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OpEdNews Op Eds    H1'ed 7/18/20

Bloodshed, Tyranny and Privation

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Who's Shaun King? At his website, there's this self-description, "As a magnetic element of the Black Lives Matter movement, King helps us see our present place in the larger current of American history. He's adopted social media to rally and unite people of disparate backgrounds and has now become one of the most followed activists in the world."

Kings naturally speak in the third person. Here's more, "Shaun King is one of the most experienced, accomplished, skilled speakers in the nation. He has been the keynote speaker in every venue with every type of audience imaginable over 1,000 times since he was just 17 years old. He has been a full-time speaker his entire adult life.

"His ability to weave humor, compassion, meticulous research, and grave seriousness into one presentation is unmatched.
In his new events, he integrates photos, charts, graphs, and videos to help make his most essential points stick. A master of his content, Shaun shocks event organizers by not using any notes or guides."

It's curious that King's incitement for mass destruction of private properties has incurred no censure from the mainstream media, and we're not talking about dollar store flower pots here, but the most sacred icons of Western civilization, many of which have historical and/or artistic values.

At the National Gallery, there are three Madonna and Child's by Raphael, The Crucifixion by Grunewald and The Last Supper by Dali, etc. At the Met, there is The Crucifixion by Fra Angelico; The Adoration of the Magi by Giotto; The Crucifixion and The Last Judgement by Jan van Eyck; Christ Healing the Blind, Christ Carrying the Cross and The Adoration of the Shepherds by El Greco; and The Denial of Saint Peter by Caravaggio, etc.

Each of these masterpieces flaunts a white Christ. Some have his European mother or even white friends. As a gross form of white supremacy, tools of oppression and racist propaganda, according to King, they should all be torn down!

Iconoclasm must be nearly as old as icons. Just a second later, perhaps.

Yahweh certainly digs it. "Thou shalt not bow down to their gods, nor serve them, nor do after their works: but thou shalt utterly overthrow them, and quite break down their images." Exodus 23:24. "But ye shall destroy their altars, break their images, and cut down their groves." Exodus 34:13. "Then ye shall drive out all the inhabitants of the land from before you, and destroy all their pictures, and destroy all their molten images, and quite pluck down all their high places" Numbers 33:52. "But thus shall ye deal with them; ye shall destroy their altars, and break down their images, and cut down their groves, and burn their graven images with fire." Deuteronomy 7:5.

"The graven images of their gods shall ye burn with fire." Deuteronomy 7:25. "And ye shall overthrow their altars, and break their pillars, and burn their groves with fire; and ye shall hew down the graven images of their gods, and destroy the names of them out of that place." Deuteronomy 12:3. "Ye shall make no league with the inhabitants of this land; ye shall throw down their altars." Judges 2:2. "Declare ye among the nations, and publish, and set up a standard; publish, and conceal not: say, Babylon is taken, Bel is confounded, Merodach is broken in pieces; her idols are confounded, her images are broken in pieces." Jeremiah 50:2.

Sanctioned and inspired by such passages, Christians have destroyed countless idols. At times, they've smashed their own during internal squabbles, as under Constantine V during the 8th century, or, even worse, during the Beeldenstorm and similar outbreaks during the 16th. One of the crowning achievements of Western Art, van Eyck's Ghent Altarpiece, had to be dismantled and hidden to save it from the rampaging mob.

Down the centuries, it's been stolen seven times, in whole or partially. Germany filched it twice. Only one of its 17 panels has never been recovered, however, so it's resplendently restored to Saint Bavo, just waiting for Black Lives Matter to come charging in.

In Camus' The Fall, the missing panel turns up in an Amsterdam apartment, "By the way, will you please open that cupboard? Yes, look at that painting. Don't you recognize it? It is The Just Judges. That doesn't make you jump? Can it be that your culture has gaps? Yet if you read the papers, you would recall the theft in 1934, from the St. Bavon Cathedral of Ghent, of one of the panels of the famous van Eyck altarpiece, The Adoration of the Lamb. That panel was called The Just Judges. It represented judges on horseback coming to adore the sacred animal. It was replaced by an excellent copy, for the original was never found. Well, here it is."

Such a quaint question, to ask someone about possible gaps in his culture! That's all we have nowadays. After decades of miseducation and mass media dumbing down, even a "learned" man has so many gaps, their edges blur right into each other, so that his culture is nothing but a hacking and spitting crater of boiling bullshit, with here and there a bobbing misunderstanding, which he will militantly misquote, to prove he has culture.

Pardon me, hmong sir, but permit me to squeeze in, edgewise, a slight and undoubtedly malnourished assertion about oil painting. Since it is pigment in slow-drying linseed oil, hue, tone and line can be fine-tuned to an infinite degree, unlike, say, ink on paper. This unprecedented exactitude teaches not just the artist, but his entire culture, to look more carefully, reverentially and even scientifically, a conditioning that spills into every other aspect of said culture. This edification was further jacked by the dissemination of the graphite pencil (17th century) and rubber eraser (18th century).

Yo dude, go check out, in person, if possible, any pencil drawing by this whitey, Jean-Auguste-Dominique Ingres. Sharp, eh? Cracker did crank out a super racist, white-supremacist Jesus Returning the Keys to St. Peter, however. I mean, come on! There's not even one token African-American in the entire picture, not even a shadily shadeless one like Shaun King, so pale he was listed as white on his birth certificate, so tear it down!

America's current eruption of iconoclasm is not spearheaded by blacks, however, but antifa, a mostly white coalition of Communists and Anarchists, with their red and black flags. This coupling of Communists and Anarchists is farcical, by the way, for they have diametrically opposed ideologies.

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Linh Dinh's Postcards from the End of America has just been published by Seven Stories Press. Tracking our deteriorating socialscape, he maintains a photo blog.


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