Monday, February 19, 2018

The cult of Black and white Cinematic Symbolism (Part 13)...Ryan Coogler, Marvel's Black Panther, The real "Wakanda" and the (continuing) legacy of Dr. Henry T. Sampson...


Ryan Coogler was born on March 23rd, 1986, in Oakland, California.

And coincidentally, Oakland was the same city where the Black revolutionaries who called themselves “The Black Panthers” (Dr. Huey P. Newton and Bobby Seale), got their start.

Both of Ryan's parents, mother Joselyn, and father, Ira, were graduates of California State University, Hayward. Ryan's mom was a community organizer, while his father, Ira, is a juvenile hall probation counselor. Ryan's parents moved him to Richmond, California in his pre-teens, and there, he excelled in athletics by running track and playing football in grade school. He parlayed his athleticism into a football scholarship with Saint Mary's College of California. While there, one of Ryan's English professors was so impressed with one of his writing assignments, that she suggested he take a course in screenwriting.

After Saint Mary's canceled its football program, Ryan earned a scholarship and transferred to Sacramento State College, to continue his athletic pursuits. And even though he gave a stellar performance as a football player, he made sure to take as many film classes as he could, which eventually led him to attend the USC School of Cinematic Arts.

At USC, Coogler directed four short films: the first of which was a short called, “Locks” (2009), which had a screening at NYC's, “Tribeca Film Festival” and won the “Dana and Albert Brocolli Award for Filmmaking Excellence”. Ryan followed up his first effort with other shorts, “Fig” (2011), “The Sculptor” (2011), and “Gap” (2011).

Two years later, Coogler went on to shoot his first feature-length film, “Fruitvale Station”. The movie's a true story about Oscar Grant, a young Black man who makes plans for New Years Eve of 2008, not knowing how he'll be gunned down by thrill-kill cops at the Fruitvale train station. The movie debuted in 2013 at the “Sundance Film Festival”, and took home its highest honor, the “Grand Jury Prize”. Shortly thereafter, the “Weinstein Company” acquired distribution rights for the film for $2 million dollars. The film went on to make $17 million dollars after its theatrical release, which gave Ryan the film industry cred to make his next movie, “Creed”.

In July of 2013, MGM Studios offered Ryan the Rocky “spin-off”, Creed, to direct. Ryan said he'd already had a passion for the Rocky franchise, cause his father was so enamored with the film series. And behind Ryan's father suffering a neuromuscular disorder, one that would eventually take his life, Ryan thought having a hand in creating one of these movies, would be a fitting homage to his father.

Now, I'd be remiss if I didn't say that Michael B. Jordan plays Apollo Creed's son, “Adonis” in this flick. And with names like Apollo and Adonis, you can see the blatant veneration of Greek (white) gods in this movie. And this is done not only to reinforce reasons why Black folks should think whites are “god-like”, but to make sure we heed this flick's bottom-lined message, which is: only a white man (“god” of this world), can make a young Black man a winner. Cause Apollo (who represents Black men collectively), wasn't strong enough to do the job.

Creed not only went on to gross hundreds of millions at the box office, but it was universally praised across the board by critics. One of these accolades, came when the film went on to win the “National Board of Review's” Award for the “Best or Top Ten Films of the Year”.

And piggybacking off that success, in January of 2016, Marvel Studios approached Ryan about co-writing and directing the movie, “Black Panther”.

Now, unless you're living under a rock, you're fully aware that this movie is playing at some cineplex near you—but rather than talking about the fictional elements of Ryan's film, I'd like to focus on the realistic and tangible elements associated with the Black Panther—especially in regards to “Wakanda” being the “most technologically advanced” country on earth.

So first off, let's look at the name “Wakanda” itself.

Now, the people that the american social order is calling “native” to this country, i.e. the “american indians”, aren't this country's “indigenous” people—CAUSE WE, BLACK PEOPLE, ARE!

And you don't have to take my word for that. Doing five minutes worth of research, you'll find white scientists who'll confirm that at the beginnings of this world, Black people were the only ones on this earth.

Now, it's noted that one of the first groups of indigenous Black people to inhabit the “americas”, were the “Dogon” tribes. And they're also credited with mapping the world's wind and water currents mainly for the purposes of navigational sailing. Centuries later, Black people under the leadership of the king “Abubikari” in 1311, found their way to the “americas” and mixed with another Black tribe who were already here called the “Olmecs”. Now, the name given to this mixture of indigenous tribes was “Washo”—and coincidentally, one of america's most recognized indigenous Black tribes is called the “Washitaw” Muurs (Moors).

Similarly, ancient Black “Sioux” tribes who made their way to the americas from south america, were known as the “Waka”—or “Wakan” for plural. Additionally, these tribes also used the term “Wakan”, to explain the “unseen” or “mysterious” forces of nature.

And these tribes also used the term “Da”, to define a man's role as a “father”.

So according to our indigenous Black ancestors, if you combine the terms, “Wakan” and “Da”, it translates into: the “great mysterious land of the ancient fathers”.

And that's just for starters fam!

Now, in and of itself, that to me is very interesting, but like I said earlier, I wanna' dig into the real life elements of “Wakanda” being the most technologically advanced country on earth.

So to find an example of this—let's look towards the African country of Nigeria.

Now, let me say straight off—in the last couple of years, Nigeria has gotten boatloads of negative press behind the terrorist organization “BOKO HARAM”, and their kidnapping of hundreds of Black Nigeria's schoolgirls.

So, being a curious type of fellow, I did a bit of research on the matter. And what I found was, according to an independent watchdog group called the “Greenwhite Coalition”, which is made up of “citizen volunteers”—the terrorist organization we know as BOKO HARAM, is actually a creation of america's CIA, used to destabilize Nigeria. And they did this with the intent of gaining more access to this country's oil supplies. And you don't have to take my word for this, go find this out yourself.

And coincidentally, Nigeria just happens to produce the most oil in all of Africa.

So it's the same ol' soup reheated fam—first america presents us with a “terrorist” organization called the “Taliban”, and years later, we find out that they too were created by the CIA, and tasked with the agenda of helping the american gov't get access to the oil supplies in southern asia, or what whitey calls the “middle east”.

But let's move on...

Now, historically, “cryptocurrencies” like “BitCoin”, “BiteCoin”, “SwiftCoin”, “PeerCoin”, etc. were introduced to america during the latter years of the new millenium (2009—today). However, Nigerians were using cryptocurrencies (especially digital banking technology) since the early 90's.

How you ask?

Well, as Mark Essien, a Nigerian tech guru said in a “Ted” talk, Africa didn't invest heavily in “land-lined” infrastructures for phone services—thus, the cellphone banking phenomenon, caught fire much sooner there, than in the majority of the world. So what Mark basically showed the “Ted” audience, and anyone listening, was how Europe especially, was “playing catch up” to this technological advancement commonly found in Africa. And I'll include the “Ted” talk featuring Mark, at the end of this post.

Now, even though I consider myself a fairly learned fellow, I was caught off guard by this. Cause my whole life, I'd been taught that Africa was this incinerated cesspool of famine and disease. So I still have to remind myself not to think of Africa in that way.

And after doing a bit more research, I found that the company “Vodacom” basically dominates Nigeria's digital banking industry. I also found that the Managing Director of “Vodacom Business Nigeria”, is a brotha named “Lanre Kolade”.

But alas, when I looked up the CEO's of the whole of Vodacom's company (Vodacom was created in South Africa), I found a man named Mohamed Shameel Aziz Joshub, who looks to be a dark-skinned asian, running the show. And the current CFO of this company, is a man named Till Streichert, who looks white.

That's when the names of two of my heros, popped into my head.

Several years ago, I wrote a post about Dr. Henry T. Sampson. He's the nuclear engineering brotha, that created the “Gamma Electric Cell”, which is where we get the term “cellphone” from. And understand, this device isn't only responsible for making your cellphone work, but it's makes mobile internet service possible, and, it's in every tablet and laptop computer—just like the one I'm using to write this post. And a Black man created it.

So the credit for the cellphone's very creation, goes to us.

Then I thought about Dr. Phil Emeagwali, who created what we now know as the “internet”, with his nature-based technology systems. Not only that, but in 1989, Dr. Phil won the “Gordon-Bell” prize for building the world's fastest computer—the world's fastest. And guess where Dr. Phil's from fam?

Nigeria.

*Note: I'll leave links to the posts I wrote about these two geniuses at the end of this one.

So please understand, when you watch the Black Panther movie, know that “Wakanda's”, or “Black people's” technological advancements, aren't something to only be witnessed in science-fiction—cause they're firmly rooted in today's FACTS!

And like Sam L. Jackson said in Spike Lee's movie, “Do the Right Thing”: “That's the double truth, Ruth”.

Later...

MontUHURU Mimia

P.S.

Here's the “Ted” talk vid I promised, featuring Mark Essien, who speaks about the technological advancements of Nigeria. Mind you, this lecture is 3 years old, so some of the commentary may come off as dated, but that don't change the feats of ingenuity Mark talks about, that were created solely by us.



And here's a wonderfully curated vid about the historical origins of the Black Panther's technologies, created by another long-standing hero of mine, Professor A.C.E. of the “African Creation Energy” company. (*Note: this vid contains a lot literary elements, so if you'd like to see those more clearly, you can click onto the vid's header, to see it's larger version on YouTube.



And if you wanna' read the post I wrote about Dr. Henry T. Sampson, you can do that HERE.

Additionally, if you wanna' read my post on Dr. Phil Emeagwali, you can do that HERE.

Saturday, February 10, 2018

The gospel of white fascism (Part 32)...the assassination of Abraham Lincoln, what Lincoln and Mo'Nique have in common, and one mo' comment about the "Gullah Wars"...


“Give me control of a nation's money, and I care not who makes the laws.” 
—Mayer Rothschild

Just the other day, I was conversing with a 19 year old brotha, and the american president “Abraham Lincoln” came up. Immediately, this young brotha stated that Lincoln “freed the slaves”—meaning, he freed Black american slaves, during periods of american chattle and indentured slavery. And when I told him the reason(s) why Lincoln didn't free any Black american slaves, the brotha asked: “Then why was he killed if he didn't free us?”

I didn't let the young brotha know this—but I was mortified.

Cause not only was the brotha tricked into believing that Abraham Lincoln freed our people, but the american (mis)educational system, conditioned him to think that's the very reason why he was murdered.

Then I thought, it's a darn shame that our young people are being so misguided by america's schools—which is why I'll soon write a post about “homeschooling”, but then I thought, wait a sec'—most Black american adults, don't really know why (stinkin') Lincoln was murdered.

So that's what I'll expound on in this post.

Now, to answer the question of why Lincoln was murdered, we have to look at america's “Civil War” (1861-1865), and the nature of war itself. And what every Black man and woman reading this needs to know is, all national and international wars are fought so elites can keep the proletariat in “debt”.

PERIOD.

Meaning, white fascist-run federalized banking systems, only make money by charging interest to the public (us) for the privilege(s) that go along with handling their “currency” (dollars, yen, pesos, shekels, etc.). Now, at a more localized, or “tribal” level, any kind of “civic” war might have to do with the principles of fighting off oppressive forces, or liberating yourself from an invading enemy, but once these battles go national and international, they're being financed by white fascists.

Now with that said—let's look at Lincoln...

During america's “Civil War”, Lincoln needed money to finance “war efforts” from the North. And the “international” bankers, were more than happy to oblige him, but as par for the course, these “banksters” were gonna' charge him 24% to 36% interest on those notes. So what Lincoln did was create a currency that would be exclusively american, and he printed about $400 million dollars worth of this money, which had a “green” color affixed to it's back—thus people started calling american dollars, “greenbacks”.

A short time later, The “London Times” published an article stating that if these greenbacks were to become a “staple” of america's economy, they would not only satisfy Civil War efforts, but our country would be debt free behind them. This article also stated that it would set a precedent for other countries to follow, and as a result, it would: “...destroy every monarchy on the globe.”

Needless to say, whitey can't have that...

So, a short time later, international bankers hired a mercenary named, John Wilkes Booth, to fire the fatal shot that assassinated america's 16th president.

That's also why, in 1913, america created and passed the “Federal Reserve Act”. Now, abiding by this, meant america's Congress gave up the right to print its own money—and it gave that power solely to a “Federal Reserve” (read: privately owned) bank, that freely charges any amount of interest it wants.

Now of course, there's gonna' be some silly negroes who make reference to the “Emancipation Procrastination”, I mean, “Proclamation”—so let's cover that right quick...

america's “Emancipation Proclamation” was an executive order issued by Lincoln on January 1, 1863. It ordered the freedom of slaves—not all slaves mind you, just those in 10 states. And to top that off, it was not an order backed by Congress, meaning, it was really a rubber stamp from jump. Additionally, the confederate states where slavery was legal, didn't recognize the proclamation as legitimate.

In other words, slave owning states simply ignored it.

Moreover, (stinkin') Lincoln was so low-down, that he ordered hundreds of freed Black americans, to be shipped to a Haitian cotton plantation, so they could be “re-enslaved” there.

So understand, BLACK americans OWE THIS MAN NOTHING!—CAUSE THAT'S WHAT HE DID FOR US—NOTHING!

In addition, when we look at the “Gullah Wars” (1739-1858), which is how Black men really fought and won their freedom, we see how literally hundreds of revolts like Nat Turner's, were commonplace amongst our people. Meaning, the american (mis)educational system telling us that we just sat back and were content to be slaves, was a LIE!

A BIG-AZZED, BOLD-FACED ONE!

Now, I realize there's still gonna' be some anglophilic negroes, who're so indoctrinated to the white fascist fable of Lincoln freeing Black slaves, that they're bound to be sayin—c'mon bruh—there ain't no whites who can vouch for any of us fighting that fiercely in or outside the Civil War.

So ya' want some proof?

Bet.

Check out what James Gilpatrick Blunt (who was a white Civil War general) said about the Black troops, who ultimately won the war for the north. "The question that negroes will fight is settled; besides, they make better soldiers in every respect than any troops I have ever had under my command."

James wrote this in a letter to a friend on July 27th, of 1863. 

And speaking of written letters, check out what stinkin' Lincoln wrote in a letter to his friend, Horace Greely: “If there be those who would not save the Union unless they could at the same time destroy slavery, I do not agree with them. My paramount object in this struggle is to save the Union, and is not either to save or to destroy slavery. If I could save the Union without freeing any slave I would do it...”

And that's why I put this particular pic of Lincoln (right) in the center of this post's Header. Here, we see the true “honest” Abe Lincoln, who looks like some kinda' drunken fool (and you can click on the pic to enlarge it). Now, you may ask, bruh, why would you call Lincoln a fool, when he's so exalted around the world as this great emancipator?

Here's why...

It's cause Abe was shot in the head, by the same elitists he worked for. He did everything in his power to save the union, but couldn't save his own life.

Dumb-ass.

So like I said in my previous post about Mo'Nique, when you get in bed, literally or figuratively, with white fascists, you need to understand that you can ONLY be successful, ON THEIR TERMS! If you challenge them, they're either gonna' kill you, or your career—and that's what Abe Lincoln and Mo'Nique have in common.

So in conclusion, if and when you ever get the notion to praise stinkin' Lincoln for the “liberation” of our people, do some research and venerate the memories of revolutionary brothas like Nat Turner and Denmark Vesey instead (and if ya' don't know who they are—google them).

And after you do, throw the memories of presidents like Abe Lincoln, George Washington and Thom Jefferson, where they rightfully belong—on the trash heaps of history.

And like Sam L. Jackson said in Spike Lee's movie, “Do the Right Thing”: “That's the double truth, Ruth.”

Later...

MontUHURU Mimia

Saturday, February 3, 2018

The gospel of white fascism (Part 31)...Mo'Niques "Netflix" masquerade and the moral of every freemasonic story...


Late last month, the comedienne/actress Mo'Nique asked Black americans to stand with her in boycotting Netflix for “gender and color” biases. And I trust that more than likely, if you're reading my Blog, you already know about this.

But if you don't, let me break Mo'Nique's beef with Netflix down briefly...

Mo'Nique said on “Instagram”, that she got “low-balled” by Netflix, when they offered $500,000 for her to appear in one of their televised comedy specials. Then she talked about Netflix offering Amy Schumer 11 million dollars for hers, while comedians Chris Rock and Dave Chappelle each got 20 mill'. Then, Mo'Nique said that when she asked for more money, a Netflix spokesperson told her, “Well, we thing that's what you'll bring”. And when she replied, saying her resume should command a higher price, the same person from Netflix said, “We don't go off of resumes”.

Now ultimately, the question is this: does Mo'Nique's “Hollywood” credentials (Remember, she won the “Oscar” for playing that violently abusive, mammy-of-a-mother in “Precious”), and her previous history as a “headlining” comedian, give her the kind of cultural cache to back up her asking price?

And the best way to tackle this question, in my opinion, is to do a comparative analysis of Mo'Nique's comedic career, in retrospect to what these other comedians she's named, have or haven't done, to command those kind of Netflix “numbers”.

So let's start with Amy Schumer...

After graduating college with a degree in theater from Towson University in 2003, Amy did some off-Broadway work in NYC theater, while she plied her comedic trade in places like New York City's “Gotham Comedy Club”. This led to a “Comedy Central” TV special, and from there, she appeared on the “NBC” talent show, “Last Comic Standing”. She parlayed these successes into TV stints on shows like “30 Rock”, “Bob's Burgers” and “Louie”, and she appeared in a few “HBO” series like “Curb Your Enthusiasm” and “Girls”. Eventually, Comedy Central gave Amy her own show called, “Inside Amy Schumer”. And this led to one of her first movie roles, in a film that was titled, “Price Check” (ironically enough). After this, she went on to play roles in other flicks like, “Trainwreck”, “Snatched”, and “Thank you for your silence”.

Now, on June 23rd, of 2016, Amy sold out the world famous, “Madison Square Garden” in NYC. And it was there that she announced she'd be taking her comedy show on a world tour. To top that off, she wrote a memoir tilted: “The Girl with the Lower Back Tattoo”, which held the top position on the “New York Times” Best-sellers list for two weeks in September of that year.

Mind you, the Netflix spokesperson who Mo'Nique spoke with, told her that Amy's selling out the “Garden” twice, and being in a “big movie over the summer”, was a factor in what she got paid. So much for not going off of resumes.

Now, in my opinion, Mo'Nique is totally right for asking Netflix for a similar price to Amy's. Cause quite frankly, Amy's a third-rate comic at best and a corn-fed looking, inbred bigot at worst. white elites only hype Amy cause she's supposed to represent some new breed of feminist, with her brand of comedy some critics are calling, “casual racism”(CS).

And for those who don't know, let me explain what CS really is—Amy's CS is a rallying call for white women who not only wanna' have their “white privilege(s)”, but who wanna' be recognized as an “oppressed minority” while doing it. Furthermore, they also want white elites, like Trump who the majority of them voted for, to make sure they're always recognized as the world's prettiest women, while showing their true colors (pun intended) by lobbing any and every kind of insult towards Black people. Mind you, these are the same women who're pleading for our sympathies in the #METOO campaign(s).

So, in the case of Amy Schumer, I think Mo'Nique's argument over salary discrepancies is right on and righteous!

Now, we're all pretty familiar with Chris Rock's back-story and credentials. But for those who aren't, let me give you a brief primer on his comedic career.

Chris began doing stand-up comedy at New York City's “Catch a Rising Star” club. While plying his trade, he was fortunate enough to meet Eddie Murphy who happened to visit one evening. And after Eddie asked the club's manager to put Chris, who wasn't slated to perform that night, on after another comic, Eddie was so impressed with him, that he put Chris in the film, “Beverly Hills Cop II”.

Chris parlayed the aforementioned coup, into his stint on “Saturday Night Live”. After which, he began his string of HBO comedy specials, like the one that catapulted his career into the stratosphere, (1996's) “Bring the Pain”. And coincidentally, it was this special's skit about “Niggas vs. Black people”, that got him in the good graces of the white fascists who control Hollywierd.

After winning two “Emmys” for the aforementioned comedy shows, Chris' HBO special called, “Bigger and Blacker”, won him even more acclaim with critics and fans—and this got him to his own HBO show, “The Chris Rock show”. After this, he went on to garner major roles in movies like: “New Jack City”, “Boomerang”, “CB4”, “Panther”, “Lethal Weapon 4”, “Dogma”, and “Jay and Silent Bob Strike Back”.

He then took on the role of a film writer/director, with movies like: “I think I love my wife” and “Top Five”.

Now, in regards to the pay-out discrepancy for Mo'Nique as it pertains to Chris Rock, I say she's wrong here for several reasons. First off, Chris' brand of socio-political comedic stylings tend to be more astutely observant and cerebral than Mo'Nique's comedy. Mo'Nique trends towards more “down-home” or “round-the-way” types of punch-lines—whereas you can tell Chris makes it his business to tackle complex sociological issues, which he presents in ways that are easily digestible for the masses. At one point in his HBO comedy speicals, you hear Chris waxing philosophic about how women know within the first five minutes of meeting a man, that they're gonna' sleep with him—then you hear him talk about how “affirmative action” and the white privilege got and kept Bush Jr. in his job as america's president. You're not really gonna' experience that range of cerebral/comedic gymnastics at a Mo'Nique show.

So in this instance, I think Mo'Nique doesn't recognize that Chris' psychological dexterity, is greater than her own—at least comedically.

Now, Mo'Nique's suggestions that she get as much money as Dave Chappelle, to me, is questionable at best and outright crazy at worst. And here's why...

After attending Washington D.C.'s, “Duke Ellington School for the Arts”, a young Dave Chappelle moved to New York City, to ply his comedic trade. He made such an impression on New York City's comedy circuit, that Whoppi Goldberg nick-named him, “The kid”, when he was 19. A talent agent “discovered” him in a New York club and put Dave in his first movie, “Robin Hood: Men in Tights”.

Thereafter, he was involved in several TV “pilots” that got rejected—but Dave was so revered as a master comedian, that once again, Eddie Murphy stepped in and put a young Dave in his hit movie, “The Nutty Professor”. After this, Dave and Neal Brennan co-wrote the stoner-classic, “Half-Baked”, and Dave also appeared in the box office success, “Blue Streak”, with Martin Lawrence.

Dave's Hollywood cache had evolved to the point where white elites “green-lit” the ideas he had for his own sketch-comedy program, and that became the “Dave Chappelle Show”, which debuted in 2003 on Comedy Central. And we all know how wildly successful and iconic this show became—and, we all know how it ended.

But what people may not know is this: The first season of the Chappelle Show on DVD, remains the number one best-selling TV series on DVD of all time, with 3 million of its units sold. Now, this DVD made the Comedy Central network $500 million dollars—and Dave's contract stipulated that he get half of that, which of course, is $250 million.

But Comedy Central only wanted to give Dave $50 million. That—along with a host of artistic and political differences he had with Comedy Central, was the main reason Dave walked away from the deal. So “crazy” had nothing to do with it.

But Dave didn't stop there, on top of telling Oprah that he wouldn't wear a dress cause he saw the psychological impact it would have on Black people, Dave left the u.s. and went to Africa.

Now—do you know what that means?

If not, let me tell ya'—cause in my estimation, Dave struck the mightiest blow to white fascism, I've ever seen in my lifetime.

EVER. 

Cause with Dave's actions, he told Black people, in america and the Diaspora, that the white fascist dream, american or otherwise, was BOGUS (and I wanna' use another word, but I won't), and he wasn't gonna' sell-out to it or for it. Now, even though Dave made a comeback, and a deal with Netflix for $60 million, I still fear for his life. Cause white fascists may be wicked as all hell, but they ain't stupid.

And the way whitey usually gets rid of revolutionaries like Dave (and that's not hyperbole, Dave's proven himself to be one) is this: they give someone what they originally fought for, in Dave's case $60 million ($20 million for three comedy specials), and a couple of years after the celebrity's won their battle, they kill them and usually blame it on a drug overdose (Prince).

Cause it would look too suspicious to kill a celebrity, while they're fighting their battle.

But back to Mo'Nique...

Now, if Mo'Nique was offered $50 million dollars, what do you think she would've done?

Ya' darn right—she woulda' took it!

Meaning, not only doesn't Mo'Nique have the kind of ingenuity and knowledge of world politics that Dave infuses his humor with, but I know for a fact that she doesn't have the kind of moral fortitude that would've allowed her to say no to that kind of money. And she sure as hell, wouldn't of went to Africa, to further prove her point.

So, I've said all that to say this: I applaud Mo'Nique for knowing her worth when it comes to hack comics like Amy Schumer, but when it comes to a generation's greatest comedic minds like a Chris Rock, or true-to-heart revolutionaries like Dave Chappelle, she'll never be in their leagues.

And the reason why is simple—it's cause at the end of the day, Mo'Nique is just a narcissistic opportunist, frontin' like she's “conscious”.

Mind you, I believe Mo'Nique is very talented, but she suffers from the same disease that Dame Dash, formerly of “Rockefeller Records” had. Cause both Mo'Nique and Dame are white fascist freemasons—so they should know that they're only allowed to be successful ON FREEMASONIC TERMS—NOT THEIR OWN! 

And that's the moral of every freemasonic story. It's also the reason why Jay-Z's nearly a billionaire, and Mo'Nique and Dame ain't.

So to all celebs, or aspiring celebs who wanna' get down wit' tha' freemasons: if you wanna' survive and thrive in your chosen profession, you should heed the pithy words of Lavar Ball Sr., and know when to “STAY IN YO' LANE”. In other words, if you're dirty dancin' wit' tha' devil, don't cry when ya' gets burned.

And like Sam L. Jackson said in Spike Lee's movie, “Do the Right Thing”: “That's the double truth, Ruth”.

Later...

MontUHURU Mimia

*Addendum: (2/6/18)--Here's a video put out by "The Atlantic" magazine, simply called "Typecast", featuring actor Michael K. Williams (most noteably known as "Omar" from the HBO series, "The Wire"). Now, this mag covers national and international politics, technology, business and "culture", but more than anything, this mag's vid talks about an entertainer possibly regretting their "celebrity". So ultimately, the moral of this vid's story is: if you're gonna' get down wit' "Hollywierd", you've gotta' play by their rules. And in white fascist freemasonry's case, you can't have your cake and eat it too. Either you abide by their ways, or you go the "independent" route, so you don't have to. Enjoy this clip.

Warning:This video contains harsh language. Viewer discretion is advised. 

Saturday, January 27, 2018

The gospel of white fascism (Part 30)...What do Love and Hip-Hop's "Amara La Negra" and Marvel's "Black Panther" movie have in common?


Dana Danelys De Los Santos, a.k.a. Amara La Negra, was born on October 4th, 1990 in Miami, Florida. Her Dominican parents separated when she was a child, and Amara was raised by a single mother who purportedly worked 3 to 5 jobs at a time, to make ends meet.

Amara grew up near the Miami offices of “Univision”, which is america's largest “spanish-speaking” TV network, and being that Amara had an innate fondness for performing, her mother enrolled her in several dance, modeling and acting classes. As a result, Amara pretty much grew up in the entertainment industry.

And her resume reads like this: at age 4, Amara won the title of “Miss Chicquita”, and from ages 4 to 10, Amara appeared on the TV show, “Sabado Gigante” in the 90's. The Sabado Gigante gig, helped her win back-up dancer spots with artists like: Celia Cruz and Gloria Estefan, and at age 19, she won third place in the “Diva Latina” competition. In 2010 and 2011, she appeared in telenovellas for the “Telemundo” TV network and performed “product presentations” for “Mega TV”.

Now, as of late, Amara's become not only a singing sensation in latin america, but she's a star of the hit TV series, “Love and Hip-Hop”. The latest installment of which takes place in Amara's hometown of Miami. And in the show's latest episodes, she's shown a determination to put “Afro-latinas” on the map of the music industry—and the world.

*Note: In the 1970's, the term “Hispanic” was created by the american government cause “Census Bureau” administrators, found that “latino-americans” were checking the “white” or “caucasian” boxes, when they identified themselves. And I'll tell you why this is crucially important to Amara's story later on in this post.

Marvel Studios movie, “Black Panther”, has a release date of February 16th, 2018 (Black History Month). And Ryan Coogler, who's a brotha, not only directed this film, but wrote it's screenplay as well. Now, I think everyone reading this realizes that Chadwick Bosworth is playing the lead role, and knows this movie is bringing out all the heavy-hitters, as far as dramatic acting is concerned. You have Angela Bassett playing “Ramonda”, who's not only T'Challa's mother, but the “Queen Mother” of Wakanda. There's also Forest Whitaker playing, “Zuri”, who's an elder-statesmen of Wakanda. You have Michael B. Jordan as “Killmonger”, Lupita N'yongo as “Nakia”, who's an international Wakandan spy, etc. And the movie's estimated budget is somewhere in the neighborhood of 150 to 200 million dollars. So Marvel's pulling out all the stops on this one.

And this movie's basically about T'Challa going back to Wakanda after his father (T'Chaka) is killed, to defend his homeland against foes (Killmonger, Klaue), who are plotting it's takeover—and to prevent a world war.

Now, I want you to take note of how this film's narrative (Cinematic Symbolism) has direct roots to white fascism. Whereas, the first initiative enacted by them, once we fell for the trick of integration, was to get Black men out of the home. Additionally, I'll always remember the 70's TV series “Good Times”, and the episode where “James Evans” died. Now, for decades I'd been told that John Amos left the show, due to artistic differences. Turns out, John was fired cause he didn't like the shows demeaning content. Again—take the Black man out of the home.

And after we bit the bait of integration, whitey gave Black women government benefits that would pay for their food, clothing and shelter, under one condition—(again) they couldn't have a man in the house. Now, at least half of Black women didn't take these benefits cause there was still a spirit of unity left in us. And this is the reason why in the “Reagan 80's”, we had the government-funded, three-headed monster of Reganomics, Crack and AIDS to contest with. Now, I've gone over that ad-nauseum, so I won't do it here. But eventually, I'll put out a tome dedicated to breaking these facets of the 80's, and what Black americans went through in that decade, all the way down. So stay tuned.

Moving on...

You should also take note of the fact that brotha Wesley Snipes was going to star in the film adaptation of Marvel's Black Panther in 1992. He was even in talks with Columbia pictures and Stan Lee to produce the film. Now, rumor has it that the film's script wasn't up to par—but what brotha Wesley probably didn't like was being in a flick with a Black male character named “Man-Ape” (Winston Duke, who plays “M'Baku” in Black Panther). Or playing alongside primitive-looking brothas with plates in their lips (above left). So instead, brotha Wesley starred in the movie, “Blade”. And not only was this movie a hit, but it helped him maintain his dignity while doing it. Kudos to brotha Wesley!

Now, you might be sayin', bruh—what's any of this gotta' do with Amara La Negra, or what she and the Black Panther movie have in common?

Here's the answer...

The most valuable social currency in america, or anywhere else on the globe, is “Black street cred”. PERIOD.

And that's exactly what Marvel studios and Amara “LA NEGRA”, which literally translates into Amara “the Black”, are trying to capitalize on.

Now, remember when I said in the 70's, the american government created the term “hispanic” cause so many of america's Dominicans, Puerto Ricans, Mexicans, Colombians, etc. were identifying themselves as “white”? Well, let me give you another tid-bit about this regarding “latino” rappers.

The rapper “Fat Joe” was once interviewed about 90's era Hip-Hop and how brothas were wearing “African medallions” (left). In it, he said: “Well, I always wore my gold (jewelry), so I don't know what they were trippin' off.” Mind you, it was rap music and Hip-Hop culture—a culture created by Black americans, that made him rich.

So now in 2018, we see Amara “the Black” claiming that she's “unapologetically Afro-Latino” (and this term was blatantly taken from Dr. Umar Johnson who says he's “Unapologetically African”). So basically, not only do both Joe and Amara understand that Black people create the best genres of music, but they also know that Hip-Hop culture, trumps all others in it's popularity, especially with young people around the world.

In other words, Amara doesn't care about identifying herself as Black, she's just hustlin' our music and culture.

Also, the name Amara “the Black”, is directly insulting to our people—she's mocking us with that ridiculous surname.

Additionally, I'll never forget how a former latino friend of mine, once gave me a shirt that said, “Puerto Rico club” on it's back. And I remember passing a group of young latino men while wearing it. After seeing it, they got into a hot argument—and I remember this one latin guy repeating, “Nah, nah, he ain't Puerto Rican—he's Black.” Mind you, they did this in a way saying, he's not one of us, he's one of them. And trust me, 99.9% of latinos, feel the same way.

Now, with the Black Panther movie, the stakes are even higher. Cause first off, what's being sold to us in Black Panther is a culture of obsessing over comic books, video games and super-hero flicks. Meaning, what's being promoted, especially to young Black men, is why we should adopt the tenets of “negro nerdom”. And at the nucleus of this culture are traits that would have us subscribing to being effeminate and immature males—not MEN. And this absolutely fits with the zeitgeist of mainstreamed homosexuality. Which is what white fascists ultimately want us to adopt.

Bottom line of their agenda is to keep Black men, who have the most genetic power to breed them out of existence, from pro-creating.

Additionally, what Marvel wants is that cultural gold standard of “Black street cred”—cause it would cast a legitimately cool light on the whole of the Marvel universe.

So I've said all that to say this: as a Black person, don't be surprised if you go to Amara La Negra's concert and find out these dark-skinned latinos have a problem with you—a “pure-bred” Black man or woman. Cause like I've said so many times in the past, it seems like every non-Black person in america lives by the same motto, and that's this...

It's OK to love Black culture, but you should hate Black people.

Thus, non-Black folks in america have no problem dressing like us, dancing like us, singing like us, or talking like us, while tryin' to make us hate ourselves.

So remember fam—this credo, along wit' Amara's big “backside”, are the only things this “afro-wigged, pseudo-Black” latin woman, is ultimately out to sell.

Later...

MontUHURU Mimia

P.S.

Here's Dr. John Henrik Clarke's classic lecture on why Black people, “have no friends” in other ethnic groups. Now, this vid is 35 minutes long, but just listen to the first 10. And once you do, I promise, you'll have no choice but to listen to the whole of Dr. Clarke's masterfully motivating, Black Nationalist dissertation.

THIS IS STRAIGHT FIRE Y'ALL!!