Now we must celebrate the rich history of the Crabgrass-American, an epic tale that runs the gamut from enslaving each other, to being enslaved by sand people, to the jewish enslavement and finally to the current role as a biological weapon used by the merchants that once sold them like cattle. This is the amazing story of the genetic alien. Keep smiling and clapping for it, shokotzim. You don't want to be "races," do you? After a morning at the holohoax museum you can spend your afternoon feeling bad about the plight of homo erectus.
As a general rule,” it was written in the 1920s, “Negroes have not been and are not thought of in America when you talk in general terms of Americans unless they are specifically pointed out.”
The based 1920s, when the negro was correctly regarded as an alien outsider that needed to be segregated and controlled. They were never American, they were always African living fossils that had no place here. They should have been removed.
This “general forgetfulness” therefore made it “necessary for those interested in fair play to all citizens” to propose a “beautiful building” to “depict the negro’s contribution to America in military service, in art, literature, invention, science, industry etc.”
White interest in "fair play" is by far our greatest weakness, one that has led to staring down the barrels of demographic disaster and White genocide. There will be no "beautiful building" for the hated White minority if we fail, only a bullet to the brain as the irredeemable deplorables receive the final reward for worrying about living up to some insane moral standard. We owe the negro nothing, save a one-way ticket back to The Mother.
By the way, here's the "beautiful building" in question.
A giant mud hut might have been more honest and aesthetically pleasing.
The text was part of a century-long campaign, started by black civil war veterans in 1915, that will reach its fulfilment on Saturday, when Barack Obama formally opens the National Museum of African American History and Culture in Washington DC.
The mulatto puppet will be there to christen this repulsive symbol of division and hate. I'm sure this will be the magic bullet that finally causes the negro to begin approximating the behavior of a civilized human being. Failing that, it will at least be a soviet-style symbol of oppression for the vanishing White population to silently endure, much like the negro itself.
It also suggests what the museum’s director, Lonnie Bunch, says over and over: that the museum should give “a fuller understanding of what it means to be American” seen through the “particular lens” of black experiences and contributions, not a place that is just about and for an anthropologically defined category known as African Americans.
More like the anthropological curiosity that is the "African-American." Let us look through the lens of the morlock, seeing nothing but "muh dikk" and "gibs me dat," lacking the ability to connect cause and effect, possessing a comical overestimation of its meager abilities. Experience life as a dangerous and idiotic animal, experience the "equality" con game and ask yourself if it's worth that careerism and empty materialism to keep parroting low-effort kosher deceits.
A failed branch of humanity.
This team is led by people of predominantly African American heritage, a rarity in the still very white profession of architecture, such as the lead architect Phil Freelon and the project leader Zena Howard. J Max Bond, a pioneer among black architects, was part of the group but died before the museum was finished.
A few Whites contributed minor "make sure it doesn't collapse on the first day" assistance, but make no mistake this giant structural bowel movement is very much a product of the 85 I.Q. negro mind.
There is abundant film and photography of the struggles and grotesqueries of racial politics, such as the Ku Klux Klan march through Washington in 1925.
White man bad! Don't have children! Bend the knee to worthless monsters that want you dead!
Eventually you find the P-Funk Mothership, a spoof spacecraft that used to land on stage on the 1970s stadium tours of George Clinton and his band Parliament-Funkadelic.
I'm glad the Old Negro Space Program is prominently featured.
Lonnie Bunch, on taking up his post in 2005, was armed with a Bush-signed act of Congress that supported the idea of the museum, but he had nothing to put in it. This could have been catastrophic, as the world is full of unconvincing museums founded on ideas but little content.
The exhibits are arranged in three main sections, starting with a narrative history, rising up from the bottom of a deep basement, that runs from the beginnings of the Atlantic slave trade in 15th-century Africa and Europe to the presidency of Barack Obama.
We'll start with the usual "we wuz kangz an sheeit" mythology, then muh slavery and finally the crowning moment of negro achievement when the jews installed a mulatto sodomite foreigner to rule over ruins.
The displays are sometimes overcrowded but avoid gimmicks and pointless gestures at interaction.
Play the knockout game, wite debil! Push this big red button and get hit with a brown paw!
On two upper floors, above the ground level entrance hall, are the community galleries, which talk about such things as religion, place, sport and military service, and the culture galleries, which show art, music, literature and performance.
Look at that boy run! Here's a tar-colored jazz man! See, perfectly compatible with Western Civilization. Now go and die.
Look at this p.o.s.