Some Folks Are Hollow

What a beautiful feelin' it is to be real
How do you feel ?
How the guilty will fall
'Cause they're guilty as sin
Let it begin

I heard it from on high
Heard it was a lie
Jesus died at crucifixion
Lies from Emperor Constantine
To control your mind
Lord there'll be some resurrection
The church had to apologise
For crimes in times
For all the profits
Overseeing slave plantations
So it comes as no surprise
The church has brutalised
After all the first slave ship they named it Jesus

Some folks are hollow
Got no tomorrow
Happiness can neither
Beg steal or borrow

Some folks are hollow
Got no tomorrow
Happiness can neither
Beg steal or borrow

Where's all the art and gold
That the Nazis stole ?
In the Vatican with his holiness the
Pope of Rome
How the guilty will fall
'Cause they're guilty as sin
All this talk
Of who is and who isn't getting in

Some folks are hollow
Got no tomorrow
Can't smile faces
And the flock won't follow

Some folks are hollow
Got no tomorrow
Happiness can neither
Beg steal or borrow

Lyrics by:
Brown

Available on:
The World Is Yours (3.49)

Details:
This track lazily regurgitates chunks of Nature of the Threat by Ras Kass, which itself contains numerous erroneous claims. Nature of the Threat makes the ridiculous assertion that Constantine somehow 'brainwashed' Christians into believing in the Resurrection; Ian sloppily rewrites this in relation to the Crucifixion. This displays a woeful lack of understanding from both of Church history. What exactly do Ras Kass and Ian Brown think happened in the three hundred years between the Ascension of Jesus and the formation of the Nicene Creed ? The early Church Fathers and Christian believers did not sit around twiddling their thumbs for three centuries before one day falling under the spell of the Emperor Constantine. By the time Constantine came along and issued the Edict of Milan in 313, effectively ending the persecution of Christians, he was rather preaching to the converted, given that 95% of his audience by that stage was already Christian.

Some conspiracy theories are hollow: All the art and gold that the Nazis stole is most definitely not in the Vatican. Here, a U.S. soldier examines a solid gold statue, part of Hermann Goering's private loot, found by the 7th U.S. Army in a mountainside cave near Schonau am Konigssee, Germany, on 25th May 1945. The secret cave, the second found to date, also contained stolen priceless paintings from all over Europe.
Second row: At Schloss Neuschwanstein in southern Bavaria, Captain James Rorimer, who later would become the director of the Metropolitan Museum of Art, supervises the safeguarding of art stolen from French Jews and stored during the war at the castle (April/May 1945). The Monuments Men were army specialists from the US and other allied armies, whose job it was to find the stolen art, secure it and return it to the museums and families from whom it was taken. The National Archives says of the Monuments Men: "These courageous individuals rescued and returned more than 5 million cultural items to the countries from which they had been stolen." In addition to coveting and stealing the works they desired, the Nazis made sure they burned everything they considered 'degenerate' or non-Aryan. Poland came in for particular abuse - the Royal Castle in Warsaw - beloved symbol of Poland's culture and heritage, was almost completely destroyed by the Nazis in 1944.
Third row: Polish art historian Karol Estreicher with MFAA officer Lt. Frank P. Albright and two American GIs as they prepare to return Leonardo da Vinci's Lady with an Ermine to the Czartoryski Museum in Krakow, from where it had been stolen by the Nazis.
Fourth row: Hidden inside the Merkers salt mine, in the Wartburgkreis district of Thuringia, Germany, was the majority of Nazi Germany's gold reserves and paper currency. All but the largest paintings from the Kaiser-Friedrich Museum in Berlin were also placed there for safekeeping. In today's dollars, the value of the gold found in Merkers would be almost $5 billion.
Fifth row: General Dwight D. Eisenhower went into the mine in April 1945 in order to examine the find.
Sixth & seventh rows: Jan van Eyck's The Ghent Altarpiece, the most frequently stolen painting in history, is recovered from Nazi possession.
Eighth row: U.S. Soldiers examine Edouard Manet's 'In the Conservatory', 25th April 1945.
Ninth row: Sergeant Kenneth Lindsay with a School of Botticelli portrait at Wiesbaden Collecting Point, 1945.
Tenth row: Some of Hitler's most treasured artistic works remained with him until his final hours in the bunker. This William Vandivert shot shows a 16th-century painting looted by the Nazis from a museum in Milan.
Eleventh row: A Rubens painting, 'The Graces in the Gardens of the Hesperides', taken by the Einsatzstab Reichsleiter Rosenberg (ERR), 13th May 1945.
Twelfth row: M. SGT Harold Maus of Scranton, PA is pictured with the Durer engraving, found among other art treasures at Merkers, 13th May 1945.
Thirteenth row: An unknown Rembrandt recovered safe in Munich, 13th May 1945.
Fourteenth row: Six trucks with part of the half billion dollars worth of Florentine art treasure, which had been taken to Bolsano by retreating Germans, arrives at Piazza della Signoria, Florence, Italy and passes by the reviewing stand of American, English and Italian officials, 21st July 1945.
Fifteenth row: The Diego Velazquez Painting 'Philip IV King of Spain', being examined by GEN Mark W. Clark, CG USFA, who was the host to allied leaders, and the Austrian people during a ceremony where art treasures recovered by the U.S. Army were returned to the rightful owners. LT. GEN Emile Marie Bethourart of France, LT. GEN. R.L. McCreery of Britain, Mr. Figl, Chancellor of Austria, and COL. GEN. Alexis Zheltov, Russian Deputy Commander, were guests of GEN Clark, 19th December 1948.
Bottom row: As Michael Voris of RealCatholicTV explains, when it comes to temporal wealth, the actual holdings of the Church - art, money, stock, bonds, land, hospitals, universities - the Church does not act as a corporation. Religious orders and dioceses each own these individually; the Pope does not own these. Until a few years ago, the Vatican was running a deficit each year of tens of millions of dollars. Dioceses are their own entities, meaning that their finances are not contolled by the Vatican. Let us turn our attention now to the art that does actually reside in the Vatican. The Church spends a huge sum of money on the upkeep of this art and is a worthy custodian of history. Ian is trotting out the familiar grumble that the Vatican should relinquish hold of this art and give the money to the poor. Would the singer sleep any better at night if this art was in the possession of an entrepreneur such as Donald Trump or Bill Gates ? So, what precisely is Ian's predilection for the transportation of this priceless art from the Vatican ? Ian has stated clearly in interviews that he has no interest whatsoever in the world of art, so we can safely assume that his calls to 'reclaim' these artworks have no artistic or aesthetic measure. If instead the desire is to see an equal distribution of wealth, why is it perfectly acceptable - nay, admirable - in Ian's eyes for Jay-Z to be sitting pretty on a fortune of $500 million ?

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