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(written circa 2011)

I've said before that imitation is the highest form of flattery, replicating then erasing the original, never revealing it as the source, is the ultimate form of disrespect. This piece holistically embodies that statement. We've long talked about how effective imagery can be on one's psyche. When you dissect Global White Supremacy (GWS), you'll find imagery as one of the most effective toolz in projecting the imagination of white superiority.

In order for GWS to be the viral plague its been, it has to become systemic; therefore, it is not a coincidence when we look at the field of Entertainment from Drs. Neely Fuller, Jr. and Francess Cress-Welsing's, 9 Areas of People Activity (Economics, Education, Entertainment, Labor, Law, Politics, Sex, Religion, War and an added Health), we find these companies are joined at the hip.

Ever since the creation of hell-y-wood and the silver-screen, YTs been able to retell stories to their benefit simply because visual imagery leaves nothing to the imagination; the viewer will see exactly what the messenger wants them to see. Reading, on the other hand, can leave imagination to the individual. The effort to install and maintain GWS through books have proven to be less effective, mainly because a large number of people do not read; many more don't study.

YT simply imagined imagery as a way to maintain control most effectively through film and television. They're able to further validate their efforts with annual award showz, hence, the Oscarz. But we find, whitefolk are either lazy or egotistically bold (I choose the latter). Through our Versus Series we've proven whitefolk to be master plagiarists, showing very little originality nor compassion to give credit where deserved. Up until recent, this has worked to their advantage, but we are beginning to have the conversation to diagnose these as historical artifacts that should be considered components of a stolen legacy from Afrikan culture. The Oscarz are no different…

As mentioned, in order for GWS to become globally systematic, movies had to play a crucial role in its maintenance and success. To compliment the silver-screen effect, another layer of white dominance added was the creation of an annual awardz season where — via their multi-media outlets — they could parade white supremacy to the world with the Grammy's (for music), Emmy's (tv), and Tony Awardz (theater). Each are modeled after The American Academy of Motion Picture Arts and Sciences (AMPAS), better known as the Oscars; the oldest award ceremony in the media.

The Oscars was originally conceived by Metro-Goldwyn-Mayer studio boss Louis B. Mayer (more on him in a sec) as a professional honorary organization to help boost the film industry’s image of white supremacy. The first awardz were presented on May 16, 1929, at a private brunch at the Hollywood Roosevelt Hotel with an audience of about 270 people. Fifteen statuettes were awarded, honoring artists, directorz and other personalities of the filmmaking industry for their works during the 1927–1928 period.

Mayer was born Lazar Mayer in the Ukraine and grew up in Saint John, New Brunswick, Canada after his parents fled Russian oppression in 1886. In the early 1890s, he changed his name to Louis and fudged his birth date to reflect the more "patriotic" date of July 4, 1885. He moved to Boston in 1904 and struggled as a scrap-metal dealer until he was able to purchase an extravagant home.

Although he made large sumz of money by showing filmz, his early business ventures favored legitimate theater in New England. He made a sizable fortune off the racially-motivated The Birth of a Nation (1915); which, by the way, in 1998 received the honor of being one of the AFIs (American Film Institute) 100 greatest american movies of all time. As his theater empire expanded, he had acquired and refurbished enough small movie theaterz where he was able to move his business to Los Angeles and venture into movie production in 1918. Along with Samuel Goldwyn and Marcus Loew (of Metro Pictures and eventually Loews Theatres), he formed a new company called Metro-Goldwyn-Mayer (MGM).

Now you know there was no way a man could amass this much juice without some kind of affiliation to the man (if not some) elite white supremacist organizationz. It is believed he was a member of Masonic St. Cecile Lodge No. 568 in New York City.

Over the next 25 yearz, MGM produced more film and movie starz than any other studio in the world. Mayer became the prime creator of the illusionary lust and portrayal of hell-y-wood myth. Mayer became the highest-paid man in America, one of the country's most successful horse breederz, a political force and hell-y-woodz leading spokesman. At the end of World War II, he and MGM reached their peaks and Mayer was forced out in 1951. In 1957, he died of leukemia.

Although there are seven other types of awardz presented by the Academy (the Irving G. Thalberg Memorial Award, the Jean Hersholt Humanitarian Award, the Gordon E. Sawyer Award, the Scientific and Engineering Award, the Technical Achievement Award, the John A. Bonner Medal of Commendation, and the Student Academy Award), the best known one is the Oscar statuette.

Made of gold-plated britannium on a black metal base, it is 13.5 in tall, weighz 8.5 lbs. [notice the numberz '9' (1+3+5=) and '13' (8+5=) for you numerology hedz (watch Numerical Mystereez on DGTv)] and depicts, as Wikipedia claimz, "a knight rendered in Art Deco style holding a crusaderz sword standing on a reel of film with five spokes." The five spokes are said to represent the original branches of the Academy: Actorz, Writerz, Directorz, Producerz, and Technicianz.

Story has it, MGM's art director, Cedric Gibbons, supervised the design of the award trophy by printing the design on a scroll. In need of a model for his statuette Gibbons was introduced by his then wife Dolores del Río to Mexican film director and actor Emilio "El Indio" Fernández. Fernández was finally convinced to pose nude to create what today is known as the "Oscar". Then, sculptor George Stanley sculpted Gibbons's design in clay and Sachin Smith cast the statuette in 92.5% (9+2+5=16 --> 1+6=7) tin and 7.5% (7+5=12 --> 1+2=3; just showing you some masonic numerical coincidences — which, of course, we find many hedz in hell-y-wood were memberz) copper and then gold-plated it.

The original Oscar mold was cast in 1928 at the C.W. Shumway & Sons Foundry in Batavia, Illinois, which also contributed to casting the moldz for the NFLs, Vince Lombardi Trophy and Emmy Awards statuettes. Since 1983, approximately 50 Oscars are made each year in Chicago by Illinois manufacturer R.S. Owens & Company.

This is how much they'll reveal to the public, but we found there's more. As with any plagiarist, their version usually isn't that far from the original. Such is the case when it is revealed the major "coincidence" this bust has is its striking resemblance to the Afrikan Neteru (god), Ptah. Interesting enough is the greek meaning of the word, Oscar: 'spear of godz'— pointing out there was some thought and even reference in naming it.

In Kemetic mythology, Ptah was the deification of the earliest era in what's known as the Ennead cosmogony — or group of 9 deities [Atum, his children Shu and Tefnut, their children Geb and Nut, and their children, Ausar (erroneously called Osiris), Aset (Isis), Set, and Nephthys] who were creatorz of the polyverse. Here we see an ancient Afrikan lineage millenniumz before the biblical lineage of god and wo/man.

Ptah was a creator god, the third highest god in Kemet, was only overshadowed by the sun god Ra, and the hidden god Amen. He's known to be the primal creator, the first of all the Neteru (godz), creator of the world and all that's in it. He is not created, but simply is. In some stories he is the personification of the primal matter, Ta-Tenen, which rose out of Nun, the fundamental seas. His wife is said to be Sakmet (or Bast) and their children are Nefertem, Mahes, and Imhotep.

Ptah was the predynastic god of craftsmen, pottery, and creation in Memphis. Our Ancestorz of Kemet believed he was a god who created everything from artifacts, to the world egg, to the other deities themselves. The Opening of the Mouth ceremony — performed by priests at funeralz to release soulz from their corpses — was believed to have been devised by him. He was a god of creation and rebirth.

Some believe the origin of Ptah's name meanz 'opener' or 'sculptor'. He was a patron of the arts, protector of stonecutterz, sculptorz, blacksmiths, architects, boat builderz, artists, and craftsmen. His high priest was given the title 'wr khrp hmw', or 'Great Leader of Craftsmen'.

It's noted Ptah invented masonry and that it was he who crafted the boats that the dead used to travel to the Duat. The Book of Coming Forth By Day and By Night — aka: Rau Nu Prt M Hru, and derogatorily called The Book of The Dead, describes him as, "a master architect, and framer of everything in the universe…"

Legend has it Ptah created the heavenz and the earth while Khnum fashioned the animalz and people on his pottery wheel. Ptah created the giant metal plate that was believed to be the floor of heaven and the roof of the sky. He also created the struts that upheld it. He created the universe by speaking wordz through his tongue and by thoughts coming from his Heart [linked to Heru (aka Horus)].

The Shabaka Stone noted it was Ptah who called the world into being, having dreamt creation in his heart, and speaking it, his name meaning opener, in the sense of opener of the mouth. The Shabaka Stone is a relic from the Twenty-fifth Dynasty of Kemet. It is a stone slab incised with the surviving Mdu Ntr (hieroglyphs) of an old papyrus. This papyrus was found as Pharaoh Shabaka was inspecting the temple of Ptah in Memphis, in the Nile Valley.

Shabaka, concerned about the loss of the information on the papyrus, had the rest of the text written into this stone. Unfortunately, with pillage brought ignorance, and in later yearz, the stone was used as a millstone and thus some of the Mdu Ntr was erased.

One of many vital pieces of info retrieved from the Shabaka Stone is that it places Ptah as the center of existence and as the creator god. In art, he is portrayed as a bearded mummified man, often wearing a skull cap, with his handz holding an Ankh and Djed, the symbolize of life, power and stability, sometymz standing on the Mdu Ntr for Maat. It is believed he may have originally been a fertility god because of this.

It's said Ptah called creation into being and was considered the god of craftsmen. Eventually, due to the connection of these thingz to temple tombz, and in Thebes, the craftsmen regarded him so highly as to say that he controlled their destiny. As a result he became a god of regeneration. Since Seker was also god of craftsmen, and of regeneration of the sun during the night, Seker was later assimilated with Ptah becoming Ptah-Seker. Because of this, Ptah-Seker became considered an underworld deity, and eventually, by the Middle Kingdom, become assimilated by Ausar, the lord of the underworld, occasionally being known as Ptah-Seker-(Ausar)Osiris.

Not only was Ptah a god of creation, he was involved with the rebirth of the soul in the afterlife. He was related to the dead since Old Kingdom tymz, where the Opening of the Mouth ritual allowed the spirit to be able to see, hear, speak, and eat as a living being.

The Shabaka Stone also notes that he stopped a fight between Heru (Horus) and Set, who fought to avenge the death of his father, Ausar. He judged and ended their quarrel. He made Set the king of Upper Egypt in the land of Upper Egypt, and Heru King of Lower Egypt which became known as the division of the Two Landz.

So we can see where Ptah is the creator of life, in the realm of film, the Oscar is the creator of imagery and most notably, careerz. To date, there have only been 27 American-Afrikanz who've won an Oscar with many of those having played the stereotypical "black" role of gangster, whore, or a malnutritioned, low-esteemed victim of abuse (Gabourey Sidibe was nominated for her role in 'Precious', but didn't win).

American-Afrikan actorz are starting to make it known how difficult it is for them to get work, and if they do, respectable roles. In addition, March of 2011, actor Samuel Jackson criticized the Oscars for there having no American-Afrikanz involved in the show, although he remained optimistic claiming, "it won't happen again."

The sad thing is our continued acceptance of the 'token negro' as if to say, "as long as one or a few of us are there, we can't say they're not including us." It's this miniscule mindset that allowz GWS to prevail. It is obvious whitefolk use tv, film, and print to showcase themselves as the superior majority. Remember, entertainment is part of the 9 Areas of People Activity.

Ask yourselves, what race ownz the many tv stationz, the film houses, the magazine and fashion industry? Take just a few minutes to watch any tv station (other then BET) and count how many whitefolk you see compared to every other race. In many cases out of 10 people, you will see 8! This same experiment can be successfully applied to film, magazine adz, you name it! Take a moment and count how many Afrikanz you see in print adz opposed to white; and of those that are, how many of those adz are actually proper/positive adz and not something like a McDonalds, Got Milk, or liquor ad. And our feeble-minded people in hell-y-wood still expect to be respectfully represented.

What's even sadder though that our people look at to the Oscars as a sign of recognition or that they have arrived, instead of just saying, "-eff 'em" and develop competitive multi-media houses by and for our people. What's stopping that from happening? The answer is simple, we lack a knowledge of self and our enemy!

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• oh them be some lying white crackers. with a whole story behind the oscar... I figured yea the Ptah! for years I figured these crackers was vicious.
xxxxxxxxxxPosted by Wifiyah EmpreZion Hakim via Facebook on Saturday, July 9, 2011 at 11:16 AM

• Love it.
xxxxxxxxxxPosted by Brandon Imhotep via Facebook on Saturday, July 9, 2011 at 12:33 PM

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