#that which is creed and valor are all defined by one’s will

[impossible-rat-babies]

me wanting to put paladin as eyrie canon but only the specific kind of paladin I want to make up because I want to flesh out Lore

[howwenews]

Sam Coming to a Neighborhood Near You!!

  Bring that Ass Here!! 

“Until you realize how easily it is for your mind to be manipulated, you remain the puppet of someone else's game.

 By James F.  

There is a popular song from Naughty by Nature called "OPP" (other people's property), this article will not be retro hip-hop classics from the good old 90's, instead, it will be in relation to that word OPP as well as OPAP ( other people as propriety).  The two abrasions tie deeply into human rights and Rules of Engagement (R.O.E) This article will surface how human rights can be disregarded, and how the escalation of force is embedded from the military basic training to the police academy.

For this article, I will be using some of my own experience as a source to give the full spectrum from my point of view and how it is in the same light as today's current events.    

Why am I trusted Source?

I spent 10 years of my life in the upbringing of war fair, embedded day in and day out with combative tactics for any giving environment, being as proficient as an operator. With 3 combat campaigns and over 432 excited tactical raids in the theater (Combat Zone), I will be allocating some insight of my own with militarized diplomacy

Cowboys and Indians: It starts here, almost every little boy or girl to adults can recall playing this game or one like it, not knowing that you are being primed for the "greater good of America". Who is the moral victor of this story, the cowboys that come in, kill and capture the Indians for their land, or the Indians who stood fast against their oppressors? If you said cowboy, you are correct, for this is a glory story and those who win the war are the true heroes right? 

Impute process: I can safely say I've seen just about every war movie made, but this wasn't all by choice. In basic, we were shown movies that permitted acts of valor, merit selfless service, and it's no greater honor than to die for your country. They each shared mesmerizing creeds, singing hymn, and songs that furthermore stress the point. 

Then you move into the targeting phase by promoting prejudice to certain groups or ethnic cultures. Photographs, videos of car bombing, displaying malice to our "brother and sister" help to exclude this culture as human and as more of mere objects between us and the mission (note this). From this point on your sole purpose for training is knowing your enemy and to effectively neutralize them. The whole turn around process takes about 4 months. Within that time you go from knowing close to nothing about your enemy to looking forward to getting your real life "call of duty" on.

Geneva Conventions/Rules of engagement (ROE)

There is a law that all combative of nato are supposed to abide by, call The Geneva Conventions comprise four treaties, and three additional protocols, that establish the standards of international law for humanitarian treatment in war; after 1949, negotiated in the aftermath of the Second World War. But this is something that is disregarded, in many cases and there are loops that help evade persecution under these laws. Most of the weapon used in the army today’s is in violation of this law.

  Filled with the patriotic spirit, you are then shipped to a country where you must be on high alert because you are told everything there wants to kill you even the animals. So what do you do? Kill everything that walks man, woman, child, dogs it didn't matter. That's exactly what happened after when the war first kicked off, running the middle east like the wild wild west. There had to be some type control measures that strongly needed to implied after OIF3. Rules of engagement are the internal rules or directives among military forces (including individuals) that define the circumstances, conditions, degree, and the manner in which the use of force, or actions which might be construed as provocative, may be applied.

Detainees

2007 Iraq-conducting room clearing drills, I'm am the number one man in the (from the left to right)

When I stated OPAP (other people as property) it was directly reflected to detainees or prisoner war, because once the target is detained they now are the property of the US military. What defines the well being of a target, is all dictated by the situation and those who are involved in their capture. In a snatch and grab or a Raid, a target is bombarded with an overwhelming force with no time to react and there is no pleading- you're coming with us and there nothing to be done about it. Now there are rules that are supposed to be followed out when conducting a Raid, such as we could not interrogate, nor cause physical bodily harm to them (tends to be ignore more than often). The target is then whisked away, usually, traveling long distances to the debriefing station

2009 Iraq- my team and I enter a target house 

These individuals are scared out of their mind because you just dragged them out of bed at 2 am, bound and bagged them. From that point, you turn them over to an investigation team located in DHA (detainee holding area). Now, on another raid and two days ago earlier your team was hit by an IED (Improvise Explosive Device)  and lose a team member. Intel says that someone in the village might know who did it. How do you think that raid will turn out? It's not until you hear the desperate pleas and cries and see the fearful and confused grown men defecating or vomiting into their burlaps sack, as they are being taunted for something they probably had no involvement in. It's here you realize what cowboys and Indians are really about.

The battlefield is no place for emotion- mission first feelings last, you die before you cry. But when personal feelings overflow and spill out into “Theater” this is when the ROEs and Geneva Convention begin to become null. Every action has a cause and effect, so how do you justify the violation of war laws- Well brother no matter what, we will take your side and ensure even if you are wrong you are right.

Militarized Police

Back on the domestic side, you have the same situation just with a different uniform and new enemy. There has been an abundance of police shootings of black individuals, this is no secret as it has been something that been vastly publicized throughout the media. It wasn't until I watched the Netflix series Flint that I started making a connection. Flint is a docu-series that takes place in Michigan from the city's police officers point of view. It shines a light on the harsh reality of US policing. I found that going overseas is completely one in the same. It is taking place in my backyard, in the land of the free. With the black lives matter movement, cops felt it was necessary to step it up and impose military tactics which are no surprise being that close to 40% if not more are ex-military veterans.

Federal programs providing surplus military equipment, along with departments' own purchases, have outfitted officers with firepower that is often far beyond what is necessary for their jobs as protectors of their communities. Sending a heavily armed team of officers to perform "normal" police work can dangerously escalate situations that need never have to involve violence. 

The change in equipment is too often paralleled by a corresponding change in attitude whereby police conceive of themselves as "at war" with communities rather than as public servants concerned with keeping their communities safe.

[ramrodd]

The Deep Meaning of "O Come O Come Emmanuel

COMMENTARY:

This is one of my favorite carols. I've always associated the minor key with Matthew's nativity narrative. David's lyre employed a 5 / 7 note octave of the music of the 7 base numerology of the Mythos before the 8 note chromatic scale of the 8 base numerology of the Logos of Greece. David's lyre employs basically the black keys on the piano while the piano key board reflects the synthesis of the Mythos and the Logos if you want to establish the Hegelian aspects of process theology in the biblical narrative.

As I say elsewhere, part of my mission is to promote the Holy Spirit as a capitalist tool. As I say, Jesus is exactly who He says He is in Mark 14:62, so I am not here to debunk your theology, per se, but to demonstrate the degree to which you are being cheated by the protocols of Solo Scriptura mandated by the Pro-Life Evangelical business model. You are more right than wrong in regards to the nature of Christ, but what you are wrong about contributes directly to the spiritual pollution in the Zeitgeist that is driving the suicide rate of combat veterans. In that regards, everything connected to Robert Jeffress sustains the heresies that generate that spiritual pollution. As I say in the comments to your video on who wrote the Gospel According to Mark, if boldness in the search of Truth is what you seek, I'm the answer to your prayes.

The application of Mark 3:29 is to restore the broken relationship between men and The One as a consequence of Free Will, a subtext of the Book of Job. The theme of the Book of Job is God the Father humbling Himself before Mankind for unintentionally abusing this consequence and His promise to make it right with the ransome paid by God the Son of Man on the Cross. The meaning of Mark 15:38 is partially correct that the veil between Mankind and God in the Holy of Holies is rent, but the full meaning is completed if that meaning is expanded to include the Jewish custom of "rending" (διαρρήξας) their garments in the face of blaspheme like the high priest in Mark 14:63 and in lamentation at the death of a loved one. In the case of Mark 14:38, it is the sorrow of the God of the Broken Heart that reconciles God to Mankind by the propitiation of God the Son. And Melchizedek is the intermediary in the delivery of the ransom.

To deny the Holy Ghost is to refuse this ransom. Verse One is a celebration of this ransom as the Baby Jesus. Each of us is Israel and we each celebrate Emmanuel ESPECIALLY when we accept the presence of the Holy Ghost as restoration of the relationship between I, a person, and The One in real time and in the eternal here/now of the Kingdom of God on Earth as it is in Heaven.

The belt buckle of the Wehrmacht uniform had "Gott Mit Uns" emblazoned thereon as they reduced the Warsaw Ghetto, just to keep things anchored.

The refrain is the application of Mark 3:29; the coming of the Holy Ghost is the coming of Emmanuel.

Verse Two is a portrait of Yaweh, Queen of Battle, a feminine aspect of The One. The Torah is a military document, a series of field manuals. so to speak, documenting the cultural transformation of the Children of Moses from slaves to a sovereign people which has persisted, lo, these 4000 years. Moses was a prince of the realm of the Pharaoh's and. like Prince Harry and Princess Elizabeth, had a formal military education. A strong argument can be made that the first recorded narratives were military in nature and the Torah falls into this catagory.

As such, Moses goes to a great deal of trouble to obscure elements of the technology involved, including the ontology, that is, the various aspects of The One, generally, and, in particular,  the feminine nature of Duty as exemplified by Yaweh as the Queen of Battle. The Coat of Arms of West Point includes the helm of Athena/Minerva, who is the Greek and Roman analogue to Yaweh as Wisdom and She Who Must Be Obeyed. As a combat veteran, I know Yaweh, as did Cornelius, who had the same relationship with Her as Jesus, which authentically astonishes Jesus: "Not in all of Isreal have I found such faith".  The binding of Isaac, the Apology of Socrates and the Cross are studies in the nature of Duty as a response to Yaweh.  As they say, the fear of the Lord is the beginning of wisdom and, in the profession of arms where devotion to duty is the standard of excellence, the coin of the realm is valor as defined by John 15:13.

From the perspective of Wisdom in Verse Two, John 15:13 trumps John 3:16 relative to the Book of Job, Mark 15:38 and as the ransom of Verse One. Rejoice, Rejoice, for the benefits of the Holy Spirit include the intellectual constructs of Plato reflected in Genesis 15:5 and the firmament in Old Glory; and the epistemological methods of Aristotle reflected in Genesis 28:12 and the stripes of Old Glory. The purpose of the Bible is epistemological and the scientific method is a direct legacy of that purpose. Verse Two is a celebration of that legacy of the Wisdom of the Bible.

I have skipped Verses Three and Four because they get into the issues of the Law of Moses and death. As a combat vet, I am a devout coward and your glib assertions of "giving your life for Christ" sound like Peter promising to go down fighing with Jesus. I sold life insurance for a while after I got back from Vietnam and kept running into men about your age who had never seriously confronted their own death as a contingency, much less a certainty. The least interesting clause of the Apostle's Creed for me is "...the resurrection of the body...". In the imperatives of the Mission, Men, Self priorities of military servant leadership, personal survival is not a metaphysical necessity. The fact is that much of tactical contingencies can come down to a choice between getting killed and committing suicide: thoughts of suicide are a professional hazard in the combat arms when the potential for becoming a POW is factored into the personal calculus. And the Law of Moses is problematic for the same reason it was for Jesus.

In Verse Five, the Key of David is the Davidic Covenant in 2 Samuel 7 which is found in the current expression of the 7 Mountain Mandate that Lance Wallnau is currently flogging in the corrupted manner that Solo Scriptura produces. The core technology of the Harvard Business model, Scientific Management, is a format for achieving the intended outcomes of the Davidic Covenant as an operation of the Holy Ghost as a capitalist tool. The Key of David is a continuation of God's promise to provide humanity the resources we need for dominion over all we survey, including the protocols for secular government anticipated in Romans 13:1 - 7, which is something of a recapitulation of Socrates' Apology and which has found expression in the US Constitution.

The Star of Jesus in Verse Six is the epistemological trajectory that runs straight as a laser from Melchizedek through Socrates  and the Cross to Isaac Newton and out beyond the horizon after passing through Apollo 11. In the 5th century, when these lines were composed, the validation of the God Hypothesis was the light guiding humanity forward and the Holy Spirit was the constant presence of The One along side the individual pilgrim. The point of Mark 3:29 is that the 2nd Coming is already arrived: to live for the resurrection of the body is to deny the Holy Spirit. Verse Six is a celebration of the Liberation Gospel as the Salvation Gospel is to dwell in the past. looking for Jesus in an empty tomb. Jesus is to be found on The Way, working along side  Jimmy and Rosalynn Carter building houses with Habitat for Humanity, hands to work, hearts to God. It's like Song of Myself:

Failing to fetch me at first keep encouraged, Missing me one place search another, I stop somewhere waiting for you.

Verse Seven is a little application for you, personally, in regards to your ignorance of the numerology of the Bible. In the Beginning  was the Word, but, before the Beginning, Number IS the great I AM. As a practical matter, The Word emerges out of Number: the gematria of Hebrew begins with Number and not as a consequence of assigning numbers to the alphabet. And Topology is the mathematics of the human unconscious and the Mind of The One. Zip Codes are a combination of the two artifacts, the existential boundaries of the American topography and the numeric inventory of their location. The numerology of the Bible in the numerics, textual numerology and the mundane numerology of chapter and verse are all playgrounds of the Holy Spirit.

The numerology of O Come, O Come, Emmanuel is pretty consistent with the numerology of the Bible, in particular Verse Seven. 7 is the perfect number of Jewish numerology and it represents the moment in process theology when the mechanics of human creation have been completed and the dynamics of natural law and the action of the Holy Spirit must obtain. It is not an end product, per se. It's the moment after the yeast has been added to the dough and must be left alone to rise before being completed in the oven. The Creation Narrative in Genesis is actually 9 days, with all the busy work done in the first 6 days and the 7th a liminal stage, actually a threshold, going from one state to another, the 8th day in the Garden of Eden when the Free Will of the Book of Job emerges in the human condition and the resulting state of awareness completes the 9th day of Creation as humanity begins to acquire dominion over the universe. The role of Melchizedek is to introduce 9 base numerology into the Hebrew theology and that process establishes the epistemological trajectory that is codified in the Epistle to the Hebrews and conveyed, straight as a laser, to the technology that sustains the symbols in the sentence that your eyes are running across to convey the meaning of this commentary.

The Holy Ghost says "Hi!"

[bestmovies0]

Black Panther Is All a Superhero Movie Can Be, and More

What should a superhero movie be? What can it be? With Black Panther , we finally have an answer worthy of our time.

In the last decade alone–where the promise of progress in Hollywood read first as fiction, then as farce–America’s cathedral of heroes offered little access to depictions that fell outside the mechanisms of service industries. Batman and Iron Man, billionaires. Thor, a Norse god. Spider-Man, a youthful geniu. Captain America, a World War II recruit, became the literal show of national gallantry and hope.

Black superheroes were never afforded the same deification. During the tail end of black cinema’s golden age, Wesley Snipes’ early-aughts Blade trilogy flirted with pop immortality, but even that character’s legend faded across the years. I sometimes wondered if black superheroes were ever meant to endure in the mainstream, the truth of America being what it is, or if the recurring image of black valor was too much of an irritant to the illusion Hollywood needed to project, to protect.

As you can imagine, what emerges in the opening tints of Black Panther defines the stage for no ordinary endeavour. Here, the past and present are linked by a shared future. Writer-director Ryan Coogler, raised as he was in Northern California, stays close to home, dropping us in the murk of 1992 Oakland. The occasion–death.

We are first introduced to Prince N’Jobu( played pristinely by Sterling K. Brown ), a Wakandan spy who is secretly selling vibranium–the meteoric ore native to Wakanda that is the life source to the nation &# x27; s technological prosperity–to Ulysses Klaue, a rascal black market dealer. When N’Jobu’s misdeeds are unearthed, King T’Chaka, his brother, is forced to confront him. Their meeting purposes fatally, and the king must bear the weight of his secret: that it was he who murdered two brothers to save the life of Zuri( Forest Whitaker ), his trusted advisor. And though we don’t is well aware yet, this is the film’s heart, the moment every subsequent action will flow through.

The ensuing narrative divides along dueling ideologies. It picks up where Captain America: Civil War described to a close, with T &# x27; Challa( Chadwick Boseman) accepting control of his country’s fate in the aftermath of his father &# x27; s demise. For decades, Wakanda’s utopian spirit has thriven under the cape of East Africa’s ethereal beauty, believing that if world power discovered its technological and scientific ingenuity, the two countries would risk constant threat. Old-guard preservationists–among them, T’Challa &# x27; s mother Ramonda( Angela Bassett) and Okoye( Danai Gurira ), head of the king’s women-only security unit, Dora Milaje–believe the country must continue as it has for centuries, exclusively fostering its own people. Others, like W’Kabi( Daniel Kaluuya) and Nakia( Lupita Nyong’o ), confidants to T’Challa, subscribe to a more pan-Africanist worldview, believing that Wakandans have a great duty to aid the less fortunate–be they refugees, poor children in the US, or activists caught in the tempest of protest against unjust country affect. The time comes when Wakanda can remain immune no longer, realizing that it too must yield to the holler of a changing world.

A specter of change arrives in the form of Erik “Killmonger” Stevens( a villainous, power-drunk Michael B. Jordan ); he’s a former Black Ops mercenary fueled by blood and vengeance for the death of this father, Prince N’Jobu. His cost is T’Challa’s throne and sovereignty over the commonwealth. Killmonger, who finds an friend in W’Kabi, believes Wakanda must position itself as a global wellspring by equipping marginalized cliques with its cutting-edge weaponry–a move he’s sure will liberate the two countries from the darkness and into an international superpower. Coogler and Joe Robert Cole, who co-wrote the script, turn an age-old narrative on its head via Killmonger’s revisionist hysterium: The colonized as the colonizers.

What transpires is a movie of charm, backbone, and startling discipline.

Lines are drawn, and what transpires is a cinema of beauty, backbone, and startling discipline. Technically lush, Black Panther infuses itself with diasporic hybridity: Wakandan dress, architecture, and dialect drag from Mali, Nigeria, Kenya, Ethiopia, and Tanzania. Rachel Morrison, the Academy Award-nominated cinematographer attached to the movie, delivers shots full of colour and pure awe. When T’Challa travels to the ancestral plain to seek advice from “his fathers”, its gaping purple skies extend into the theater, as if we are on this dreamlike quest too. As Marvel movies run, Black Panther is rife with franchise touchstones: thrilling act scenes–the most daring of which begins in an underground South Korean casino and rockets into a automobile chase through the frenzied streets of Busan–are undercut with instants of human heart and levity( Letitia Wright’s Shuri and Winton Duke’s M’Baku offer up well-timed blushes of humor ).

Coogler and T’Challa chart a parallel track here, trying answers to the same question: who are you ultimately responsible to, your people or the people of the world? For his part, Coogler does due diligence by injecting the cinema with nods to black culture beyond the backdrop of Wakanda and the traditions of its people. I specially loved the moment when Jordan’s Killmonger, revealed to be of royal blood, calls Bassett’s Ramonda “auntie” with a razor-thin smirk. Or when Shuri jokes with T’Challa about the time-honored footwear he wore to impress tribal leaders, laying into him with, “What are thooose ?!?! ”

Even free of such context, Black Panther is an unmistakable succes. Delivered through Coogler’s judicious eye, its existence alone produces a counter-history in movie and mass media–first by scraping whiteness from its narrative core, then by making black people and black self-determination the default.

The 31 -year-old writer-director has redefined the possibility of setting up a superhero epic, a credit to his singular eyesight and faith that black narratives affair, and that they imbue relevance on the big screen no matter what narrative shape they take. He proved that with Fruitvale Station , his breakout 2013 cinema about the killing of Oscar Grant, and again with Creed , the 2015 boxing flick that mined the best interests of legacy and family.

Black Panther will manifest as a motion bigger than this moment. It’s more than historic pre-sale records, or box-office predictions. The collective publicity that’s followed the film since inception has been absolutely volcanic, like nothing I’ve witnessed before.

It’s not that our need for black superheroes has shifted. Cinemas like The Meteor Man and Steel may not ought to have commercially vibrant, but their stories and their images remain vital to black communities as what one friend described as “arbiters of hope and virtue in ways that transcend the limits of our everyday, colonized lives.” Another friend who I spoke to this week shared a comparable sentiment: “we need black superheroes to remind ourselves that inventing yourself is not only possible, but necessary for survival.” I quote them because Black Panther , Coogler’s piece de resistance, has been a reflection of shared hopes in creative industries where black identity is either undervalued or co-opted for empty laughs. These worlds, these august narrations, have always been viable to us.

So, what can a superhero movie be? It can be truth and flame and desire. If we’re luck, it is all of those things, perhaps more. It’s no mistake that Black Panther overflows with them.

All Hail King T &# x27; Challa

Complex and meet, Marvel &# x27; s recent running of Black Panther names are a must-read even for casual fans.

Go behind the scenes of the movie &# x27; s Afrofuturist production designing.

The director of photography on Black Panther isn &# x27; t merely a fissure cinematographer–she &# x27; s an Oscar-nominated blazer.

Related Video

Movies& TV

Black Panther Cast Answers the Web’s Most Searched Questions

Black Panther stars Chadwick Boseman, Lupita Nyong’o and Michael B. Jordan take the WIRED Autocomplete Interview and answer the Internet’s most searched the issue of Black Panther and themselves.

Read more: https :// www.wired.com/ story/ black-panther-review /

from https://bestmovies.fun/2018/02/18/black-panther-is-all-a-superhero-movie-can-be-and-more/