Christian Churches Are What Gay Lads Do

16/02/2018 21:56

Christian Churches Are What Gay Lads Do


In the Bible homosexuality is criticized by referring to the events occurring at the `cities of the plains` (Gen: 19. 28), where `angels of God`, who`re there to determine whether or not the cities of Sodom and Gomorrah should be destroyed for their practicing of abominations, are beseeched by men who want to `know` them, which isn`t merely metaphor, because knowledge is something that boys don`t have, so it`s in the interests of pederasty that there be more boys who`re educable. Consequently, Christian churches which treat their congregations as children, who`re known by churchmen, risk becoming `knowers` of men without imparting knowledge, that is, by practicing what`s effectively infantilism, they maintain pederasty. In short, news reports of pederasty within Christian churches is indicative of the functioning of homosexual gangs, who keep people in ignorance so that pederasty can continue.



 In the classic movie about a homosexual, Death In Venice (1971), adapted from the German author Thomas Mann`s novel, Der Tog Venedig (1912), English actor Dirk Bogarde has the role of Gustav von Aschenbach, who goes to Venice to improve his health. At the Grand Hȏtel des Bainson, Aschenbach becomes obsessed with a Polish boy, Tadzio. Dying from heart disease, he discovers that the local municipality haven`t warned visitors to the Italian city of a cholera epidemic; so as not to lose revenue if they left because of the plague. Aschenbach`s decision to remain is suicidal, although it appears romantic, which is how homosexuality manifests socially.



 In the late 20th century, the `incurable killer disease`, HIV/AIDS, that is, the human immune deficiency virus (HIV) resulting in acquired immune deficiency syndrome (AIDS), was spread by homosexuals` mixing of blood, shit and semen in anal mockery of human sexual intercourse and as a sexually transmitted disease (STD). As a `gay plague`, feminist lesbianism was co-opted as support for an afflicted minority, because homosexuals and lesbians were perceived as `gay`, and feminism`s support for lesbian women`s acceptance within society was perceived as extending to men, who were `feminine`, because they wanted each other as lesbians did. However, the non-toxic relations between women as lesbians indicated that feminism shouldn`t equate lesbianism with homosexual men. Men`s anally spread STD wasn`t womanly romance, so feminists shouldn`t be supportive. Consequently, Death In Venice, along with other mainstream works of fiction, movies, etc., is a pre-AIDS romanticizing of homosexual desire that needs to be reassessed in a post-AIDS scenario.



 The essence of the narrative is the homosexual belief that that boy really likes them, which is something that girls are also taught about boys, and which is a social myth neatly exploded in the movie, He`s Just Not That Into You (2009), a series of vignettes about dating in the United States of America`s city of Baltimore, state of Maryland. Actor Justin Long`s character, Alex, tells actress, Ginnifer Goodwin, in the role of a Baltimore single dater, `So trust me when I say if a guy is treating you like he doesn't give a shit, he genuinely doesn't give a shit. No exceptions.`1  It`s typical of homosexuals that they don`t believe that that boy doesn`t like them, whereas Tadzio in Death In Venice doesn`t, and Aschenbach never speaks to him, so the pedestrianed action, which is typical of sterile homosexuality, is forcedly false and without any destination, that is, it`s about men who use force because they`re powerful enough to fascinate; like the hypnotic eyes of a snake. Aschenbach is weak, of course, because of ill health, but that`s symptomatic of homosexuality`s paradigm, which was HIV/AIDS in the 20th century, that is, boys are dying for it. Written in 1912, before the German Empire of Kaiser Wilhelm II commenced hostilities in what came to be known as World War II (1914-18), Mann`s novel had homosexuality`s pre-suiciding German zeitgeist in which millions of men were sacrificed for `the fatherland`. In simple terms, the suicided `boys` hadn`t responded to the weak spirit of homosexual men, who`d fantasized that they were liked and, fearful of rejection, scornfully suicided them when they were old enough to be forced into war. World War II (1939-45) would represent a new generation of such boys deployed by Germany`s leader, Adolf Hitler, and German Herbert Nehrlich, appreciative of Mann`s insight into homosexuality, wrote `To See Venice And Die` (1943) in protest:


`I fully realise, my Lord,
that I have been to Venice;
but if you would not mind:
please hold your horses.`2



 The climactic pseudo-romantic scene in Mann`s Death In Venice is Aschenbach`s watching as Tadzio is beaten on the beach by an older boy. Tadzio walks on afterwards, and raises his hand towards the sun. Raising his hand towards Tadzio, Aschenbach collapses and dies from a heart attack. Among homosexuals, `brutality and violence` is a known phenomenon, which is termed `rough trade`,4 that is, Tadzio`s beating is symbolic of the homosexual zeitgeist, and Aschenbach`s death as a pre-AIDS symbol and transmitter of death, war and sterility, isn`t romantic.



 In ancient Greece enslavement of women`s host wombs for homosexuality in pederasty for war was institutionalized, that is, war is pederasty, which means that the church is the epicenter of destruction if it relies on the simplest of catechisms, and teaches them to adults as if they were children; for example, `Jesus saves!` How Jesus saves isn`t the issue for pederasty, whereas for the individual who wants to know, rather than be known by homosexuals for war, how Jesus saves is important. Born from his mother, the Virgin Mary, Jesus is uncontaminated by male semen, and that`s important for the modern era, which was plagued by HIV/AIDS originally discovered by DR Congo in 1983 mutated from the simian immune deficiency virus (SIV) transmitted by homosexuals who, mixing blood, shit and semen in the anus, spread the `incurable killer disease` that collapsed the organs of the body before the brain died in unendurable pain.



 According to the Bible, such pain is what God promised the evil if they didn`t convert from their sinful nature: `Men cursed the God of heaven for their pains and their sores, but refused to repent of what they had done.` (Rev: 16. 11) Jesus` birth from his mother, uncontaminated by male semen, is celebrated in Christian iconography by his mother`s foot crushing the head of a serpent, which is the form given to the angel, Satan, who was then placed in the paradise of heaven on Earth by the creator, God, for rejecting God`s plan in heaven that the human host should be greater than the angelic. Eve, the first woman created by God, is depicted as emerging from the rib or side of Adam, the first man, who is described as hermaphroditic in Judaism, that is, Adam is a futanarian woman who can sexually fertilize herself with her own penis` semen, which is how Eve was born. The serpent, Satan, represents an earlier evolution upon the Earth, 248 m.a., in the Mesozoic era, before the first humanoids appeared 220 m.a., in the Jurassic period of prehistory, that is, Satan`s tempting of Eve to `eat of the fruit of the tree of the knowledge of good and evil`, in exchange for power, represents futanarian humanity`s host womb enslaving by saurians, who`re depicted as being `angels in heaven with God` because they achieved interplanetary travel in the 20 million years between their evolving and the appearance of humanoids, `You shall be as gods.` (Gen: 3. 15)



 War was the power Eve and Adam`s enslaved futanarian species received from Satan, that is, `death`, whereas God offered the `tree of life`, which was immortality, and Eve and Adam were expelled by God from Eden as a punishment, although God told Eve her `seed` would prevail: `You shall crush the head of the serpent with your foot, but he will bruise your heel.` (Gen: 3. 15) God`s promise is that Eve`s `seed` will produce better brainpower, that is, the futanarian species of `woman`s seed` will colonize the planets among the stars of heaven above the Earth through her technological development, and immortality`s permanence of memory will be conferred upon her race there. Jesus was called `the Second Adam`, because he was futanarian `woman`s seed`, that is, he was born uncontaminated by male semen, so was humanity`s `foot` to the stars.

 When his disciple, Judas, wanted to sell the expensive perfume a woman brought for Jesus, Jesus said, `Leave her alone.` (Mk: 14. 16) His teaching was that she was `woman`s seed`, and that women should: `Love your neighbor as you love yourself.` (Mk: 12. 31) Taken to the hill of Calvary outside the city of Jerusalem by soldiers of the Empire of Rome then occupying Jewish Palestine as a `dissident`, Jesus was nailed to a cross of wood where he died, before experiencing Resurrection and Ascension to heaven in prefiguration of that of `woman`s seed`. Consequently, that was God`s promise of Redemption for all those who accepted `woman`s seed`, whereas Christianity maintains ignorance in pederasty for war`s human sacrifice by presenting Jesus` redemptive role as self-sacrificial, whereas Jesus isn`t a self-sacrificer, or a self-murderer, but someone who was illegally killed. In short, the Christian preacher confuses human sacrifice with Redemption, although the catechism is true, `Jesus saves!` What isn`t true is that the congregation understand it as anything but human sacrifice, which is what God specifically orders the Jewish `chosen people`, before Jesus `Christ`, `the chosen`, to abjure. The history of Christianity is that of war, because its peoples weren`t taught anything other than acceptance of host womb slavery for homosexuality in pederasty for war against `woman`s seed`, `dulce et decorum est pro patria mori`,4 that is, `it is sweet and fitting to die for one`s country`, whereas it`s human sacrifice and anathema to God.


1 Long, Justin as Alex He`s Just Not That Into You, Flower Films, 2009.

2 Nehrlich, Herbert `To see Venice And Die`, 1943.

3 .

4 Horace Odes, III, 2. 13, 23 B.C.