The New Redemption Of Ham

It takes a single commercial break to see the patterns in modern American television: an upper middle class white man seeking insurance to protect his family hugs the attractive black woman who fits into size two skinny jeans. This is followed by an advertisement for the low price point Old Navy brand within the Gap Inc. multinational retailer. In that advertisement, a fit black man throws snowballs with a light-eyed, light-haired white woman, as their mixed race kid laughs and hugs them. At the next commercial break, the next three ads contain another such odd pairing. They have to. This is the new penance and redemption in the progressive religion.

These ads do not reflect reality. If they did, and were intent on forwarding the multiracial America meme, they would reflect the reality of demographics. The majority of multiracial children in America are White-Asian or White-Hispanic. The most frequent interracial marriage is white males and Asian females. Whites and blacks do marry and have children, but the socioeconomic and BMI reality of those pairings are nowhere reflected by advertisements. Asian and Hispanic pairings with whites and subsequent mixed children cannot be used, due to the easier blurring of those ethnicities. Those pairings also do not exemplify the current philosophy and goal of progressive America, namely that  whites are guilty of an original sin of allowing slavery of Africans to occur (or a litany of other current and historical faults). No matter the historical reality, or the blood and treasure spent on freeing those slaves or their descendants or the simple ubiquity of slavery in general, the tactic is to imprint guilt on whites for progressive political and social gain. The definitions of racism and supremacy have undergone major transformation from what one does, to what one says, to mere existence. The next step is annihilation of the white self in a holy act.

The progressive Left is open about their aims, they tweet about them, and they fund professors who openly proclaim it. In progressive racial theology, white original sin can never be satisfied, except by ending white lives and bloodlines. The multiracial mindset and identity is a delicate one, with multiracial adults experiencing mental health issues at higher rates. The race spectrum that some Hispanic countries enjoy is new to America and much more difficult to enforce.

The above mentioned blurring of lines is easier with the part-Asian actors Keanu Reeves and Fred Armisen or Hispanic Sofia Vergara and Ana de Armas in comparison to white/black mixed Halle Berry, who Hollywood still needed to send to plastic surgeons to Anglicize her facial features. While extremes, the White Hispanics and Asians in middle class neighborhoods blend in easier. If the ruling class simply wanted a new American multiracial identity for a new 21st century America, it would reflect the marriage and mixed race reality noted above, but it does not. It uses the most phenotypically eliminating mixes possible to send its message, which is a reflection of the ruling class’ desires.

This is an inversion of an old drive in another country that forged a national identity and has had delicate race relations: Brazil. Modesto Brocos was a Spanish artist, yet created art and taught in Brazil. Brocos painted something similar to this religious energy wrapped in race.

Brocos “Redemption of Ham” from 1895 is a painting of four individuals. The painting tells the story of South America’s post-colonial social trend of blanqueamiento. The progressive whitening of the nation was a central goal; and this painting portrays it. A young family shows their baby to a happy grandmother. But there is much more going on. An African grandmother is positioned to the left of the family, praising the heavens for her grandchild. In the center of the painting is a young mother with her child, pointing the child’s attention to the grandmother. The child must learn the grandmother is its own flesh and blood. This mother is a mixed race woman. To the right of the mother and baby is the father, who is without a doubt European. The baby is seated on its mother’s lap as the center of all attention. The baby is portrayed as white. In the 1895 painting, the context is that the African slave is now thanking God that her attempt at acceptance in Brazil’s society is validated by her mixed race daughter securing a European man to give her a white grandchild.

Brazil’s progressive-applauded race spectrum, however, came with complexities. The Brazilians forged a strong sense of Brazilian identity as it played with the balance of an ethnically white south, a mixed set of classes with Indio-Euro-African, Asian imports, and then the legacy of slaves imported from Africa. The idea of an African political movement is an import from America, and self-identification has only ticked up due to government incentives. If anything, the official goal of blanqueamiento was absorbed into cultural trends like aesthetic attempts at European ideals via hair styling (Brazilian Blowout) or massive plastic surgeries, hair alterations, and skin lightening (soccer star Neymar). This fluid racial mix was subsumed to the strong sense of Brazilian identity.

Progressive messaging in America is an inversion of this blanqueamiento idea. The concept of the old slave’s sins being washed away with the birth of a baby accepted as white by society has been repackaged as the sins of the white born with racial original sin being washed away with the birth of a non-white child. Absent in the progressive message is a strong push for the glories of an American identity. While Brazil was forging a Brazilian national ethos, a desire to destroy the native American identity drives the progressives.

This is a self-defeating feature within this religious message. There is no utopia being created in this act. This is not spun as positive creation, but deletion. It is merely penance for the evil legacy Americans and destruction of the national conception.

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