On
June 7th, 1976, the 'New Yorker' magazine featured an
article by British rock journalist, Nik Cohn—and the title of the article was, 'The tribal rights of the new Saturday Night'. In it, Cohn
told the story of 'Vincent'—a fair-skinned, immaculately dressed
young man, with superb dancing skills. And according to Cohn, Vincent
was indisputably, the best dancer in the Bay Ridge section of
Brooklyn, New York City.
Additionally,
Cohn wrote: 'Vincent...was the ultimate face. He owned
fourteen floral shirts, eight pairs of shoes, three overcoats, and
had appeared on American Bandstand. Sometimes music execs came out
from Manhattan to watch him—and one man who owned a club on the
East side, had offered him a contract. One hundred dollars a week,
just to dance.
Another
one of the execs who saw Vincent, after reading Cohn's article,
worked for 'Paramount Pictures'. And long story short, that exec
bought Cohn's article to his bosses, and they turned it into the
script for the movie 'Saturday Night Fever' (movie poster on right), which went on to become
an iconic film in the annals of cinematic history.
Now,
that's what whitey wants you to think—but here's what really
happened...
Cohn
was indeed a British rock journalist, who desperately wanted to
report on the 'Disco' phenomenon of the late 70's. But when he went
to the '2001 Odyssey' disco in the disproportionately italian neighborhood of Bay
Ridge, Brooklyn, he didn't find a masterful dancer named Vincent, what he found was a drunken fist fight
occurring outside the venue. On top of that, one of the fighters,
rolled over in the gutter and threw up on one of Cohn's trouser legs.
But what Cohn did remember was one lone young man who stood in the
disco's doorway, and how calm he looked in the face of all this
chaos. So, Cohn made up a story centered around the attributes that
young man might have had.
But
more than anything, Cohn based 'Vincent' on a pastiche of young men
he'd met in London, England. And he went about patterning Vincent's
physical, sartorial and sentimental stylings after them.
Now
in 1994, Cohn told the news magazine, 'The Guardian': “My story was
a fraud, (back then) I'd only recently arrived in New York. Far from
being steeped in Brooklyn street life, I hardly knew the place. As
for Vincent, my story's hero, he was largely inspired by a Shepard's
Bush (bloke) whom I'd known in the 60's.” Mind you, Shepard's Bush,
is in London, England.
Anecdotally,
in 1983, Nik Cohn was indicted on drug trafficking and conspiracy
counts for importing 4 million dollars worth of 'Indian' heroin into
the u.s. He pleaded guilty to a lesser charge in exchange for his
testimony, and was given a $5,000 fine and got sentenced to five
years probation. Complexion
for the connection in effect.
Now,
you may ask yourself, whether this story was true or not, why would
movie execs base an entire film, and dedicate 3.5 million dollars
(which by today's standards would be like $30 million), around some
white disco dancer?
Here's
why...
The
majority of the world's women probably won't confess this, but to
them, a man's dancing prowess, or lack thereof, determines to a great
extent what his level of sexual power/prowess will be. So in essence,
the movie Saturday Night Fever (SNF), was yet another tool used to
eradicate the notion that a white man's sexual power is inferior
to a Black man's. That's the real reason Vincent, or SNF's 'Tony
Manero', was created.
Additionally,
I remember reading the Nile Rodger's autobiography, 'Le Freak: An
upside down story of family, disco and destiny'. And for the
uninitiated, Nile was a founding member of the R&B group 'Chic'
that created classic songs like 'Le Freak' and 'Good Times' (and if
you still don't know who he is, google him). In his book, Nile was
perplexed about the reasons why 'disco' received such a backlash of
criticism that ultimately took it off radio. And if I ever met Nile,
I'd tell him point blank, “Bruh—you were making dance music, and
whitey couldn't dance.”
Now,
some of you may say, oh, well I've met several white people who are
great dancers. That's cause they started copying our dances.
Remember, this was before Hip-Hop music became mainstreamed. Back in
the 70's, white people could barely tap their feet to the most basic
of rhythms—until they saw us do it. And I can also tell you,
white people marveled at the physical ingenuity it took to perform
the moves they saw us doing in clubs. So always remember whitey's
rule: if we can't run it, we'll wreck it.
Funny
enough, once whitey effectively got rid of disco, they had no idea
that Hip-Hop was coming up right behind it. So they'd have to
copy/learn a new style of dancing all over again.
And
this is what they'll never understand: that in order to perform or
create our intricate dance moves or music stylings, you can't be a
spiritually bankrupted person while doing it. See, whitey always
favors technical virtuosity over spirituality, not only cause
spirituality is what they're lacking, it's cause what's
embedded in the edicts of technical virtuosity/white
intellectualism, is the all-encompassing concept of theory.
Meaning,
the dances or musical stylings they create are cool in theory, but
not in reality.
See, our melantated spirituality gives us access to higher frequencies of ingenuity that
transcend theory, so what we think is cool, really is—thus
the term, 'Keep it real'. On top of that, our spirituality gives us
access to greater depths of feelings and emotions that help us
extract what's really stylish on a more visceral/'hue-man' level.
Now,
Floyd Mayweather Jr. just defeated Conor McGregor to become the
pugilist with the world's most perfect boxing record. 50 fights and
no losses. This trumps Rocky Marciano's record of being 49-0.
And remember,
whitey's doting on technical virtuosity/intellectualism, had him thinking that he was the world's most masterful pugilist, especially in
antiquity. But because Floyd is one of us, and has access to a
melanated spirituality, he was able to reach higher levels of mastery by delving more deeply into his emotionalism—or in
fighters terms, by having a more finely tuned 'boxer's intuition'.
Floyd
was quoted as saying: “I can almost feel when someone's
gonna' throw a punch.” And this is just one example of how
spirituality will always win out against whitey's intellectualism—you
feel me?
In
conclusion, I'd be remiss if I didn't mention Slyvester Stallone's
'Rocky' movie series. Especially in light of the fact that it's
'Rocky' Marciano's record that Floyd broke. Mind you, Rocky 4's narrative is one where Ivan Drago kills Apollo Creed, and only Rocky Balboa, another white
guy, can avenge his death. And Sly Stallone came up with that concept knowing that women also judge a man's sexual
prowess on his physical fighting ability too. So that flick was
just one more way of white men sating their insecurities about being
sexually inferior to Black men. And I always have to mention that
when I talk, or imply in any way that Black men are sexually superior
to white men—I'm talking about our having the most genetic power of
any type of man, to breed whites, and every other non-Black persons, out of existence.
Moreover,
Floyd's breaking Rocky's fight record, is but one more indication that whitey's days of ruling this earth
are OVER. Meaning, when you see the people with the most resources,
not only fighting amongst each other, but killing themselves in
droves by means of suicide and drug overdoses, we need to understand
that the melanated earth is working her magic/majik and screaming:
“ENOUGH!”
And
I always have to say that topping all the aforementioned facts off,
is the truth that white birth rates have been falling below
replacement levels for the better part of the last half century.
Meaning,
if you're a Black man or woman reading this, you should be extraordinarily jubilant. This is a glorious time we're living in, where we can
see whitey's dysfunctions fueling their complete and utter
self-destruction.
And
I can sum up my thoughts about whitey's being ethnically-cleansed off
the earth in two simple words: GOOD
RIDDANCE!!
Later...
MontUHURU
Mimia
P.S.
I
just had to include this article about Dr. Phil I saw in 'Time'
magazine here.
P.P.S.
Here's the trailer for the movie, Saturday Night Fever (1977). Check out a young John Travolta (Tony Manero), and a young Fran Drescher (0:47 in trailer) who asks him, "Are you as good in bed as you are on that dance floor?"
P.P.S.
Here's the trailer for the movie, Saturday Night Fever (1977). Check out a young John Travolta (Tony Manero), and a young Fran Drescher (0:47 in trailer) who asks him, "Are you as good in bed as you are on that dance floor?"