SSPX ethnosuicide

It is incredible the quantity of Christians in white nationalism. All of them are clueless that their religion is more evil than Judaism: as it implies ethnic treason.

These days the Christians on The Occidental Observer have been discussing traditional Catholicism in the form of the Society of Saint Pius X (SSPX). Although I left the below comment at the comments section, I am pretty sure they won’t pay due attention to the inherent problems in the religion of our parents—even if I manage to translate the ten volumes of Christianity’s Criminal History in the coming years!
 

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One Sunday during my August 2014 visit to London I visited the Drake House, where SSPX masses were held. I had to get to the last subway station in London, Wimbledon, to get closer to that house.

When I arrived at the parish I realized that it was not a common temple but a small and modest house adapted for religious services. Bishop Richard Williamson was not in London apparently. A gentleman from the London Forum whom I met on the trip had told them that someone coming from Mexico was going to visit them. The kindly people of that place that aspired to church had placed an image of the Virgin of Guadalupe in front of the community! I suspected they had put it for me, so I did not dare to tell them that I was an apostate.

When the service ended, I spoke with the head manager on days when Williamson was absent. He began to speak of the painting of the Virgin of Guadalupe as a miraculous image: just what I had heard a million times in Mexico! The traditionalist Catholics with whom I spoke at the Drake House knew who was Father Joaquín Sáenz y Arriaga. I told them that Father Sáenz had baptized me, but not that I had lost my faith. Sáenz, the priest of my family when I was a child, was also excommunicated for reasons fairly similar to Williamson’s excommunication.

I took a brochure from Drake House, ‘Our program of events’ among the propaganda booklets of the house. The brochure showed the picture of a fifty-year-old black woman on the cover. That was not all. The list of events at the Drake House included dancing from Brazilian Samba to African Dummers referring to events scheduled for mid-September. This in a city that has no longer white majority and where everywhere I saw mixed couples!

At a London Forum meeting I had heard wonders about Williamson’s anti-Semitic stance. When I met his faithful, I realized that the ultra-traditional group was ethnically as self-destructive as the ultra-liberal Argentinean pope.

So my friends [addressing TOO commenters], I must ask again: Has a Christian in this thread started to read my ongoing translations of Christianity’s Criminal History? I am doing it from the POV of white preservation of course.

On pre-Hispanic Amerinds, 6

SunStoneColored-NG

 

Tell me which gods you worship and I’ll tell you who you are.

In another chapter of the book El Sacrificio Humano I’ve been reviewing, Marie Areti-Hers, the author of the article on human sacrifice in the Toltec-Chichimeca culture, says that “to penetrate” into the Mesoamerican world one must take into account the complex statue represented by the last incarnation of that world, the “Summa Theologica locked in the formidable images of Coatlicue” (page 241).

The Spaniards placed Our Lady of Guadalupe, the symbol of Catholic Mexicans, on the Hill of Tepeyac. But what the authorities conceal from the Mexican schoolchildren is that precisely on that hill the Aztecs used to worship their goddess. And what a goddess…!

A picture is worth a thousand words. The below photograph shows a stone representation of almost 9 feet high of the Aztec goddess that you can see at the Museum of Anthropology when you visit Mexico City.

diosa-azteca

The Coatlicue is always represented with a skirt of interwoven snakes (nahuatl: Coatlicue, coatl, snake; cueitl skirt). See her collar consisting of a skull flanked by mutilated hands and hearts; her two large snakes that by kissing each other form a hideous face because the goddess’ children had decapitated her and the original face of the mother is missing. See also the phallic snake hanging between her paws like a third leg, paws which look as claws since, in the Aztec imagery, their favorite deity feeds from corpses. (In Tenochtitlan’s houses there were more figurines of the Coatlicue than of Huitzilopochtli, the male god of the Aztecs.) This goddess that devoured human hearts and blood was also the goddess of fertility and of the sacred earth.

The above image has lost its color. How had the statue made its impact when painted with the most violent colors (see the Aztec Calendar above, also of stone) in the pre-Columbian temple? Her aspect was so terrifying that Amerind women entered the shrine headed down to avoid making eye contact with the monster while offering her beautiful flowers.

And not just flowers… As I say in my book, it was said that to placate such goddess sacrifices of juicy infants were needed.

No wonder why the Spaniards chose the hill of Tonantzin-Coatlicue, which used to house the formidable statue, to impose the image of the Lady of Guadalupe they had copied from the Spanish Virgin with the same name. Most Mexicans ignore that the name of the Lady of Guadalupe derives directly from Extremadura, homeland of many conquistadors including Hernán Cortés himself (info in Spanish including an image of the Spanish Guadalupana: here).

Only with such transposition of deities the Spanish conquerors managed to banish the Aztec cult of the terrible mother…

My “pod” cousin

hispania-serie-de-tv

I am reposting the below entry, originally published on November 20, because for a mysterious reason comments were off below this article and I just discovered it a few minutes ago (maybe the reason why this entry had received zero comments). Did I inadvertently click on a wrong button last month?

At any event, now that I have seen more Spanish television series, I must say that what my “snatched” cousin did in Mexico the Spaniards are doing it too at the other side of the Atlantic. For example in the 2010 series Hispania (article of the Spanish wiki: here) the hero and liberator of some Hispanic towns from the Roman invaders, third guy in the above pic, is not an Aryan; and his daughter, not shown above, looked like an Amerindian child. Keep in mind that these series are supposed to depict the peoples of the Iberian Peninsula in the second century B.C., long before the huge mongrelization after the Moor invasion.

I also watched the 2012 prequel of it (article of the Spanish wiki: here) but I have no more liver left to continue to debunk all these silly series. Better repost about—:



My pod cousin


Gerardo-Tort

Recently I have been complaining about the fact that American films and British and Spanish TV series are mediums for either anti-white propaganda or at least not pro-white messages (with the sole exception of the first episode of The White Queen). A naïve person could think that if I approach, instead, a series directed by one of my cousins the message would be a little more positive.

Gritos de Muerte y Libertad (Screams of Death and Freedom) is a Mexican television series based on the period of the war of independence of Mexico, produced by Leopoldo Gómez and directed by my cousin Gerardo Tort (pic above) and the lesbian Mafer Suárez. Several writers wrote thirteen episodes of the first season of the series advised by a group of historians. The series premiered on August 30, 2010 to mark the bicentenary of the independence of Mexico from Spain and ended on September 16 of that year.

I have already quoted Mexican intellectual José Vasconcelos (1882-1959) in this blog stating that the war of independence was “supposed to destroy the Spaniards, who represented the force and culture of the country… all under the pretext of freeing the Indian.” And two months ago I revealed here some hidden facts about Miguel Hidalgo y Costilla, the father of the Mexican independence.

All 19th century paintings of Hidalgo, like the one you see in the Wikipedia article about him, are fake. All were based on an original portrait of an Aryan man of Austrian origin who posed as Hidalgo because nobody had painted a portrait of the real Hidalgo by the time he was elevated to the status of father of the independence, and the man was long dead and the new nation needed a noble face to honor (just as the Americans have their portraits of George Washington).

Well, original spoken reports describe Hidalgo not like an Aryan but with hooked nose. What does it mean?

That the overwhelming majority of Mexicans ignore that the Catholic priest Hidalgo was probably the son of Jewish conversos. Presently even the Mexican Jews, no longer in the need to hide the Jewishness of their people, have acknowledged it.

Of course: my cousin Gerardo Tort was only a hired hand to direct a script written by others. But since I know him I surmise that he did not object the anti-Spain bias of the script. It is worth mentioning that at the beginning of the century Gerardo Tort had made an “author film” about homeless kids in Mexico City, and later filmed a documentary of his own about a Mexican guerrilla fighter he admires and perfectly fits his lefty ideology. I had not watched the series Gritos de Muerte y Libertad until yesterday [November 19, 2013] but now that I am reviewing other television series I would like to say something about it.

In the first episode one of the pro-Spain characters says these words (in Spanish of course) about the pro-independence movement, “Imagine a government of Creoles [Criollo people], Indians, Mestizos and Mulattos!”

Yes: thoroughgoing leftists like my cousin know that ultimately the struggle is racial. But race conveniently disappears when Whites claim majority rights—or even minority rights in the case of New Spain. In Gritos de Muerte y Libertad what I found most surreal is that the overwhelming majority of upper class New Spaniards are depicted as Mestizos or Castizos (slightly whiter Mestizos), not even as Harnizos (Iberian whites with a distant drop of Amerind blood) or true Iberian whites. The script that Gerardo Tort directed mentions “Creoles” many times in the textual dialogues, but during the casting he selected Mestizo actors. Phenotypical Creoles do appear in the next episode, but that episode was directed by the lesbian.

gritos-de-muerte-y-libertad

Most surreal of all is that the Aryan-looking actor who was chosen for Hidalgo by both directors, the actor at the far left in the pic, was—not in the series but in real history—a kike with even the prototypical hooked nose, according to the spoken testimony of those who had seen the historical Hidalgo in the flesh. Also, in Gritos de Muerte y Libertad my cousin depicts José de Iturrigaray, the Viceroy of New Spain from 1803 to 1808 (standing in the pic with a ridiculous wig), as an ignoble character; and for María Inés de Jáuregui y Aróstegui, his wife, he chose a Mestiza actress (wasn’t the historical Inés an Iberian White too?).

So you have Gerardo Tort, the phenotypical Creole, filming the Spanish Viceroy as the bad guy and the kike Hidalgo as the good guy of his movie. This said, I doubt that Gerardo knows that the historical Hidalgo was genetically Jewish. Like all Mexican leftists he is sleeping in a profound Matrix.

In the other episodes of the series that my cousin also directed a dialogue caught my attention. A woman asks Hidalgo: “Removing the command from the Europeans and handing it over—to who?” at the time of delivering a hostile look to a Mexican Indian beside her. Of course: the woman is depicted almost as a bigot.

Gritos de Muerte y Libertad includes explanatory notes to clarify the supposed historical events for the Mexican audience. In one of these texts it is announced that, once in jail and excommunicated by the Catholic Church, Hidalgo actually repented that the mud mobs he had commanded massacred civilians in the Alhóndiga de Granaditas—a ridiculous claim since Hidalgo was very well known for his cri de guerre “¡Viva la Virgen de Guadalupe y mueran los gachupines!” (“Life to the Virgin of Guadalupe and death to the Spaniards!”).

So clearly racial is the script of Gritos de Muerte y Libertad that it includes these words by a fearing Viceroy when Hidalgo’s mud mobs reached the capital of New Spain, “This is the main square of the Spanish crown! And no horde of Zambos [half-breeds of Amerinds and imported Negroes] will claim it ever!” This was the Viceroy who succeeded José de Iturrigaray, but my cousin also puts him under bad light.

In subsequent episodes, Gerardo Tort has Hidalgo incarcerated prior to his shooting after having lost important battles with the troops loyal to Spain. Once again my cousin used a Mestizo actor for the jailer. Hidalgo recounts his adventures to the jailer and is depicted as noble and wise. The jailer even recognizes that Hidalgo “is a good man, a son of God.” At least in that monologue my cousin has Hidalgo recognizing that in Guanajuato his furious mobs killed women and children, but he didn’t dare to film the actual scenes showing the Mexican public that the victims were probably White, and the assassins Indians and Zambos.

Gerardo Tort filmed the platoon that shot Hidalgo, again, as a group of slightly mesticized Indians. I wonder if machines to see the past are ever invented and we could see the historic scene rather as whiter men shooting an obvious kike? But before the shooting Hidalgo delivers candies—yes: candies!—to his executioners and after the shooting one of them is on the verge of tears. How moving.

There are two DVDs in the product Gritos de Muerte y Libertad that I acquired yesterday, the next one dealing with Hidalgo’s successor, the mulatto José María Morelos, who continued the killing of Iberian whites after the death of his mentor. But I don’t have any humor left to watch this second DVD.

A few years ago, here in Mexico City some nacos (insulting pejorative for Indian-looking residents of Mexico City, analogous to what in the US is called “nigger”) assaulted Gerardo’s brother. Curiously, one of Gerardo’s two sisters once told me during a private conversation that the nacos must “have the same rights.”

Yes… all of my relatives are now Pod people. And a worse kind of Pods to boot than the American liberals since among older American folks there is at least the memory of their nation being mostly White. Those who have watched the 1956 film Invasion of the Body Snatchers for instance can see a nice California town populated exclusively by Whites. This was California before Aztlán took over.

Mexico, even since the three centuries when it was known as New Spain, has experienced no less than half a millennium of miscegenation. The remaining Creoles have been so thoroughly indoctrinated through centuries of Christian and liberal propaganda that the sole mention of avoiding intercourse with the mudbloods would be considered a kind of unheard of heresy. I would go as far as claim that after the dollar crashes dragging the Mexican peso with it and after my native town burns, the apocalyptic shock won’t be enough to awaken the remaining Creoles (like Gerardo) from their catatonic sleep.