The Queen of Soul Aretha Franklin (March 25, 1942 - August 16, 2018)

Aretha Louise Franklin was born on March 25^th, 1962 in Memphis, Tennessee to her father, Clarence LaVaughn “C.L.” Franklin, and mother Barbara (Siggers) Franklin. Aretha's father Clarence, was a Baptist minister and circuit preacher, while her mother Barbara, was a gifted vocalist and pianist.

Both Aretha's parents had 3 children outside their marriage, and due to their tumultuous relationship, they separated in 1948, when Aretha was seven. Barbara went to live in Buffalo, New York, where Aretha's family had previously resided, and continued visiting Aretha who lived with Clarence in Detroit, before Barbara died of a heart attack in 1952, when Aretha was 10. Several women stepped in to help raise Aretha, her grandmother, Rachel being one of them, the other was the late, great Gospel singer, Mahalia Jackson—and it was during this time, that Aretha taught herself to play piano.

Aretha's father Clarence, was known as a preacher with a “million dollar voice”, and his celebrity amongst Black church-goers gained an almost nationwide status. His church was frequented by the likes of James Cleveland, Albertina Walker, Martin Luther King Jr., Jackie Wilson and Sam Cooke. Clara Ward, a gifted gospel singer herself, was said to be romantically linked to Clarence, but they never married—although, Clara was in the Franklin home enough times, to serve as a role model to young Aretha, while she attended Northern High School. But in pursuit of a musical career, Aretha left Northern High after her sophomore year.

Just after her mother's death, Aretha began singing solos at her father's church. And recognizing his daughter was an exceptionally gifted singer, Clarence began managing her at age 12. Clarence also helped Aretha sign her first record deal with “J.V.B.” records. In 1956, J.V.B. put out a single featuring Aretha titled, “Never Grow Old”, with another song called, “You Grow Closer” on the record's B-side. In 1965, “Checker Records” released an album called, “Songs of Faith” with the previously recorded Aretha cuts on it, and the disc also featured four unreleased songs from her as well.

Now, according to Quincy Jones, the famously talented singer Dinah Washington, said to him, that Aretha was gonna' be the “next one”.

So, in 1958, Franklin and her father traveled to California, where Aretha met Sam Cooke. And shortly afterwards, she toured with Martin Luther King Jr.—and sang at his funeral in 1968. As a young gospel singer, Aretha spent summers touring Chicago's church circuit, and often stayed with Mavis Staples and her family.

At age of 18, Aretha told her father, she wanted to follow Sam Cooke into the “secular” world of music, and with that, she and Clarence moved to New York, in pursuit of a “mainstream” record deal. Her father produced a two-song demo that came to the attention of Columbia Records, where she was signed to a deal in 1960. And Aretha's first Columbia single, “Today, I Sing the Blues”, was released in September of 1960, and quickly reached the top ten of the Hot R&B sellers chart.

Now, the fact that Columbia Records had Aretha singing songs like, “Today, I Sing the Blues”, speaks to the fact that they didn't know what to do with her golden voice. Still, in the 1960's during one of her performances, a WVON DJ, announced that Aretha should be crowned the “Queen of Soul”—and the title stuck.

In November of 1966, after six years with Columbia, Aretha signed with the “Atlantic Records” label. And in January of 1967, she recorded the song, “I Never Loved a Man (The Way I Love You)”—the song was released a month later and shot to number one on the “R&B charts”. *Note: now-a-days, the music industry has (largely) done away with the R&B chart listings, cause they know it's this genre, not “pop” music (Taylor Swift), that the public at large is really checkin' for and purchasing from (especially when ya' talkin' 'bout whitey). Mind you, “I Never Loved a Man” also peaked at number “nine” on whitey's Billboard's “Hot 100” charts. And if that weren't enough, this record's “b-side “, had the song, “Do Right Man, Do Right Woman” on it. And that topped the R&B top 40 charts.

In April of 1967, Atlantic had Aretha record her riveting version of Otis Redding's song “Respect”, which shot to number one on both the R&B and pop charts. This became her signature song, and with it, Aretha's status as an industry icon was confirmed. The song's also recognized as an anthem for the “Civil Rights” movement—and feminism.

Now, let's stop here.

The real reason Aretha's called the “Queen of Soul”, is that's what her voice spoke directly to.

When she sang, her melanated spirituality reached inside us and had a healing effect on whatever trials and travails we might have been going through. I remember as a young man, the first time I heard her sing the song, “Rock Steady”, on “Soul” Train. At the time, I didn't know much about her, but I was so mesmerized by her voice, that I couldn't turn away from the TV. What I've found out since is, the sound she produced, was the voice of our indigenous ancestors using her as a vessel, to let us get a glimpse of the abiding love, warmth, and benevolence that the overwhelming majority of us will experience, once we leave this 3^rd dimensional plane.

And let me also say, it sickens me, when white women try to hijack Aretha's spirituality, to co-opt the public into believing the nonsensical narrative of white fascist feminism.

Case in point...

A couple of nights ago on August the 20^th, MTV decided that Madonna should prepare a “tribute” to Aretha Franklin on their annual “Video Music Awards” (VMA) show. Now, as we all (should) know, Madonna's speech turned the air toxic at the VMA's—and there's 3 specific reasons why—and they're as follows...

Reason#3: People wondered, what the heck is Madonna wearing?

Well, while most people were befuddled at Madonna's wardrobe, when I saw her “get-up”, I nodded my head and though, it figures—cause here's what I knew: the term “Black Madonna” or “Black Virgin”, refers to the statues of the “blessed” Virgin Mary, and often the infant Jesus, with Black skin. Mind you, there are 400 to 500 “Black Madonnas” in Europe alone—and these statues, which are mostly in churches and shrines, are associated with miracles.

Now, you might be thinking, well, that's nice to know bruh, but what's that gotta' do with Madonna's attire? Well, peep this out...to the right and left of Madonna's picture from the 2018 VMA's, are pics of the “Black Madonna”. And like KRS-ONE said, “...if ya' wanna' little clarity, check the similarity.”

Mind you, the “Black Madonna” is who the Pope actually worships as a deity, as you can see to the left (and if you wanna' enlarge the pic, you can click on it).

Madonna was performing a freemasonic ritual right before our eyes, where she essentially tried to harness Aretha's (The real Black Madonna's) energy for herself. That's why she mentioned in her 6 minute speech, how she was inspired by Aretha, and that's why she thanked Aretha for being “our” Queen of Soul.

Essentially Madonna wants the “Queen of Soul” title herself, but she proved that night, that she'll never be anything but a third-rate “material GIRL”.

Reason#2: Madonna understands that she stopped being relevant years ago.

There's a now famous tweet being shown on this topic that states: “Does Madonna know Madonna didn't die”?

Now, what the person who “tweeted” this fails to realize is: Madonna may not be dead, but her career died a long time ago. And there's nothing she can do to resurrect it—NOT A DAMN THING!

Reason#1: Madonna not only knows that the gold standard of cultural currency is “Black Street Cred”, but she realizes that her leaving the R&B genre to be a pop princess, means she'll forever be locked out of that social construct.

Now, Madonna's 60^th birthday just passed—that's right y'all, the material girl, is 60. And supposedly, Aretha passed on her b-day. Mind you, I guess Maddy wasn't only pissed cause a fuss wasn't made over her birthday, but it seems like she's ticked off cause she was (and forever will be) outshined by Aretha's passing—and Maddy can't stomach that.

To top all this off, Maddy supposedly had her b-day celebration in Morocco, Africa.

Meaning, everything she's trying to do to align herself wit' “Black Cool Points”, is failing miserably. There's even footage of Maddy backstage at the VMA's conversing (and flirting) with Lenny Kravitz. And at one point in their conversation, Maddy says to Lenny, “...awards shows are all about betrayal—you feel me?” So Madonna's working overtime tryna' perfect our vernacular and get wit' our spiritual sciences, so she can stay in denial about her 15 minutes being up—and knowing they'll never be back again.

So, I've said all that to say this: no matter how hard Taylor Swift, Gwen Stefani, the late Amy Winehouse, or Maddy try in earnest to approximate the construct of Black Cool Points, they'll always fall short. For the simple reason that their degenerative pallor and the recessive DNA that goes with it, will never be able to access the kinds of spirituality that the indigenous people of this earth, Black men and women, possess as a matter of course.

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

REST IN PEACE, AND AWESOME POWER TO THE QUEEN, NETCHER, DEITY, AND THE REAL “BLACK MADONNA”, ARETHA FRANKLIN!

THEY'LL NEVER BE ANOTHER TO TAKE YOUR PLACE! 

Later... 

—MontUHURU Mimia

P.S.

Here's the Soul Train vid from 1972, featuring Aretha, that I wrote about earlier. And mind you, everything about Aretha is golden in this clip, from her voice, to her skin, to her hair, to the background's stage design. And even though the production value of this vid ain't the best, Aretha's lovely vocals will still shine through your computer screen. And, I defy you not to get goosebumps when Aretha raises her hands and sings, “Oooooh-hoooo” at the bridge. Classic stuff, enjoy.

 

The Cult of Black and white Cinematic Symbolism (Part 20)...What do the movies "BlacKKKlansman" and "Sorry to Bother You", have in common with gay christian churches?

“Street knowledge amazes the scholars when we coin phrases for dollars...”

—Jay-Z, from the song, “Bring it On”

Ronald Stallworth was born in Chicago, Illinois on June 18^th, 1953. A few years later, his mother moved him and his family to El Paso, Texas, where he was raised. And in the summer of 1972, his family moved again to Colorado Springs, Colorado, where he developed an interest in law enforcement.

After becoming a police cadet, and a rookie cop, In 1979, Ron was hired on as the first Black detective in the Colorado Springs police department. Mind you, as a detective, Ron was initially assigned to the records room, where he was reviled by his bigoted white co-workers, before he requested to go out in the field.

And Ron's very first undercover assignment, was to “observe” a Stokely Carmichael speech, when brotha Stokely was slated to speak at a “Black nightclub”. Ron eagerly accepted the task—and after his surveillance of the Carmichael lecture came off without a hitch, Ron was assigned to the “intelligence” department.

Now, let's stop here a sec'.

Understand, the first thing Colorado law enforcement had Ron do, was spy on Stokely, at a Black club. Notice, they didn't have him solve any local crimes or track down any fugitives, they had him watching someone who was associated with the Black Power movement. And unfortunately, the overwhelming majority of the “leaders” in the Black Conscious Community (BCC), have followed this same trajectory. Only difference is, the majority of the leaders in the BCC were ex-cons, before they were indoctrinated into white fascist freemasonry, and inserted into the BCC.

Well, one day, while going about his detective duties, Ron stumbled on an ad for the Colorado Springs chapter of the KKK. He called the ad's number pretending to be a white man, and once Ron's verbal slight-of-hand got him accepted into the klan's ranks, he teamed up with a jewish co-worker by the name of Flip Zimmerman, who would play Ron when he physically had to meet with klan members. And mind you, this is based on a true story, where Ron not only got to talk to the now infamous grand wizard of the klan, David Duke, but where he actually meets him in the flesh, due to an assignment he got to provide security for Dave.

Now, the team surrounding Ron's infiltration of the klan, was tasked with stopping a violent mission they had against Colorado's Black populus—but understand, that's not the focus of this post.

Moreover, I'm sure this movie is as entertaining as it is informative, and I'm glad Spike is getting some of the accolades he so rightly deserves, but, I haven't yet seen this flick. And while I do plan to go check it out in the future, what I'm more focused on, has to do with a line of dialogue in this flick's trailer, that I think everyone's heard. Cause it speaks to the very nucleus of the world's gold standard of cultural currency.

But we'll get to that a bit later in this post...

Raymond Lawrence Riley, better known as “Boots” Riley (left), was born on April 1^st, 1971 in Chicago, Illinois (another Chi-town native, like Ron Stalworth), and by the time he was 6, Boots' family had moved to Detroit, Michigan, before settling down in Oakland, California.

Boots' parents were community activists and organizers, which informed Boots' political ideologies, and had him joining the “International Committee against Racism” and the “Progressive Labor Party”, at ages 14 and 15 respectively.

Boots bought his political bent to a budding musical career, when he formed the Hip-Hop group, “The Coup”, in 1991, with a UPS co-worker of his, who called herself “Pam the Funkstress”. He was the emcee, and she, the DJ.

In 1992, The Coup was signed to the recording label, “Wild Pitch Records/EMI”, and their first album released in 1993, was called, “Kill my landlord”. The album spawned two singles, “Dig it” and “Not Yet Free”, and their videos aired on “BET” and “Yo! MTV Raps”. Now, beyond this, the group has gotten a lot of critical acclaim for it's politically conscious rap music, and their discography is as follows: “Genocide and Juice” (1994), “Steal this album” (1998), “Party Music” (2001), and “Pick a Bigger Weapon” (2006).

Now, while Boots embarked on his musical endeavors, he took some time to teach a daily high school class that he called, “Culture and Resistance, The Art of Persuasive Writing”, at the School of Social Justice and Community Development, in East Oakland, California. And even more recently, he's parlayed his lyrical talents into screen-writing. The result of this being his script for the recently released flick, “Sorry to Bother You”, which was distributed in theaters on July of this year.

And mind you, Boots not only created the movie's soundtrack, but he also directed this flick.

Now, the basic premise of this film is this: a young African-american telemarketer, Cassius “Cash” Green, adopts a white accent to excel at his job, and once he does, he gets swept into a conspiracy where he has to choose whether or not he'll make money at humanity's expense, or join his activist friends to organize laborers. And for those who don't know, this is a subject that's dear to Boots' heart, cause he recently came out as a “communist”.

Moving on...

Now, a few weeks ago, I was walking a downtown street, when I saw a church with a rainbow flagged banner across it's front window. Now, I know this is the universally accepted symbol for gays, but when I looked at the writing on this particular banner, I saw the terms, “queer”, “lesbian”, “bi-sexual”, “transgender”, etc., and in big white block letters next to these terms, the phrase, “It's all good” was featured.

I just shook my head and kept walking.

Now, you might be asking yourself, bruh—this stuff is nice to know, but what the heck do these things have in common?

Welp, like I've said previously, the gold standard of cultural currency the world over, is Black Street Cred—and that's what these 2 flicks and the gay christian church, are exploiting.

At this point, you might be thinkin', I don't see the connection—well let me break it down right quick...

First off, in the case of Spike Lee's “BlacKKKlansman”, there's a particular line of dialogue in the film's “official trailer”, that's uttered when the Ron Stallworth character, played by Denzel Washington's son, John David (JD), is asked by the supervisory cop if he can pull off having two Ron Stallworths for this operation—and JD says, “With the right white man, we can do anything.”

Now, couple this with Boots' “Sorry to Bother You”, where his main character “Cash” adopts a “white voice” to excel on his job—and the gay christian church's use of our vernacular (It's all good), and you'll see how whitey is trying to legitimatize these movies, and the insipidly conflicted gay/christian church, with the world's most revered cultural currency, “Black Cool Points”.

And let me break this down even further...

whitey is using our voice (and vernacular) to speak his superiority into existence. And he's doing this through characters like Ron and Cash.

Now, a lot of you are probably thinking, bruh, you're just fishin' for stuff now—whitey don't need us to legitimatize his superiority, he's already good wit' that. But what we need to realize is, our voice, more than any other, is what manifests into any kind of currency, whether it be spiritual or monetary. Thus, Jay-Z's pithy lyric: "Street knowledge amazes the scholars when we coin phrases for dollars". And mind you, I'm not a fan of Jay-Z's, but that rhyme encapsulates what Black Street Cred really does.

Don't believe me? Then check out the latest commercials for Target, Old Navy, McDonalds, KFC, Walmart, H&R Block, Dominoes Pizza, etc. And you'll see that every one of 'em, is using our “cool points” to sell their wares.

Everyone of 'em.

So, I've said all that to say this: if you do enough research into any art or science, not only will you find Black men and women at its genesis, but you'll see, it's our spirituality that's running not only this world, but the entire universe. And don't take my word for it, do some research on Africa's “Dogon” people, and you'll see how spiritually and technologically advanced they were—thousands of years before whitey existed.

And this is just one mo' reason, you should go to the mirror, smile, and say...

I LOVE BEING BLACK!

And mean it.

Later... 

—MontUHURU Mimia

P.S

Here's the trailer for “BlacKKKlansman”. Now, I want you to watch out for the line, “With the right white man, we can do anything”. And note how important it is that this line is uttered by J.D. Washington, and not the white officers around him.

 

P.P.S.

Here's the trailer for “Sorry to Bother You”. And the part I want you to focus on most, is when Danny Glover tells Cash to use his “white voice”, if you wanna' make money here. 

    

The end of feminism (Part 3)...The Black female "Iron Man", the Dora Milaje, the "forgive #METOO" movement, Korean Nail Salons, Dr. Venus Opal Reese, and one mo' comment 'bout the white fascist attack on Black femininity...

In 2016, a Black female journalist working for CNN in Paris, France, wrote a newspaper article explaining why Marvel was turning Tony Stark's alter-ego, “Iron Man”, into a young, Black woman.

Now, the article gave wholesale explanations about why this was so revolutionary, and how it was a boom for young, Black females everywhere. So essentially, the Marvel brass were turning Tony, into a teen-aged, Black female named “Riri Williams”. And Riri's mythology, involved her attending the Massachusetts Institute of Technology, at age 15—which I don't have a problem with, since several of our prodigious young people have attended “Ivy League” colleges in their teens—and one day I'll write a post about that. And Riri's backstory also says she came to the attention of a middle-aged Tony Stark, cause she built an “Iron Man suit”, in her dorm room.

Now, before we start singing Marvel's praises, let me tell you why I'm opposed to a young Black female being portrayed this way...

And mind you, I can hear people saying, bruh, there's been several Marvel characters that have been turned from males into females—and Marvel's “Captain Marvel” is just one of 'em—moreover, there's gonna' be a movie dedicated to this superhero next year.

I get that—but here's what's really goin' on—now, when you hear the word “iron”, what's the first thought that comes to mind? Well, what the average person thinks of is a metal, that's cold, inflexible, and incredibly hard—and that's what white fascists want people (men especially) to think about Black women.

Now, fast forward to 2018, and we see the same kind of stereotyping in Marvel's “Black Panther” movie. Meaning, in regards to the hyper-masculine, bald-headed, spear-carrying women of the “Dora Milaje” (DM), these Black females look like they'd rather be men, than be with one. And Black females were quick to praise these warrior-women, for their fierce independence and masterful pugilism. And what's even more subversive, is the corresponding comic book called the “World of Wakanda”, which is tailor-made for Black girls, while being rife with homosexual overtures.

Don't believe me?

Then feast your eyes on the World of Wakanda comic strip to the left (and you can click on this pic to see it better)—now, in the first panel, we not only see a shorter-haired member of the DM, lovingly crook a finger beneath the chin of another DM warrior, but we see her saying that her “...dead self, is her best self”. And after the longer-haired, and more submissive female agrees, the masculine (butch) DM, calls the other “beloved”, before speaking on what the more feminine female got them (in this case, the “Midnight Angel prototypes”). And in the last frame, the masculine DM says, since we've adopted this cultural garb (the Midnight Angel attire), and the culture that goes with it, we ought to act as “dead women should”.

Mind you, this comic is for kids.

Now, this triptych is sending 3 distinct messages to the Black girls who read it. And they are... 

#1. Homosexuality is a natural state of being for Black women.

#2. Black women should be ready to die in defense of homosexuality.

#3. Black women should be ready to fight to the death when it comes to their gender-warring with Black men.

And to the Black men and women who consider buying this crap for their children, hopefully they'll understand that whitey knows he's selling a “death-style”, not a lifestyle, to our daughters.

Now, you might be saying, okay, we got how white men play a part in this, but how do white women and feminism factor into this equation? Welp, let's go in on that right quick...

First off, I'd be remiss if I didn't start off with this: A coupla' decades ago, in my teens, I was watching a PBS special featuring what looked like a middle-aged George Soros (and if you don't know who that is, google him). Anyways, he told a story of how he attended a party and got into a conversation with a Rockefeller. While conversing, the Rockefeller asked him, “What do you think about 'Women's Lib'?” To which the George Soros look-a-like responded, “Well, I think it's positive, equal pay for equal work...” Then the Rockefeller replied, “We funded 'Women's Lib'—and the reason we did was, we couldn't tax half the population, if they were staying at home and being housewives—we had to get women into the workforce to get at that revenue.”

Now, I've used the above anecdote several times throughout the life of this Blog, and while I'm still amazed at this story's evil ingenuity, I think what it shows most is how “feminism” has nothing to do with female empowerment. And I'll even do that sentiment one better, and say, not only doesn't feminism empower women, but white women especially, don't wanna' be more powerful than their men.

I can hear half of the people reading this saying—alright bruh, prove it...

Bet.

By now, I'm positive everyone reading this is acutely aware of the “#MeToo” movement, and it's ouster of notable white men like Charlie Rose and Harvey Weinstein—welp, now there's a counter-movement that's been created by white women, called “#MeToo forgiveness”.

One member of this movement, is Jill Filipovic, a white female journalist working for “Time” magazine—and on February 26^th, of this year, Jill wrote an article titled, “How to find room for forgiveness in the #MeToo movement”. One excerpt of this essay reads as follows: Some of these men have issued statements attempting to apologize and take responsibility. Weinstein checked into rehab, and reportedly was hoping for a second chance in Hollywood. And after the dust settles and these men spend a few months, or years out of the spotlight, some of them will undoubtedly attempt returns to their previous positions. Before they do, we must reckon with the questions of forgiveness, rehabilitation and redemption. Can these men be redeemed? And what does redemption—or just forgiveness—look like?

And the main tenet of this article can be summed up by one sentence in its mid-section, which says: Everyone deserves grace, and the chance to transform into a better version of a damaged old self.

Now, for those who can't read subtext, let me tell you what she's really saying...

white women understand their “privileges”, are directly linked to the machinations of white fascism...PERIOD. And who's the keeper of those machinations? You guessed it, the devil himself—Mr. Charley, or the good ole white man. The same guy feminists have sworn to defrock in their fight against the injustices of patriarchies all over the world.

So white woman are slowly neutralizing, or neutering, the deleterious dethroning of their men, in order to preserve their “status-quoed” spot, as the most physically desirable and exquisitely feminine women in the world.

Meaning, if you're a Black woman reading this, you should realize all the feminist rhetoric white woman throw at you is just talk—which we all know is cheap. So instead of listening to what they're saying, watch what they're doing (election of Donald Trump)—cause that'll tell you all you need to know.

Moving on...

Now, last Friday night, in Brooklyn, New York City, a fight broke out in a nail salon, over a $5 eyebrow wax. And if you're reading this blog, I suspect you've already seen this footage, as it's all over broadcast news. And, a coupla' days after the incident, the Black man who inspired me to write this blog, curated a video commentary about it.

Mind you, I knew the position this man would take, regarding this brawl—but I was hoping against hope, that he'd prove me wrong. So, I reluctantly watched the vid. And sure enough, he used this incident as another opportunity to verbalize why he doesn't like his own people.

Thus, I stopped watching the clip after the first few minutes.

Now, regarding this, there's 3 questions people keep asking that I wanna' address here, cause they speak to the heart of the conditioned self-hatred, the greater majority of Black people are stuck in—whether they know it or not. So without further ado, let's go in on these questions...

Question#1: Why would these Black women get into a fight over a $5 eyebrow wax?

Now, the Black man who inspired me to write this blog (and many of us), are of the opinion that these women should have just paid, left, and never returned to the salon. But, what they're not realizing is, this incident ended the way it did, according to local residents, not only due to the fact that these asians nearly waxed Christina Thomas' eyebrows off, but due to the Koreans reputation for the mistreatment of our people, and the hostile attitudes they kept displaying to every Black person who patronized their business, over the course of the last several years.

And mind you, the people who got violent first, were the Koreans.

So, am I saying that the Koreans attitudes towards us, justifies refusing to pay for the botched eyebrow wax?

No.

What I'm saying is, if you as a Black man or woman think these sistas were being petty, why don't you ask yourself this question: knowing how many years these Koreans have been getting rich off our patronage, and giving us abysmal service in return, why couldn't they just tell these sistas to leave and not come back, if it was just over $5?

And mind you, if those sistas were latino, white, asian, or american indian, that's exactly how it woulda' went down.

But since asians like our money and hate us, they feel we're duty-bound to pay for their rotten service. So, they physically tried to stop these sistas from leaving the store—and that's when the fight broke out.

Question#2: How come those sistas didn't put up more of a fight?

Now, due to the negative stereotyping of Black women, everyone expected these sistas to beat the hell outta' those Koreans—and when they didn't, everyone was like, what gives? Mind you, Christina's only 21, and her grandmother, who was with her, was also assaulted by these Korean hooligans. Add to that, the fact that those Korean women outnumbered the sistas like 4 to 1.

Question#3: If the Koreans were treating Black women so poorly, why didn't the neighborhood's Black women, open up their own salon?

I think this might be the question that ends up getting asked the most—but I saved it for last, to expound on the broader issue of disunity among us. Now, the number one reason that sistas say they haven't done this already, is cause they feel this kinda' work is beneath them. Meaning, sistas are vocal about not wanting to work on or smell people's feet all day, on top of having to complete salon and spa treatments on them afterwards.

But, this leads me to say one thing about this incident, that you might not expect to hear—and that's this: I'm glad this salon brawl happened.

Mind you, I'm not saying I wanna' see sistas get hurt, but here's the hard truth, Black folks in general have been so conditioned to hate each other, that it takes an incident like this to get us to work together. Meaning, even if sistas feel this work is beneath them, maybe now they'll see why it's mandatory that we have our own salons that cater specifically to us. And if Black women find this work demeaning, maybe we can give the sistas who agree to take on these tasks, some extra compensation to make these positions more attractive.

Moreover, what no one's gonna' mention, is how asians, fair or dark-skinned, are approved for bank loans to open businesses at triple the rate of Black people, just cause they're asian. And how fair-skinned asians were literally given billions of dollars in reparations under Reagan's presidential administration, in the 80's. And I'll write a post on these bank loan disparities in the future.

Now, I'd also like to add that when it comes to asians, dark or fair-skinned, especially ones who weren't born in this country, there's 3 reasons why we should expect this kinda' extreme violence in any kind of confrontation with them—and they are...

Reason#1: The continent that leads in rates of world hunger is asia, not Africa.

Now, why's this important? Because we need to realize that at least half of asians, dark or fair-skinned, are living in abject poverty. Thus, they're gonna' comport themselves like savages. And this is the reason why those asians were so quick to get violent with those sistas in the nail salon. Contrary to the lies you've heard about asians, they're NOT the smartest people on the planet, and if they were, my question is: why are so many of you starving? And why do they represent the majority of the people on earth who are?

Moreover, this is the same reason you should under no circumstances, eat in their restaurants. Why? Cause asians, especially the ones who weren't born here, are so famine-stricken, they'll eat cats, dogs, rats, or whatever they can get their hands on—and because of how they feel about us, they won't think twice about serving that crap to you.

Now, you might be thinking, well, it makes sense that they represent the majority of the world's starving people, cause there's more of them on the planet than anyone else.

Wrong.

How's that wrong you ask? Cause there's stats to prove that asians don't represent three-fourths of the earth's population, cause we do. Meaning, the majority of the people in the world, look like us—and that's saying, whitey lied (again) when he said asians represent the majority of the people on earth. And at the end of this post, I'll leave a link to another editorial I wrote that proves this.

Reason#2: asians are jealous of Black americans.

Now, at this point you might be thinkin'—bruh, I was wit' you when you said asians lead in rates of hunger—but now you're just makin' stuff up to be mean-spirited.

And here's my answer to that: if asians are so much smarter than us, then why would they be doing (what we consider) menial tasks like manicuring and pedicuring our nails and feet?

At this point, you might be like, wait a minute bruh, asians build thriving businesses in our communities that send their kids to college—true. But think about this: if you were told your whole life, you're superior to a particular kind of people, would you wanna' come to america to service those very people's feet and hands, or cook their food?

Black americans are richer than the overwhelming majority of foreign asians—that's why they're washing our feet and hands, and not the other way around.

And, that's one of the reasons why those Korean women were so pissed at those sistas. Moreover, if asians are so much smarter than us, why don't they build a thriving economy in their native countries, so they don't have to come to our communities in america?

Understand, these dirt-poor asians come here with little or no skills, other than knowing how their families have worked in america for the last several years—which is performing servile jobs in the Black community. Like cooking our food, scrubbing our feet and hands, and laundering our cloths.

Reason#3: asians know they're not white.

At the end of the day, asians, especially the ones manicuring and pedicuring our feet and hands, are pissed at us cause they know they're not white—and their serving us, especially in this manner, brings that fact home.

And let me reiterate, they may think they're “whiter” than us, but once they're on their hands and knees, cleaning and polishing the feet of Black people, trust me, they're more pissed off than they let on—cause nothing proves how white they're not, like these kinds of humbling and humiliating tasks.

Moving on...

About a week ago, I watched a disturbing video featuring the motivational speaker and life coach, Dr. Venus Opal Reese. Now, Dr. Reese says she comes from the “mean streets” of Baltimore, Maryland, and she also talks about how at age 16, she lived amongst drug addicts, prostitutes, and alcoholics, while sleeping in alleys and eating out of garbage cans. That was until a 9^th grade math teacher, who was a Black woman, intervened and got her off those streets.

And miraculously, Dr. Reese not only graduated from high school, but went on to graduate from Stanford university with a Masters degree and a PhD. And what she says is, from her tumultuous upbringing, she's crafted a monetary system that made her and her clients millionaires. So, kudos to her for that.

Now, Dr. Reese promotes a program centered around the “Black woman millionaire”, and her lectures are focused on this demographic—which is fine—but when I saw a clip from one of her seminars, which I'll feature at the end of this post, I couldn't help but notice the hyper-masculine ways this woman comported herself throughout her speech. Moreover, the first part of her lecture focuses on the theme that, white men and Black women built the world. Meaning, she was expounding on why the union of Black women and white men, were responsible for all the world's inventions and creations—ya' know, the ones Black men and women really created. And basically, she was telling her audience, which was mainly comprised of Black women, that their goal should be to pair themselves up with a white guy.

Mind you, even though she's trippin', I felt that everyone's entitled to their opinion, no matter how dumb-founded it is. But there's another level of insipidness surrounding the good Dr. Venus—and that is—she's married to another Black woman. Yep, the good Dr. Venus is gay—and her “life-partner” is a woman named Lisa.

Now, question: if Dr. Venus is gay, then why would she extol the virtues of being with a white man to her female audience?

It's cause she suffers from the same sickness the overwhelming majority of our people do, and that ailment is “anglophilia”. Meaning, even though Dr. Venus is gay, she'd still dump her “wife”, for the right white man. That's how much america's white fascist social order, has perverted her thinking.

So, I've said all that to say this: regardless of what Steve Harvey says, you CAN NOT think like a man and act like a woman.

YOU CAN NOT!

Moreover, to the Black women reading this, understand, whitey will seldom tell you the difference between a woman and a lady, cause he doesn't want Black women comporting themselves like ladies.

Meaning, whitey wants you to fully embrace white feminism and white fascism cause he's engineered these societal constructs to keep you in 3 perpetual states of being: well-paid, oversexed and alone.

And one mo' thing whitey will never tell you is this: In case no one's let you know, what attracts a man to any woman most, is her VULNERABILITY!

So, it doesn't matter what kinda' car you drive, what your educational background is, how much money ya' got, or how much of the Queen's english you speak, if you can't make yourself emotionally available to a man, he's got no reason to be with you.

Now, I can hear the Black female “swirlers” saying, look, I don't date Black men, so being emotionally available to them, is of no consequence to me. And that's what you may think—but here's the stone-cold truth: at least half of Black women who are used to being abrasive, condescending, and combative around Black men, can't turn their attitudes off, when they're around white and non-Black men.

And to the Black women reading this: PLEASE don't take my word for it. Cause trust me, every once in a while, you're gonna' spot a sista goin' off on some white, latino, or asian man, because that's how she's used to acting around us.

So, in conclusion, let me say that embracing white fascism and feminism is a DEATH-TRAP, engineered to keep you away from not only Black men, but from men PERIOD. So, if you enjoy the confines of manless misery, I'd say imbibe in and abide by the white fascist status quo. But if you want a good Black man to spend your life with, know that the only way you're gonna' get, or keep him, is with your innate Black femininity—not your embrace of white fascist feminism.

Later...

—MontUHURU Mimia

P.S.

Here's the Dr. Venus Reese vid I promised to post earlier. Now, I want you to notice Dr. Venus' hypermasculine posturing, ala her swearing, chest-beating, and her bellowing (baritone) voice. And to the Black women reading this, please understand, that this is the kind of woman NO MAN wants to be with. 

P.P.S.

And here's deleted clips from the movie “Black Panther”. Now, the one I want you to focus on is the third clip. What happens there is Okoye and W'kabi have a dispute over the defeat of King T'Challa. And after they argue, they wind up in a loving embrace. Now, notice how W'kabi is being stern with Okoye, but not abusive. And understand, why whitey couldn't have shown this scene—it's cause the clip says 3 things: 1. W'kabi is the man of the house and leader between them, 2. Okoye respects his role and defers to his opinion, and 3. they're a loving couple. You'll even see Ryan Coogler himself, say he wanted to include this scence, but his white fascist benefactors made him take it out. Now, there's other deleted scenes from Black Panther that come before and after this clip, and they're also well directed—on top of that, there's a short documentary on the making of Marvel's Black Panther movie, embedded in this vid—so feel free to enjoy that too. 

        

   P.P.P.S.

If you wanna' read the post I wrote about asians not being the majority of the people in the world, you can do that HERE.

*Addendum—9/6/2018

If you'd like to see the first 2 posts of this series, you can do that HERE and HERE