Friday, October 21, 2016

The cult of Black and white Cinematic Symbolism (Part 10)...What do Nate Parker and Freddy Krueger have in common?

Nate Parker was born on November 18th, 1979 to a 17 year old single mother, Carolyn Whitfield, in Norfolk, Virginia. Even though Nate’s biological father didn’t marry his mother, he was still in Nate’s life until the age of 11. Shortly thereafter, Nate Sr. died due to complications from his cancer.

After Nate began having problems with the second man his mother married, at age 14, he went to live with his maternal uncle, Jay Combs. Jay was a former wrestler, who turned young Nate on to the sport. And after placing all his youthful passions into wrestling, Nate was awarded an athletic scholarship for his grappling endeavors in 1999. With it, he attended Pennsylvania State University that year. Amongst the turmoil of a rape allegation, Nate left Penn State and went to Oklahoma State University, the college he’d graduate from in 2002.

Shortly after graduating college, Los Angeles talent manager, Jon Simmoms, noticed and discovered Nate while he was with a model friend, and suggested he move to L.A. to pursue an acting career. Nate followed the advice, after Jon put together a press packet for him.

From there, Nate went on to act and star in several movies. But the one putting him on the map most officially, was his role as ‘Henry Lowe’, in the Denzel Washington directed film, ‘The Great Debaters’. For this role, Nate attended a debater’s ‘boot camp’ to make his portrayal more authentic. One of the main reasons behind this was, the character Henry Lowe was based on the real-life debate champion, Henry Heights from Wiley College.

Now, I’d be remiss if I just skipped over the rape allegation charges filed against Nate In 1999. So let’s delve into that. Nate and another wrestling student, Jean Celestin, were said to have taken advantage of a young white female at Penn State University, while she was drunk and unconscious. Long story short, Nate and Jean were able to hire a private eye to look into the matter, and this P.I. provided the evidence that convinced a nearly all-white jury (one juror was non-white), that Nate was innocent of ALL the charges filed against him.

Now let me say this, right off the rip—you have to have some incredibly powerful evidence supporting a Black man’s innocence, to get him acquitted of any rape charge. Especially when it’s a white woman doing the accusing. Cause any sane person knows, once a white woman says any Black man raped her, cops will assuredly put that brotha behind bars first, and then see if he’s innocent or guilty later. Also, in addition to filing rape charges against Nate, this woman complained to Penn University administrators, that she was being harassed by Nate’s private eye. This harassment allegedly included the showing of this woman’s photo to other college students. And Penn State settled the matter by rewarding this woman $17,500.

And in light of that, I’ll say this: If a woman is going to press rape charges against a man and have him sent to jail, I think she’d have bigger concerns than a P.I. showing her photo to students on a college campus. Oddly enough, white women feel it’s their right to file such charges in complete anonymity, when they’re in effect, putting someone’s life at risk by sending them to prison.

But before I go any further, let me make one point emphatically clear, and that point is this: No woman (or person) deserves to be raped. That is one of the most heinous, if not the most heinous crime someone can commit against anyone. However, if you wanna’ send a man to jail for this, or any other crime, you should be prepared to identify yourself as the one, who’s in effect, starting the process by which he might wind up behind bars.

And let me add this as well, the Black actress, Gabrielle Union, wrote an article in the Los Angeles Times about Nate’s rape charges. In it she says: “As important and ground-breaking as this film is, I can not take these allegations lightly. On that night, 17-odd years ago, did Nate have his date’s consent? It is very possible he thought he did. Yet by his own admission, he did not have verbal affirmation. And even if she never said ‘no’, silence certainly does not equal ‘yes’.”

Mind you, Gabrielle stars in Nate’s film.

So here’s the question everyone should be asking themselves: If Gabrielle thought in her heart of hearts, Nate was a rapist, WHY THE HELL WAS SHE IN HIS FILM?!

Understand, this is more of that Black feminist/womanyist non-sense that says you can have your cake and eat it too. But ultimately, Gabrielle’s belated moralizing just shows you exactly who she, and her fellow feminists/womanyists really are—a bunch of anglophilic opportunists.

Moving on…

Robert Barton Englund, was born on June 6th, 1947, in Glendale, California. He’s the son of mother, Janis McDonald, and father, Kent Englund, who made his living as an aeronautics engineer.

Robert (pictured left) caught the acting bug at age 12, while attending a children’s theater program at California State University, North Ridge. And after attending an arts high school, he went to Michigan’s ‘Oakland University’, where he majored in theater. He spent five successful years acting in regional stage plays, where he performed Shakespearean and other ‘classically’ drama-themed roles, before returning to California, where he started looking for acting jobs.

In the midst of Robert’s auditioning, he was actually considered for the role of ‘Han Solo’ in ‘Star Wars’. At the same time, he convinced a friend who lived with him, a young Mark Hamill, to try out for the role of ‘Luke Skywalker’. And I think we all know how Mark’s audition went.

Long story short, Robert would go on to appear in several movie and TV shows like: Eaten Alive (1977), Galaxy of Terror (1981), V: the mini-series (1983), but all these roles had him typecast as a nerd, or a redneck. So Robert decided to go against this stereotype and play the insanely menacing and murderously claw-fingered, ‘Freddy Kreuger’ in Wes Craven’s movie, ‘A Nightmare on Elm Street’.

Unbeknownst to Robert, A Nightmare on Elm Street, released in 1984, would be so widely successful, that it would not only give him a career-defining role, but it would make him one of the most recognizable genre film icons in movie history.

But now, let’s get back to Nate…

Nate Parker’s movie, ‘Birth of a Nation’, was written, produced and directed by him. And after he announced his initial plans to make this film, the first person to invest in it, was retired basketball player Michael Finley. Mind you, Mike also invested in the film, ‘The Butler’. Now that fact alone, should let you know what kind of ulterior motives are behind this film’s mainstreamed distribution.

Also, after this movie was made and had its debut at the 2016 Sundance Film Festival, on January 25th of this year, it was reported that before the movie was shown, the viewing audience gave Nate a standing ovation when he was introduced to speak about his film (hint, hint). Additionally, following the film’s screening, ‘The Weinstein Company’, ‘Sony Pictures Entertainment’, and ‘Netflix’ created a bidding war for this film. Finally, Fox Searchlight bought worldwide rights to this film for $17.5 million dollars, which stands as the ‘richest acquisition deal’ in Sundance’s history.

Okay, let’s stop here.

Now, ask yourself this question: Why would these elitist, lily-white movie studios, create a bidding war over a film about Nat Turner killing scores of white folks?

And finally, let’s ask the question posed at the top of this post: What do Nate Parker and Freddy Krueger really have in common?

Welp, to find out, let’s flip the script and answer the second question first…

What Nate and Fred Krueger have in common is this…they both starred in horror films.

Now, you may be sayin’, bruh…that don’t make no kinda’ sense. Nate was never in no horror flick. But it makes absolute sense if you realize one truth, and that is…

america’s Black ‘slave movies’ are the new horror films.

But before you dismiss my categorization of flicks like, ’12 Years a Slave’ and ‘Django Unchained’ as the new horror films for this generation, let’s take a look at some old ones, so we can compare and contrast methods of white fascist social engineering, as it pertains to the Black american psyche.

The Shining (1980), The Evil Dead (1981), Halloween II (1981), A Nightmare on Elm Street (1984), Re-Animator (1985), The Return of The Living Dead (1985), and Hellraiser (1987).

When I was a teenager, these were just a few of the horror films that were as popular then, as super-hero movies are now. It seemed like every month, there was a new grisly 'slasher' flick with some maladjusted and/or formerly slighted soul who had super-human powers and decided to use them to get some payback on humanity. And in the last couple of years, I was thinking back to when I frequented my local Cineplex to watch these gore-fests with friends. That’s when I asked myself this question: In the context of white fascism, what purpose did these films serve?

And then, the answer hit me…

white fascists used these films to not only desensitize a younger audience/generation to steroidal amounts of gratuitous violence, but fascists knew that repeated viewings of these flicks, would make audiences almost completely indifferent to other people’s suffering. Thus, these movies would make us more ‘individualistic’. And a person/population that’s mostly self-involved, is easier for white fascists to control.

On top of that, we need to remember that america is the enforcement arm of the western powers. Meaning, we’re the designated trigger-persons for the white fascist agenda. And that’s even more of a reason for white fascists to desensitize us to violence. Cause a country of men who’ve been conditioned to be indifferent to the suffering of others, can be more easily sent abroad to kill whoever we’ve been told is our enemy.

Now, with all that said, let me tell you why these slasher films were specifically aimed at programming the Black american psyche.

I think every Black man and woman has heard the African proverb, ‘It takes a village to raise a child’. Well, this is indicative of Black people’s inherent communal sensibilities. Meaning, instinctively, Black people think more about the collective, than the individual. Mind you, we do this instinctively, if we haven’t been conditioned out of melanated common senses. So in order for white fascists to keep us in perpetual states of disunity, we were fed study diets of horror films so we’d continuously focus on ourselves and not care about the suffering(s) of our community (common-unity).

Mind you, in the 80’s, Black americans were also facing the dreaded troika of ‘Reganomics’, ‘crack’ and ‘AIDS’. Meaning, in that decade, more than most, Black americans were facing an all-out assault on our senses.

Now, let me expound on how all this plays out in america’s ‘slave movies’, and especially, in ‘Birth of a Nation’.

But before I do that, let me make another fact emphatically clear…I haven’t seen this movie, and I won’t go see it. So my opinions of this flick are coming from others who have. Meaning, it’s up to you to decide whether or not you wanna’ make the sojourn to see this film. Cause the only thing I’m endeavoring to do here, is let you know why you should guard your mind if you do decide to take that trip to the Cineplex. But what I will absolutely advise is this: If you’re a mature Black man or woman reading this post, PLEASE DO NOT take a Black child to go see this film. Here’s why…

First off, reports I get from people who saw this film, say they endured an hour and a half of watching Black men, women and children, being tortured by whites, before any Black slave revolted. And truthfully, this is the ‘bait and switch’ technique employed by white fascist freemasons, like Nate Parker, on our people, time and time again. Meaning, before we have a chance to see any redemption or revenge our people exacted through fighting for freedom, the mental triggers activated by watching the gruesome tortures of Black people have already done their job. In other words, as a Black man or woman watching this film, your subconscious has already been severely impacted by these horrific scenes, and what they do is reinforce reasons why you should hate yourself and everyone who looks like you for being Black. And this is the true agenda of ‘Birth of a Nation’. Whether it be the original movie, or Nate Parker’s version.

Mind you, the original ‘Birth of a Nation’, was a propaganda film/tool used to extol the virtues of the KKK. And its main message was how Black people would destroy the united states once we were released from the bonds of america’s slavery. So in keeping with this theme, Nate’s movie was created to keep Black americans in perpetual states of self-hatred, so we'd be bound in a mental slavery.

The other side of the game white fascists are runnin’ on us with this flick involves its christian mores. Ya’ see, Nat Turner was taught to read specifically so he could preach bible verses to fellow Black slaves. And this film tries to impart the message that the bible is what provoked him to revolt.

But let’s see what the bible really says about slavery, so we can understand why it had nothing to do with Nat’s righteous indignation.

Ephesians 6:5
Slaves, you must obey your earthly masters with respect and fear, and with sincerity of heart, just as you would obey christ. 

Now, doesn't this run counter to the first of the ten commandments saying, I am the lord your god, you shall not worship any gods before me? Here, the bible says you should respect and obey earthly masters just like they were 'christ'.

Moreover, why would 'god' endorse anything to do with slavery? And why would the 'good book' endorse it? 

Here's more...

Ephesians 6:6

Obey them (slave masters) not only to win their favor when their eye is on you, but as slaves of christ, doing the will of god from your heart.

Slaves of christ?!

Again, why is the 'good book' promoting slavery?

One side note: the first slave ship to wash up on american shores with Black people on it, was called the 'good ship jesus' it if you don't believe me.

Ephesians 6:7:
Serve wholeheartedly, as if you were serving the Lord, not people.

Serve a slave master like you were serving the 'lord' and not (just regular) people? 

And if you’re a Black man or woman reading this, you should also know the reason suicide was made a sin by the christian church, is so america’s Black slaves wouldn’t kill themselves, so they could be worked to death.

So, every Black man and woman reading this should understand that it wasn’t the bible that gave Nat his revolutionary insight, it was his Black spirituality, masculinity, and common sense, that got him to cut ole’ Massa’s head off.

Now, with all that said, hopefully you can decide whether or not you wanna’ buy a ticket to see this crap film. 

And in closing let me say, as of late, Birth of a Nation is reportedly doing poorly at the box office. So the white media says. But if you peep the game being played on Black americans, you’ll realize that white fascists are making this known, regardless of this film’s real box office numbers, so more Black people will feel obligated to go see and support this trash flick.

Always remember, the most powerful tool you have to combat the social engineering inherent in every white fascist social order is your melanated DISCERNMENT. And with it, you’ll realize that the ONLY force powerful enough to defeat white fascism isn’t our money, or an education…IT’S OUR UNITY!!

And with his horror flick, Birth of a Nation, that’s exactly what Nate Parker is trying to keep us out of.


MontUHURU Mimia

Saturday, October 1, 2016

The end of feminism...

On September 16th, of this year, Terrence Cutcher, an unarmed Black man living in Oklahoma, was shot down by cops after walking away from police with his hands up.

The officer firing the fatal bullet was Betty Shelby.

Now, unless you’ve been living under a rock, you’ve probably heard about this incident several times. But what a lot of us don’t know, is bad ‘ole Betty not only has a history of violent behavior, but she’s also got a history of drug use.

First off, on her police application, the very one that got her this job, she checked ‘yes’ to the question of whether or not she’d used or possessed ‘illegal drugs’. Now, let’s just ponder this for a hot second. Could you imagine how quickly any Black man or woman would have lost that job by doing something as audacious as that?

Okay, now let’s move on…

Second, on the same application, Betty admitted to having been involved in two domestic violence cases in her personal life. And if that wasn’t egregious enough, she and her ex damaged each other’s cars in 1993, to the point where they both had restraining orders filed against them, which essentially kept them apart. Additionally, the wife of Betty’s ex-husband, filed an order of protection against her in 2002, saying that bad ‘ole Bette was harassing her over the phone.

Now, the question any sane person should be asking is: Why the hell was Betty ever in a police uniform? And if that ain’t affirmative action, I don’t know what is.

Next up, in the same month, Melissa Adamson, another cop who just happens to be a white female, posted a picture of herself in uniform on ‘Snapchat’. Now, underneath said picture, was the caption: ‘I’m the law today nigga’. Mind you, this inbred bigot broad was a part-time, ‘probationary’ employee. Meaning, she’d only been on the job for a few weeks. And behind Melissa’s dumb-founded comment, she got fired.

Now, over the course of the last few days, Melissa’s been saying that she’s not a bigot, and that her use of the ‘n-word’ ending in an ‘a’, rather than ‘er’, should point to her ‘colloquial’ use of this term. Basically, this dumb inbred bigot broad is saying, if Black people call themselves this, why can’t I? But anyone with half a brain should know that dumb ‘ole Missy meant the ethnic slur as an insult, and nothing more.

Also, I’d be remiss if I didn’t expound on the aforementioned point, by saying this…

For years, when whites got caught being bigots and calling Black people ‘nigg@rs’, the overwhelming majority of them would respond by saying: “They (Black people) call each other that.” But here’s something those pale-skinned degenerates and the other non-Black ethnic groups who love them, never consider...

Now, if you’ve ever watched the Martin Scorsese movie, ‘Goodfellas’, you’ll see that throughout that flick, white men are using ethnic slurs as endearments. And the slurs I’m referring to, are the words, ‘M@c’ and ‘Guine@’. And I’m betting the same people who say Blacks are idiots for using the ‘n-word’ as an endearment, would never look at Goodfellas and think: “Why the hell are these white men calling each other these derogatory names? Don’t they understand they’re insulting each other?”

Now, I can already hear what some of you are thinking, you’re probably saying: “Bruh, that’s a movie…it’s not real life.” Well, if you think that, I’ll tell you what happened one day whilst I was talking to an Italian man. While we conversed about different kinds of dance clubs in the area, this Italian guy said to me that he doesn’t go to certain clubs cause they’re too ‘guido’. Now, based on white people’s logic, if this Italian man said that to me, then I should be able to go up to any italian person, or someone who I identify as Italian, and say: “Yo, what’s up guido.” But I wouldn’t do that, cause I’m smart enough to know that’ll cause a fight. And that Italian man would be absolutely right for wanting to fight me, ‘cause I’m NOT ONE OF HIS OWN KIND! So that right there should cancel out the argument that ONLY Black people use ethnic slurs as endearments.

Now, back to these inbred bigot broads, Betty and Melissa…

As of late, more and more white women have been unabashedly forthright about their real thoughts of Black people. And while some may be perplexed at these occurrences, I’m extremely happy they’re happening. Here’s why…

As white fascists get more and more desperate to keep their people around, knowing their birth rates have fallen below replacement levels, more and more initiatives are gonna’ be instituted to get rid of huge swaths of Black folks. And at the front lines of this purge, are the inbred bigots with badges that america calls cops. Now, with the battle lines clearly being drawn, and some kind of ethnic war seeming eminent, white women are dropping their feminist facades, and trading them in for the white fascist privileges they knew they had while they railed against the insidiousness of (white-male) patriarchies.

And to put this more plainly, white women knew that feminism was B.S. all along. What it essentially did was give generations of white women, a chance to do two things: One, feminism, or the feminist theory, gave the illusion of some separation between white women and men. Meaning, collegiate women who called themselves feminists could pretend they were more ‘liberal’ than their white male counter-parts, thus, they’d seem more humane (hue-mane) to the outside world. And this was done to keep up the illusion that white women are the epitome of feminine beauty. Two, and this was the biggest benefit to white women of them all, it gave these women a license to feel like an oppressed minority. Even though they knew all along, they could put on a pants-suit and fall in line with the white fascist status quo, which would accept them back and protect them.

So, I’ve said all that to say this, white feminism was A LIE FROM JUMP!! IT WAS ALWAYS BOGUS!!

Cause what you’ll find when you follow the lives of collegiate white feminists, is once their college careers are over, the majority of them wind up marrying white men. You know, the same oppressively tyrannical and patriarchal jerks they’d supposedly been fighting against for the majority of their young collegiate lives.

And for anyone saying, well, Black men can be patriarchs too…let me tell you why that’s a bald-faced lie, along with the myth that Black men can be racists. It’s cause WE DON’T CONTROL ANY INSTITUTIONS THAT CAN BLOCK ANYONE’S ACCESS TO RESOURCES! PERIOD!

And for those brain-washed souls who say: “Well, a Black man can still oppress a woman with physical violence.” I’ll remind you, that if we dare try, who do you think these women are gonna' call? You guessed it, A WHITE COP!


BLACK FEMINISTS TAKE NOTICE!! AND BLACK ‘WOMANYISTS’ (who are just Black women following the edicts of white feminism) TAKE NOTICE AS WELL!! Just cause you give yourself a different title, don’t think you’re fooling anyone. The reason you wanna’ associate yourself with white feminism, is so you can get closer to a white man. Now, I have no problem with you wanting to do that, I’m just saying, be honest about it.

And I’d also be remiss, if I didn’t give you a primer on the real reason white fascists created feminism. And I know I’ve said this a million times, but it’s worth repeating to bring this point home.…

A mature white male aristocrat, on a Public Broadcasting Station (PBS), channel thirteen in New York, confessed to being in a conversation with a Rockefeller. He said, the Rockefeller asked him: "What do you think of the feminist movement?" The mature aristocrat replied, he thought it was positive for women to demand equal pay for equal work. The Rockefeller then explained how they 'funded feminism'. And he stated the reason they did this was: "We couldn't tax half the population, if women were staying home, being housewives...we had to get them into the workforce to be able to tax that revenue." The Rockefeller then went on to explain, "Also, we knew with both parents out of the house, what would essentially be raising their kids would be the TV, so that generation and the following generations, would be more easily programmable than this one."

And this just reinforces the point that feminism was an initiative started for white fascists, by white fascists. And white women got tricked into believing this had something to do with their empowerment. Just like they still are today.

So as america’s melting pot becomes more of an ethnic incinerator, you’ll see white women coming out of bigoted closets in droves. And you’ll also see more of them siding with the most odiously ‘racist’ white men (Trump), in an attempt to be protected by the white fascist privileges they only pretended not to have. Again, that was and is the real agenda of white (fascist) feminism. 

And to put it more plainly, you’re gonna’ see more bigoted, ugly white women like Amy Schumer and Lena Dunham become celebrities. Cause the biggest want of any woman is security, whether they’ll admit it or not. And in the whole of the global social order, one message is most clear: The man who can offer you the most security in this world, is a white one. And this is a fact, or at least a perceived fact, regardless of how willing (or not) this white man is to share his social safety nets with you.

So while some grimace at the crass and dumb-founded actions of this generation of white women, I’ll sit back and rejoice. Cause white women have been allowed to hide their true natures for far too long. And it’s about damn time someone pulled the veil off these trailer trash types, so they can indeed show off their true colors.

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


MontUHURU Mimia

Sunday, September 18, 2016

3 reasons why Black men should not date fat white women (Part 3)...the dual dogmas of Lena Dunham and Amy Schumer...

Lena Dunham was born in New York City on May 13th, 1986. Carroll Dunham, Lena’s father, is a Protestant christian and her mother, Laurie Simmons, says she’s jewish, but hasn’t verified whether or not she’s practicing. And this is probably premature, but I have to say that not only did the Black Spiritual Science known as the ‘Kabbalah’ spawn the jewish religion, but Isreal itself, lies on the tectonic plate of Africa. So jews, especially those in Isreal, are really Africans on the low. But don’t call them that unless you wanna’ get cursed out.

Lena attended Saint Ann’s School in Brooklyn, before she attended ‘The New School’ in NYC for a year. She then attended Oberlin College where she graduated in 2008 with a degree in creative writing. She’s now best known as an actress, writer, producer and director who currently stars in the HBO series ‘Girls’. And in 2014, she released her first book titled: ‘Not That Kind of Girl: A Young Woman Tells You What She’s Learned’.

Amy Beth Schumer was born on June 1st, 1981 in New York City. Her parents, Sandra Jones and Gordon Schumer, owned a furniture company that afforded them the luxury of living in the tony upper-east side of Manhattan, NYC. Lena’s father is second cousin to U.S. Senator Chuck Schumer. And coincidentally enough, just like Lena’s mother, Amy’s mom is also jewish, and also hasn’t clarified whether or not she’s practicing. But unlike Lena’s mother, Amy’s mom converted to judaism from being a Protestant christian. More than likely, because Amy’s father is also jewish.

Now, according to my research, Amy was raised jewish and was said to have experienced an unspecified form of ‘anti-semitism’ in her childhood/young adulthood. And I want everyone reading this to keep that in mind for the points I’ll make later.

Schumer was said to have been born into a rich family, but her father’s furniture company went bust and her family was forced to declare bankruptcy. At age nine, Amy’s father was diagnosed with multiple sclerosis and her parents divorced three years later. Amy attended South Side High School in Rockville Center, New York and also went to the Hebrew School of the Central Synagogue of Nassau County, in Long Island. Amy’s mother was also on the board of this synagogue. After high school, Amy moved to Baltimore, Maryland and attended Towson College where she graduated with a degree in theater in 2003.

As of late, Amy’s known for being a stand-up comedian, actress, writer and producer. She’s also the creator, co-producer, co-writer and star of the sketch comedy series, ‘Inside Amy Schumer’, which debuted on the Comedy Central TV network in 2013.

Now, in early September of this year, Lena Dunham was criticized for an interview she did with Amy Schumer. In a feminist magazine called ‘Lenny Letter’, Lena said that NFL star Odell Beckham Jr. ignored her at a ‘Met Gala’ because of her appearance. Lena (pictured in this post’s header) said: “He (Odell) looked at me and he determined I was not the shape of a woman by his standards.”

Once again, keep in mind that the Lenny Letter is a ‘feminist/liberal’ magazine.

And in regards to her feelings about Black people, Lena has made several ‘tweets’ showing her true colors. One of them, which posted on March 7th, of 2010, reads like this: ‘Just found my creativity journal from 2005. It begins: “I dreamed I was a prostitute and I molested a little African-American rodent.”

Again, Black feminists take notice.

Now, in regards to feminism, I’d be remiss if I didn’t say this…

A couple of decades ago, I watched a PBS special where a man who looked like the spitting image of George Soros said he was talking to a member of the Rockefeller family at a party. The George Soros look-a-like said the Rockefeller asked him this question: “Tell me, what do you think of the feminist movement?” To which the George Soros looking fellow replied, “Overall, I think it’s positive…equal work for equal pay and all.” And the Rockefeller came back with this: “We (the Rockefellers) funded ‘Women’s Lib’ (The Women’s Liberation Movement of the 60’s). And one of the main reasons was, we couldn’t tax half the population if women were staying at home being housewives. Furthermore, with both parents out of the home, what essentially would be raising their children is the TV, thus, they and the following generations would be easier to (mentally) program.”

And let me also point out that Gloria Steinem, the ‘mother’ of the feminist movement, was a CIA agent. And don’t take my word for this, do the research and find this out for yourself.

So that means what?

It means that ‘feminsim’ was a trick played on women. Point blank, period. It had nothing to do with female empowerment. And I’ll tell you why Lena Dunham is a prime example of this fact later.

Now as for Amy Schumer, on her Comedy Central series, she produced a skit where she shopped in a store that resembled ‘Urban Outfitters’. And in this skit, she couldn’t differentiate one Black male store clerk from another, cause to her, we all look alike. Moreover, in a movie she starred and wrote in called ‘Trainwreck’, not only are there several instances of what the mainstream media are calling, ‘casual racism’ towards Black people, but the comedian Colin Quinn plays her father who’s a completely bigoted inbred of a patriarch.

But beyond this, Amy tweeted and then deleted a response to a man named ‘Paulo L Dos Santos’, when he said: ‘Lena Dunham, Amy Schumer, et al. refuse 2C that misogyny among men of color, while hideously prevalent, is no more so than among white men.’ To which Amy replied: ‘How would you know? Statistically, who is hollerin’ at you in the street more pa?’

This leads me to two points I want to make about Amy’s ‘casual racism’. Now, if Amy really wants to talk about statistics, she should look at these stats...cause according to 2014’s FBI numbers, in the category of ‘Sex offenses (except rape and prostitution)’, in terms of total arrests, here’s what the stats really say: white men arrested—31,279 and Black men arrested—10,462

And for those of you thinking, well, ‘cat-calling’ would more likely be under the ‘Disorderly Conduct’ category…here are those stats: white men arrested—213,342 and Black men arrested—114,802

And if you’re still thinking that men’s verbal harassment of women would be under a more miscellaneous category, then let’s see what the ‘All other offenses (except traffic)’ stats look like: white men arrested—1,726,091 and Black men arrested—750,488

And inevitably, I know someone’s thinking, yeah, okay, but Black men still commit more rapes than white men do…well, here's the ‘Rape’ stats: white men arrested—10,977 and Black men arrested—4,888

So this says what?

It says Amy’s just another dumb-founded bigot, who’s too mentally lazy to do five minutes worth of research so she could find out that a white man is three times more likely to ‘cat-call’ her than a Black man is. Now mind you, Amy said she experienced some sort of ‘anti-semitism’ during her childhood/young adulthood. But do you think that would make her more sensitive towards Black people? Nope. Cause white jews are still white people who practice (or not) a certain religion. So they’re just as bigoted as the average white person.

And mind you, Amy, like Lena, considers herself a feminist.

But the other point I wanted to make, about both Amy and Lena is this…both these women, although they’ll never admit it, are saying these disparaging things about Black men cause they desperately want to be seen as attractive by us. And here’s why…

Both Amy and Lena know they’re pariahs to the ‘classic’ standard of european beauty. And to put this more plainly, they both know they’re fat and ugly. And their personalities are even more repulsive than their physical features. And what’s uglier still, is the truth they’re hiding. And that truth is this…the reason Lena was so offended by Odell Beckham not finding her attractive, and the real reason Amy is saying that Black men harass her more than white men, is they’re both thinking, if Black men don’t want us anymore, and they’re at the bottom rung of society, then who the hell else will?

And thankfully, what Black men are showing these inbred and corn-fed looking white women, is how the Black man’s psyche is being positively affected by Black ‘consciousness’ becoming cool.

Tariq Nasheed’s ‘Hidden Colors’ documentaries, are said to be one of the best-selling DVD series’ for Black americans in history. Now, behind watching this series, no Black man can help but feel several pangs of pride behind these films showing him that ALL of the arts, and ALL of the sciences, were created by his ancestors, i.e. ancient Black people. Meaning, not only do Black men create the best genres of music, but we created MUSIC, PERIOD. And on top of this, our finally realizing that we have the most genetic power to breed every other man out of existence, has us enjoying a heightened pride that we’ve never quite experienced before.

So I’m saying that to say this, no matter how much Amy and Lena boast about being lesbians or feminists, they still want to be thought of as classically beautiful by white standards (as evidenced by Amy’s Vanity Fair cover, pictured left). At the same time, they’re scared to death that Black men won't find them attractive anymore, cause we've always been their last resort when every other kind of man told them they're ugly. And mind you, Lena and Amy want to be thought of as classically beautiful without having to lose the weight that would actually qualify them as being 'all-american' looking. In other words, these fat white women wanna’ have their cake and eat it too.

And speaking of just desserts, I have to say, few things are sweeter to me than a Black man rejecting a white woman!

So Amy and Lena’s suffering just brings a big ole’ smile to my face. Especially when I heard Lena felt some kind of way about Odell not finding her attractive, I was like…YES!...FINALLY!! And the nerve of this inbred bigot to ask herself: How dare any Black man think any white woman is ugly?!

And to every Black man reading this: I think Odell has set a lovely precedent for us to follow. Cause with his actions, he's made one thing emphatically clear to white women when it comes to today's Black man. His rejection of Lena said that in regards to white women, and every other kind of woman, Black men have standards that we will not stray from. And this especially goes for fat white women. And to put it more plainly, Odell's giving Black men this message: LEAVE AMY AND LENA IN THE TRAILER PARK WITH THE REST OF THE WHITE TRASH!!!

And here's one final message to every Black man reading this: I'd say Odell's actions are one of the greatest blows to white fascism that I've seen since Dave Chappelle's refusal to take whitey's money and/or put on a dress. In one fatal swoop, Odell completely obliterated the notion of white women being the epitome of feminine beauty...and it's about damn time!


MontUHURU Mimia


If you’d like to take a look at the FBI stats for 2014, you can do that here.

And if you'd like to see the first two parts of this series, you can check 'em out here: Part 1 Part 2

Monday, September 12, 2016

The gospel of white fascism (Part 11)...Afrika Bambaataa, KRS ONE, and the 'Teacha's' greatest lesson for Hip-Hop...

Afrika Bambaataa (Aasim) was born Kevin Donovan in the Bronx Rivers Projects on April 17th, 1957. He was the child of Jamaican and Barbadian immigrants, and grew up with a mother and uncle who were deeply entrenched in the Black Power movements of the late 1950’s and 60’s.

Beyond what Bambaataa learned about Black liberation movements at home, he witnessed the Black Panthers and several organizations like them, endeavor to bring about change in his community through organizing and activism. And when Bambaataa wasn’t listening to his mother and uncle debate about differing ideologies regarding the Black liberation struggle, he was going through his mom’s extensive record collection and taking in the sonic overtures playing in his house and throughout his neighborhood.

In Bam’s pre-teen years, he also began taking in the gang activities that were prevalent on his block. From Bam’s perspective, he saw the gangs in his area clear the streets of drug dealers, so they could expand their own turf. And while those gangs did commit themselves to positive activities like raising money to help end the plaque of ‘Sickle Cell Enemia’ and registering people to vote, they also partied and fought to maintain the blocks they considered their own. In the 60’s, it’s said the most powerful gang on New York streets was the ‘Black Spades’, and Bam joined them in 1969 when he was in junior High School. At the time, Bam was known to his Black Spade brethren as ‘Freight-train’.

Now, even though Bam got swept up into gang violence, which according to him was par for the course for youth growing up in the Bronx, his family’s discussions also got him interested in politics. So he accompanied his gang activities with frequent visits to the Black Panther Information Center in the 1970’s.

Bam rose to the position of ‘Warlord’ in the Black Spades and was not only responsible for recruiting new members, but expanding the gang’s turf. Friends who knew him, said Bam was a gifted negotiator, and wasn’t afraid to form alliances with other gangs. Thus, the Black Spades became the largest street gang in the city.

Now, behind Bam being reared on politics, and liking the 1964 movie ‘Zulu’, in 1972, he entered a city-wide writing contest sponsored by UNICEF. The administrators of UNICEF offered a trip to Africa for anyone who could write a compelling essay about the mother continent.

And Bam won the contest.

Once Bam was in Africa, he met with an African chief of the original Zulu Nation. This chief informed him that his neighborhood’s gangs fighting each other, was just another form of tribal warfare that had been going on in Africa for centuries. The chief then said, if Bam really wanted to empower his brothas and sistas back home, what he should do is form an organization that brings all the gangs together. Bam took the wise counsel of this chief and went about naming himself after the Zulu chief ‘Bhambatha’, who in the early 20th century, led an armed rebellion against unfair economic practices in South Africa. And once Bam got back to the states, he left the Black Spades and formed the ‘Bronx River Organization’ in its stead.

Concurrent with his street activism, Bam was polishing his skills as a ‘DJ’. Nurtured by the love of his mother’s eclectic mix of African, island and early funk music, Bam gathered his own collection of records and officially became a DJ by commandeering the ‘wheels of steel’ at a party in the Bronx River Community Center on November 12th, 1976. Coincidentally, the sound system he played on was given to him by his mother as a graduation gift the year before.

Inspired by DJ Kool Herc and Kool DJ Dee, Bam began hosting Hip-Hop parties in 1977. He also vowed to use his Bronx River Organization to lure kids growing up in neighborhoods like he grew up in out of gangs. And being that his organization was now comprised of an assortment of dancers, artists and Djs who were beginning to travel outside of the unites states, Bam once again drew inspiration from his trip to Africa, and renamed his crew, the ‘Universal Zulu Nation’. And Bam stated emphatically that this group would abide by four governing principles, and those were: Peace, Unity, Love and having fun.

Shortly after renaming his organization, Bam assembled 20 musical artists within the Zulu Nation and formed the ‘Soulsonic Force’. In 1981, bombing and tagging (what whites now call graffiti) artist ‘Fab Five Freddy’ was putting together music packages in predominately white downtown Manhattan ‘New Wave’ clubs, and invited Bam and the Soulsonic Force to perform in one called the ‘Mudd Club’. Soulsonic Force shows drew such huge crowds that they wound up playing larger capacity venues like New York City’s ‘Ritz’ and ‘Roxy’ ballrooms.

In the same year, Zulu Nation members Arthur Baker and keyboardist John Robie, produced a single called ‘Planet Rock’ that was credited to the Soulsonic Force. The song became an immediate hit and stormed up world-wide music charts. The song melded melodies from the european disco band ‘Kraftwerk’ and their song ‘Trans-Europe Express’, with the funky R&B stylings of 80’s artists like ‘Captain Sky’ (Supersperm) and Babe Ruth. The conflation of these musical genres, created a new music Bam called ‘electro-funk’. After Bam and the Soulsonic Force went on the first european Hip-Hop tour, they followed up the success of ‘Planet Rock’ with the single, ‘Looking for the Perfect Beat’ in 1983. The song ‘Renegades of Funk’ followed shortly after.

In 1984, Bam and other Hip-Hop luminaries appeared in the movie ‘Beat Street’, but it wasn’t until Bam’s landmark recording with James Brown titled ‘Unity’, that musical industry circles officially recognized and named him the ‘Godfather of Hip-Hop’, as he performed beside the ‘Godfather of Soul’.

Lawrence Parker, better known as KRS-ONE, was born on August 20th, 1965 in the South Bronx area of New York City. And like Bambaataa’s mother, KRS’ mom had an eclectic mix of records that introduced him to early funk, rap, island and African soundscapes. KRS’ mother was also well versed in the philosophies of Black liberation movements and shared her wealth of knowledge with him as a pre-teen.

Due to a tumultuous home life, KRS ran away at 13 and began living on the streets. By day, he’d read about philosophy and religion at the library, and by night, he’d practice rapping at the homeless shelters he lived in. At 17 he got his GED.

While staying at the Franklin Armory Shelter in the Bronx, KRS met Scott Sterling who was a social worker. On weekends, Scott DJ’ed in New York City clubs using the moniker Scott ‘LaRock’, and behind Scott’s love of KRS’ emceeing ability, the two formed a friendship and created ‘Boogie Down Productions’ with Derrick ‘D-Nice’ Jones. Shortly afterwards, the trio released the album ‘Criminal Minded’ on the independent ‘B-Boy’ records label in 1987. Unfortunately, that same year, tragedy struck and Scott LaRock was murdered.

KRS persevered and kept Boogie Down Productions (BDP) moving forward with his brother Kenny. And after engaging in the classic ‘Bride Wars’ battle with MC Shan, where KRS struck with a death-blow-of-a-diss-record tilted, ‘The Bridge is over’, he and his brother went on to release a litany of classic recordings like: ‘You must learn’, ‘Sound of da police’, ‘Loves gonna’ getcha’ (Material love)’, ‘My philosophy’, ‘I’m still #1’, ‘Step into a world’ (Raptures delight), ‘Outta here’, ‘Self Destruction’, and a host of others.

Now, in April of this year, Bronx political activist Ronald Savage, accused Afrika Bambaataa of molesting him in 1980, when he was 15. And behind Ronald’s allegations, three more men accused Bam of sexual abuse. Bam has categorically denied these allegations in several media outlets. However, on May 6th, 2016, Bam was dismissed from his role as the Universal Zulu Nation’s leader.

Now, I’d like to make one point emphatically clear, if Afrika Bambaataa did in fact molest the men accusing him of sexual abuse when they were boys, I say he should spend the rest of his natural life in jail. Point blank, period.

And in news related to this story, KRS ONE was quoted as saying he could ‘care less’ about the accusations made against Bam. So almost everyone in the Hip-Hop community has turned against him as well. *Side Note: In response to the controversy surrounding KRS ONE, MC Shan (or sham), has seemingly come out of retirement with a diss record addressed at KRS. Now the sham, I mean, Shan song is called ‘Revenge of the walking dead’. And after about a minute of looking at the vid, I turned that crap off. Cause not only were Shan’s beats and rhymes mediocre, but the Sham-man made the dumb-founded mistake of patterning his video after the TV series, ‘The Walking Dead’. So in this vid, Mr. Sham-a-lama-ding-dong has ‘zombified’ make up on his face, looking like shredded flesh, and he’s got extras in his vid acting and looking like zombies as well. What this nimrod failed to realize is Black people don’t fetishize over zombies, vampires and other fantastic predators on hue-man life, like whites do. white people love these creatures because they remind them of themselves. whites are real-life inhumane serial killers. So when any Black person sees a movie about zombies, vampires and other monsters, they should know these stories are written by white people who are trying to show us who and what they really are. 30 plus years after the ‘Bridge Wars’ battle, sham, I mean Shan, still got it wrong. *SMDH*   

Now, for any Black person in or outside the Hip-Hop community, who has these same negative viewpoints on Bam and KRS, I want you to consider one fact very seriously. And that fact is this: In order for white fascists to exterminate Black people, they have to get rid of the Hip-Hop culture.

And behind my saying this, I can almost see the turned up faces and rolling eyes of the Black men and women reading this post. On top of that, you’re probably thinking, what kinda’ ridiculously bogus non-sense are you puttin’ out there now bruh? And what the hell does this have to do with KRS and Bam. Well, let me explain…

A couple of months ago, I watched the Michael Moore documentary, ‘Where to invade next?’ And when Mike visited a prison in Norway, or some other part of eastern europe, he not only saw how humane the prison system was compared to u.s. correctional facilities, but he saw that the young men of the prison were rapping like their favorite artists. On top of that, these young european inmates had basically created their own rap music record label, complete with a recording studio inside the jail. That’s the global reach of rap (i.e. Hip-Hop) culture. Now, my point is not to say that only criminal-minded white youths endeavor to be rappers, but every Black person reading this should know that the whole world’s youth culture has adopted Hip-Hop as their own.

Now, white fascists know that the first phase in the wholesale extermination of Black people, is the complete discrediting of our humanity (hue-man-ity). And if people, especially young white people, have embraced Hip-Hop as their culture, then white fascists have a problem. Here’s why…

Hip-Hop shows too many white people the ingenuity of Black people, and it shows them too much of our humanity as well. And white fascists know its gonna’ be difficult to convince a white adult who’s been raised on Hip-Hop, that they should go along with plans to kill off huge swaths of Black folks in america or abroad. I remember a couple of months ago, I watched an MSNBC re-broadcast with a white journalist who was hosting the show, and he had Chuck D of Public Enemy on. This white newsperson said he ‘grew up’ listening to Chuck’s music, so it exposed him to different points of view socio-politically. And mind you, there are millions of these white persons occupying positions that have a direct effect on the lives of our people in america. Thus, white fascists have targeted the Hip-Hop culture for extinction. And one of the best ways to kill off this culture, is by destroying its leaders and/or their institutions.

Enter Ronald Savage, and his child molesting allegations against Afrika Bambaataa…

And everyone reading this should note that Ronald Savage worked as a New York State Democratic Committee-person. Meaning, this brotha worked for the government.

Now, let me make another fact emphatically clear—just cause Ron Savage worked in the government, doesn’t mean his claims of sexual abuse, or the claims of sexual abuse made by other men against Bam, are false. But, behind these claims, I’m hearing a chorus of people, from the Bronx especially, say that it’s no secret that Bam was sexually abusing boys for years, or decades even. But behind these allegations, the Black Diaspora, especially in Hip-Hop circles, should be asking ourselves: With all these allegations of sexual abuse against Bambaataa, you’re telling me no one has a shred of evidence that can put this man behind bars?

Moreover, every man accused of a crime has a right to a fair trial. So when are Ron Savage and these other men gonna’ press criminal charges against Bam so he can face a jury of his peers? If you’re swearing up and down that this man is guilty, then let Bam have his day in court. Problem is, the Black Diaspora just wants to skip over the trial and say Bam is guilty.

And when people say that KRS is endorsing a child molester, by saying he doesn’t care about what people are accusing Bam of, I don’t think the Hip-Hop community fully realizes KRS is saying that he doesn’t care to partake in gossip and allegations. In an interview KRS did in England, when this subject was brought up, KRS said: “There’s no dismissal (of the people who made these accusations)…show me the evidence, and I’ll definitely have justice done…” And the video of that interview will be at the end of this post.

Moreover, KRS made the salient point that if our leadership in the Hip-Hop culture can be snatched away purely by means of accusations, then it not only makes us look weak, but it makes our culture weak as well. And he said empatically: “…our culture cannot fall (strictly) on the accusations of four people…” KRS also stated that if we have problems in our culture, we should deal with them internally, we shouldn’t seek justice from those outside the culture who’ve shown time and time again, that they mean us nothing but harm.

So I’ve said all that to say this, it’s high time that the Black Diaspora stops looking at the Hip-Hop culture strictly as an entertainment medium. It’s definitely that, but it’s universal appeal and global reach is not only responsible for generating billions of dollars in revenue, especially for the corporate world, but white fascists are showing us it has the capacity to tell the world that Black men especially, are not sub-human beasts with no interior lives. It tells the story of our struggles dealing with and in the constructs of white fascism. So it’s important that we preserve and try to safe-guard this culture by creating organizations to keep it surviving and thriving. Cause quiet as it’s kept, one day, our lives may depend on it.


MontUHURU Mimia


Here's the interview KRS did in england, where he addresses his support for Bambaataa.