “playa” over the nerd, who'll treat them like gold. Meaning, white women (and whites collectively) were scared to death when Obama took office, cause they felt we would finally treat them, like they've treated us historically. So when these same women had a choice of Hillary or Trump to vote for, they chose Trump—cause they felt he'd keep them physically safer, than Hillary could.
Moreover, they figured Trump would be better able to protect the sanctity of white womanhood. Meaning, they sensed Trump would use every resource at his disposal to uphold the white woman's status, as the world's prettiest and most exquisitely feminine female.
And how is this sentiment evidenced in WW's narrative?
That's easy too. It's most apparent in the utility of WW's “golden lasso of truth”. Meaning, this illuminated rope is supposed to force people who are bound in it, to confess their true feelings. And what truth does it ultimately want people telling? Especially men? Simple, WW's lasso is supposed to make men unable to help themselves in revealing the perceived truth that the white woman (WW) is the world's prettiest female. And this speaks directly to a woman's want for emotional security—especially when it comes to feeling attractive.
So
what does this mean for the modern day woman?
It means , the reason white fascists want today's women watching “Sex and the City” and “Scandal”, which glorifies the oversexed female, is these women are being made to think their hyper-sexuality is actually liberating them, when it's really doing two things: one, it's keeping these women out of long-term relationships and marriages, and two: because these women are being kept out of relationships and marriages, it keeps them more corruptible than not.
How,
you ask?
Well, white fascists know that women who are oversexed are looked upon as less “marriage-worthy”, than a chaste woman would be. And when I use the word “chaste”, I don't mean virginal. I'm using chaste in the context of women who don't have dozens of sex partners. And if women are told that they should embrace promiscuity (Amber Rose's “Slutwalk”), then more and more of them will wind up creating single-parent households. So not only is the mother of this household gonna' have less inhibitions when it comes to sleeping around, but the children she bares, will more than likely be very promiscuous as well, and they'll most likely have less resources at their disposal, being that there's no father in the home. Also, especially in the case of young girls, there won't be a father in the home to give them the moral guidance to make better life choices, especially when it comes to choosing men. So more than likely, these young girls will grow up doing things they might not, if they had a stable, two-parent home to grow up in. So ironically enough, this woman, more than most, will always be looking for some kind of stability/security, and doing whatever's necessary to get it—thus, the “SlutWalk” lifestyle ultimately keeps women more complicit with america's status quo, not less.
Prove
it, you say?
That's easy. I distinctly remember about a decade ago, on a TV news show, a journalist asked a white woman, if she thought there'd ever be a Black president in america. Unhesitatingly, this white woman said: “I think they'll be a woman president, before there's a Black one.” Fast forward to the 2016 presidential campaign of Hillary Clinton .
Now, after eight years of a “Black president” (Barack Obama), Hillary threw her hat in the political ring to be “executive-in-chief”. And it seemed that women, white women especially, had their moment to vote one of their own kind into office. Additionally, they had the numbers to do it—cause women make up more than half of america's population.
But overwhelmingly, white women voted for Donald Trump.
Why,
you ask?
Here's the answer: what a woman desires most is SECURITY—period. Women feel they're at a physical disadvantage compared to men, so it makes them fiends for safety—whether it be physical, financial, or both. And, it's the reason why young women will always pick the “playa” over the nerd, who'll treat them like gold. Meaning, white women (and whites collectively) were scared to death when Obama took office, cause they felt we would finally treat them, like they've treated us historically. So when these same women had a choice of Hillary or Trump to vote for, they chose Trump—cause they felt he'd keep them physically safer, than Hillary could.
Got
it now?
Moreover, they figured Trump would be better able to protect the sanctity of white womanhood. Meaning, they sensed Trump would use every resource at his disposal to uphold the white woman's status, as the world's prettiest and most exquisitely feminine female.
And how is this sentiment evidenced in WW's narrative?
That's easy too. It's most apparent in the utility of WW's “golden lasso of truth”. Meaning, this illuminated rope is supposed to force people who are bound in it, to confess their true feelings. And what truth does it ultimately want people telling? Especially men? Simple, WW's lasso is supposed to make men unable to help themselves in revealing the perceived truth that the white woman (WW) is the world's prettiest female. And this speaks directly to a woman's want for emotional security—especially when it comes to feeling attractive.
Don't
believe me?
Then
check out this poster to the left. Now if you look closely, you'll notice
that the sword placed in front of Gal Godot as WW, doesn't reveal
it's curved tip. You only see the sword's “mid-section”. Now, for
those who can't read subtext, the sword is supposed to represent a
fully erect phallus, that's why we don't see it's top. So this pic
is depicting WW cozying up to a hard phallus, to perform some
sort of oral act (Note how WW's lips are slightly separated).
Now,
you're probably thinking, bruh—get your mind outta' the gutter.
This is a movie poster for pre and post-adolescent fans. Actually no.
Stats prove that the average comic book reader is a male, in his
mid-30's. Additionally, if you look at this second graphic above,
you'll see I turned the pic onto itself, thus, revealing more of this
poster's sexual nature. When I “flipped” this poster and joined
the two pics together, you'll see the two swords now look like
palatial “pillars”. And between these pillars is “Paradise
Island”, where WW comes from. So ultimately, what this pic says is
the surest way to “paradise” lies between the pillars (or legs)
of a white woman—WW. (Note how the curved outline encompassing this view of paradise island is shaped like a vagina. And if you wanna' know how these pillars
relate to “freemasonry”, look up the term “Jachin and Boaz”
sometimes).
(*Note:
you can click onto any of these pics to enlarge them)
Okay—let's get into that right quick...
So
now you may be asking, well, what the hell does this have to do with
the recent deluge of “sexual harassment charges” against powerful
men?
Okay—let's get into that right quick...
In
the last couple of years, cinemas have been overrun by what I call,
“comic book movies”. Meaning, these movies feature our favorite
superheros, some of which I've mentioned here. Now, I've already told
you the average comic book reader is a middle-aged man, and when
these comic book movies roll out in theaters, they're usually
accompanied by video games featuring these heros. And in terms of the
“Star Wars” franchise, when 2015's, “The Force Awakens” movie
came out, there was an accompanying video game (Star Wars
Battlefront) and graphic novel (Star Wars: Darth Vader: Vol. 1) that
were rolled out with it. So, it was essentially a three-pronged
campaign.
Now,
let me just cut to the chase to keep this post from being too
long-winded (one commenter called my posts, “long-azz articles”—and
they didn't use a “z”). So I'll say that white fascists have
mainstreamed comic book movies to make and keep men, collectively
immature.
And
their doing this with the concurrent campaign of mainstreaming
homosexuality, especially to Black men (that's why so much money is
being spent on the Marvel comic book movie, “Black Panther”—but
I'll comment on that in another post). And the bottom-lined reason to
all this is, white fascists know that a man who's an immature
homosexual, will be less likely to revolt against whatever social
order he's currently living in.
And this feeds into the “sexual harassment” campaigns that are removing so many powerful men (Harvey Weinstein, Charlie Rose, Russell Simmons) from their positions. Ultimately, white fascists want men to choose femininity which they're gonna' condition us to believe is more powerful than our masculinity. Thus, men, like women, will be more complicit with their demands. So if they can pluck out the masculinity of most men, they can have generations of males who'll do as they're told. And with these sexual harassment campaigns, they're also getting men used to women being in charge, and having power over them.
Funny enough, when I saw the latest “Blade Runner” movie (Blade Runner 2049), I noticed how the commander of the film's protagonist, “Officer K” played by Ryan Gosling, was a woman—and her boss was another woman.
And you maybe thinking: so why do you think this campaign is aimed primarily towards Black men?
Simple. Cause we have the most genetic power to breed whites out of existence. So if more of us embrace homosexuality, they'll be less “pure-bred” Black men, with our genetic power in this world.
Additionally, if you notice, the white men who've been taken out of power by these sexual harassment claims, aren't fighting them. But Black men, namely Tavis Smiley and Russell Simmons are. And the reason that's happening is, whitey needs to keep a Black face on crime in order to be able to kill off huge swaths of Black men indiscriminately. So Tavis and Russ, who are themselves white fascist freemasons, have been tasked with showing women, that they are unrepentant in their alleged abuses of women—thus maintaining our status as “public enemy # 1”.
So I've said all that to say this: Black men, put down the darn comics and stop watching these dumb-founded super hero movies. Cause they're conditioning you to believe in “negro nerdom” (i.e. being an immature and emasculated Black male). And they're doing this with the promise that this type of Black male, will be less threatening and more socially acceptable than a strong Black man would.
But as long as you have the most genetic power to breed these inbreds out of existence, nothing will change the fact that one of us existing anywhere, is a threat to them everywhere.
And like Sam L. Jackson said in Spike Lee's movie, “Do the Right Thing”: “That's the double truth, Ruth.”
Later...
MontUHURU Mimia
P.S.
Here's the trailer for the movie, "Professor Marston and the wonder women", that speaks to the "intimate play" these three engaged in, and the sexual origins and inspiration for WW.
And this feeds into the “sexual harassment” campaigns that are removing so many powerful men (Harvey Weinstein, Charlie Rose, Russell Simmons) from their positions. Ultimately, white fascists want men to choose femininity which they're gonna' condition us to believe is more powerful than our masculinity. Thus, men, like women, will be more complicit with their demands. So if they can pluck out the masculinity of most men, they can have generations of males who'll do as they're told. And with these sexual harassment campaigns, they're also getting men used to women being in charge, and having power over them.
Funny enough, when I saw the latest “Blade Runner” movie (Blade Runner 2049), I noticed how the commander of the film's protagonist, “Officer K” played by Ryan Gosling, was a woman—and her boss was another woman.
And you maybe thinking: so why do you think this campaign is aimed primarily towards Black men?
Simple. Cause we have the most genetic power to breed whites out of existence. So if more of us embrace homosexuality, they'll be less “pure-bred” Black men, with our genetic power in this world.
Additionally, if you notice, the white men who've been taken out of power by these sexual harassment claims, aren't fighting them. But Black men, namely Tavis Smiley and Russell Simmons are. And the reason that's happening is, whitey needs to keep a Black face on crime in order to be able to kill off huge swaths of Black men indiscriminately. So Tavis and Russ, who are themselves white fascist freemasons, have been tasked with showing women, that they are unrepentant in their alleged abuses of women—thus maintaining our status as “public enemy # 1”.
So I've said all that to say this: Black men, put down the darn comics and stop watching these dumb-founded super hero movies. Cause they're conditioning you to believe in “negro nerdom” (i.e. being an immature and emasculated Black male). And they're doing this with the promise that this type of Black male, will be less threatening and more socially acceptable than a strong Black man would.
But as long as you have the most genetic power to breed these inbreds out of existence, nothing will change the fact that one of us existing anywhere, is a threat to them everywhere.
And like Sam L. Jackson said in Spike Lee's movie, “Do the Right Thing”: “That's the double truth, Ruth.”
Later...
MontUHURU Mimia
P.S.
Here's the trailer for the movie, "Professor Marston and the wonder women", that speaks to the "intimate play" these three engaged in, and the sexual origins and inspiration for WW.
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