The end of feminism (Part 5)...Ayesha Curry's controversial needs, Hannah's horrific deeds, and the acculturation of impulsively careless cruelty...(Special Memorial Day Edition)

To the (consistent) readers of this blog: Marione Anne Perrine Le Pen, better known as, “Marine” Le Pen (right), is a French politician and lawyer who serves as president of the “National Rally” Political Party, formerly known as the “National Front” since 2011 (and we’ll talk more about the name “National Front” later). And more than just being the front-runner for her party, she almost became France’s President, until her vote count was bested by current French President, Emmanuel Macron.

Now, what makes Marine so intriguing is the fact that she’s a political party leader, of a confederacy that’s considered “far-right” wing—so, putting that into more layman’s terms: this is a party comprised (almost) solely of “white nationalists”—you know, the same bunch that had that rally in Charlottesville, Virginia. Yeah, those guys. And once again, I’m not talking about some white woman who’s been born and raised in the bayous of Alabama or Mississippi—I’m talking about one o’ those aryan, blondish-blue-eyed types coming outta’ the (supposedly) liberal, and highly cultured, country of France.

So, while France’s white women are showing their true colors (pun intended), over here in the “states”, the majority of america’s white women, voted for Donald Trump. Ya’ dig? Now, in regards to Marine Le Pen’s political party calling themselves the “National Front”, I find it interesting that state-side, one of america’s most popular white nationalist websites is called, “Stormfront”. Long story short fam, as whitey grows more desperate to keep themselves around behind the fact that they’re being effectively bred outta’ existence, they’re showing more and more of who they really are—especially the “liberal” white folks we call “Dixiecrats”, I mean, Democrats. Moreover, mr. white folks is so paranoid about their birthrates falling below replacement levels, that abortions have now been banned in Alabama. Additionally, abortion clinics nationwide are going the way of the dinosaur.

So, I’ve said that to say this, when I titled this series, “The end of feminism”, that wasn’t hyperbole, what we’re seeing more and more of is white women dropping their “liberal” facades and exposing themselves for the inbred bigots that they really are—also, we see the bigoted ideologies they’re standing for, backfiring on them—and we’ll discuss that in greater detail going over the recent Hannah Payne murder trial.

Now, if you’ve been reading this blog for a hot sec’, you know that I always preface these posts with whitey’s real agenda behind the social engineering technology we call feminism. And, while I don’t wanna’ be redundant, I gotta’ tell how this initiative got started, one mo’ time—so please, indulge me…

One day while watching a PBS documentary, a white man who looked an awful lot like George Soros (and if you don’t know who he is, google him) said he attended a party with a Rockefeller. And this man said the Rockefeller asked him a question: what do you think about “Women’s Lib”? And for those of you born after the 80’s, I’m referring to the “Women’s Liberation” movement, that eventually became the “Feminist movement”—so, to answer the Rockefeller’s question, the George Soros-looking man replied, “Well, I think it’s positive, equal pay for equal work and all…” To which the Rockefeller responded, “We funded ‘Women’s Lib’, and the reason we did was, we couldn’t tax half the population if women were staying at home and being housewives—we had to get them into the workforce to get at that revenue. On top of that, with both parents out of the home, all that would be left to raise the kids is the television—so the future generations will be easier to program.”

And in more layman’s terms, “feminism” was a TRICK PLAYED ON WHITE WOMEN Y’ALL! BY THEIR OWN MEN NO LESS!

And to Black women reading this, let me reiterate that WHITE (FASCIST) FEMINISM HAS NOTHING TO OFFER YOU! POINT BLANK, PERIOD!

AND BLACK “WOMANISTS”, THIS ESPECIALLY INCLUDES YOU!

So, with that said, let’s dive deeper into how this flawed and failing ideology is hurting the very gender it’s supposed to help—and, let’s see how this is directly affecting the futures of women like Ayesha Curry and Hannah Payne.

—MontUHURU Mimia

Ayesha Disa Curry-Alexander (left) was born on March 23^rd, 1989, and was raised in Toronto, Canada until the age of 14, when her family moved to Charlotte, North Carolina. Ayesha’s bi-ethnic, like her mother, who’s half Jamaican and Chinese, and her father who’s half African-american and Polish—on top of this, Ayesha has four siblings, and they are: Maria, Janiece, Jaz and Chad.

Now, throughout her 20’s, Ayesha was an actress known for her work in B-movies like: “Love for Sale” (2008), “Dan’s Detour of Life” (2008), and “Underground Street Flippers” (2009). After marrying her husband, Steph Curry, who we’ll talk about later, he encouraged her to turn her passions for cooking into a career—so, with his help, she created a blog and a YouTube channel focused on food recipes and lifestyle tips. Shortly thereafter, the popularity of the two, led to Ayesha’s being recognized by the “Food Network”, and their producing her show called, “Ayesha’s Homemade”. After that, in 2016, she released a cookbook called, “The Seasoned Life” and she collaborated with chef Michael Mina, on a restaurant called, “The Mina Test Kitchen of International Smoke”. In 2017, Ayesha starred in another show on the “Food Network” called, “Ayesha’s Home Kitchen”, which featured several cameos of her husband Steph, and their kids. And lastly, on September 20^th, of 2017, Ayesha became a spokesperson for “CoverGirl”.

Now, on May 7^th, of this year, miss Ayesha appeared on Jada Pinkett’s show, “Red Table Talk”, and openly admitted that because she’d gained some weight behind having children, and because her husband Steph has so many sports groupies, that she’s feeling insecure to the point where she now needs “more attention” from men. But lest this editorial be taken out of context, instead of paraphrasing, let me just write exactly what miss Ayesha said—and that’s: “I have zero—and this sounds weird—but like male attention. So, then I begin to internalize it and I’m like, ‘Is there something wrong with me?’” And she continued, “I don’t want it (male attention), but it would be nice to know someone’s looking.”

Meanwhile, in Georgia state, on the date of May 9^th, of this year, 21-year-old Hannah Payne (right) witnessed what she said was a hit-and-run accident, involving a Black man, 62-year-old Kenneth Harring, who allegedly hit another car, and sped off. Now, because of this, miss thang, I mean, miss Payne, trailed Kenneth’s car for a mile, before she blocked his path with her jeep, refusing to let him pass. Then miss thang got out of her car to confront Kenneth—an argument ensued, Hannah pulled a gun, and Kenneth wound up dead.

Now, if that weren’t egregious enough, it’s said that Hannah called the cops from her car, right after she blocked Kenneth’s path—and the cops told her to stay in her vehicle until they arrived, but that wasn’t in her plans. On top of that, it’s said that Hannah called the cops after she pulled the trigger saying Kenneth actually had a gun of his own, which he didn’t. Then she told the cops that the reason she shot Kenneth, was he’d hit her jeep with his car, but forensics proved the two cars never collided. Long story short, fam—Hannah, or as I call her, trailer trash Tina, had an itchy trigger finger, and went out with the intention of killing one of US.

Now, let’s stop here.

So, question: what do Ayesha and trailer trash Tina, I mean, Hannah, have in common?

Answer: they’re BOTH victims of white fascist feminism.

Now, I know people are thinkin’, bruh—are you crazy? Victims? That don’t even make sense—how the heck are these 2 victims? Especially in Tina’s, I mean, Hannah’s case?

Here’s how…

The american “Women’s Lib(eration)” movement, that eventually became feminism, embedded this (unwritten) rule into the minds of america’s women, and that rule is: It’s your ABSOLUTE right, as a female, born in america, to do WHATEVER THE HELL you wanna’ do—without suffering ANY CONSEQUENCES!

And one of the greatest examples of this was the HBO series, “Sex in the City”. On that show, we followed this coterie of adult girls who answered to no one, and basically lived their lives to shop and screw. Now, Black women followed suit when Shondra Rhimes executive produced the TV show, “Scandal”—there, you saw Olivia Dope, I mean, Pope, catering to one thing, and one thing only—her own whimsy. And sadly enough, women have based their whole lives on these shows.

Now, Tina, I mean, Hannah Payne, committed a horrifically egregious crime when she followed her whimsical feelings and pulled that trigger—which makes you wonder why, when you see her handcuffed in a courtroom, she’s got a genuinely perplexed look on her face, and you can almost hear her thinking—all I did was kill some random negro—what’s the problem? But, she’s not the only woman who’s a “murderess”—cause after what ole girl, Ayesha, said on the “Red Table Talk” show, she’s officially become a murderess too. And right now, I can hear people saying, “Now, how the heck can you say something as crazy as that? You’ve mos def crossed the line now, bruh.” Welp, I’ll tell you for a fact that Ayesha not only murdered one virtue—she’s killed off “3”—and they are…

Virtue#1. Trust

And I can still hear people saying, “Bruh, you still ain’t makin’ no sense—how the heck did Ayesha kill off some “trust”? Here’s how…when miss Ayesha got on national TV and said she wanted more “attention” from men, she was telling her husband Steph, and the whole world, that she’s not only feeling unfulfilled sexually or emotionally, but she’s telling her husband she CAN’T BE TRUSTED when he’s not around. Why? Well, put yourself in Steph’s shoes, while he’s playing an “away-game” outta’ town, he’ll probably be thinking ‘bout how his wife told everyone on national TV, that she wants more “male attention”—so how can he ever trust her to do the right thing? Especially when he’s gone. Mind you, when a married woman tells men that she’s seeking more attention from OTHER men, like I wrote about when Charlize Theron did something similar (and I’ll leave a link for that post), what the men of the world hear is: well, Ayesha must wanna’ have a tryst behind Steph’s back—or with his permission. So, Ayesha’ll definitely get more attention from men now—cause she’s sounded the tramp alarm that says: I’m a mom, who’s looking for an extramarital “fling”—HOLLA AT ME! Now, they’ll be some women who say, why can’t she just speak her truth if that’s what she’s feeling?—okay, well, let’s flip the script—what if Steph had said he needed more attention, instead of Ayesha—as a woman married to him, how would you feel?

Virtue#2. Reputation

With Ayesha’s statement of wanting more “male attention”, she knowingly or unknowingly, went from being the “stately” wife of an NBA-star, to looking like a slut-bag whore, within the span of seconds. Understand, once your “good name” is gone, it’s almost impossible to get back—and unfortunately, I think Ayesha is finding out now, how disgraceful she’s made herself look to the public.

Virtue#3. Black “FEMININITY”

Ayesha made a statement once that she didn’t feel “Black enough for the Black community…”, now, let me tell you what she really meant—Ayesha was saying that she not only feels unfulfilled for marrying a Black man, but she’s saying, she wants attention from the kind of man she really wanted to marry—a white one. Understand, bi-ethic Black folks often have the “whiter than thou” curse, meaning, they believe by virtue of their bi-ethnicity, they deserve to be with someone who’s white and/or non-Black. Welp, Ayesha is understanding now (hopefully), that not only is she viewed as a Black woman but she was revered as a Black mother and wife, who was in an “ideal” Black marriage—but, all that’s gone up in smoke wit’ miss Ayesha’s dumb-founded statement. And more insidiously, she’s saying that she probably had her eyes on a few white men she wanted to marry, but none of them (she knew) had Steph’s kind of money. Poor little “mixed” girl.

Now, I know I said Ayesha killed off “3” virtues, but let’s be audacious and talk about “4”…

Virtue#4: Work ethic

I can really see folks scratching their heads now thinkin’—what? Okay, let me break this one all the way down…another way Ayesha is practicing the insipidly unrealistic mores of white feminism is thinking, she shouldn’t have to work to get men’s attention(s). Meaning, she’s mentioned several times how self-conscious she’s become about her weight, but rather than work to lose it, so men will be more attentive to her, she feels she deserves more of men’s attentions, without having to EARN IT!

So, the moral of this story—especially for “SWIRLERS” is…as a Black man or woman, if you know in your heart of hearts, you wanna’ be married to a white or “non-Black” person, and you’re not currently, JUST WORK HARDER TO ATTRACT PEOPLE OUTSIDE OUR ETHNIC GROUP—AND LEAVE “US” ALONE!!

Cause quite frankly, if you settle (in your mind) for marrying and/or dating a Black man or woman, all you’re gonna’ do is make one of us MISERABLE! And let me tell ya’, far too many SWIRLERS are guilty of this.

But the real-real moral of this story is, if you’re a Black woman you need to TAKE YOUR “FEMININITY” SERIOUSLY!!

white fascist feminism, just like good ole fashioned white fascism, wants and needs for you to be ALONE! So, white women (and their institutions) are gonna’ encourage you to embrace the tenets of hypermasculinity and hypersexuality, so wHITE WOMEN CAN CAPITIALIZE OFF THE STEREOTYPE OF BEING THE WORLD’S PRETTIEST FEMALES VIA “THEIR” EXALTED FEMININITY!

So, understand Black women, Black men are NOT KEEPING YOU FROM SPEAKING YOUR TRUTH, we’re saying, peep the game that whitey’s playin’ on you—and, it’s imperative you understand where white (fascist) feminism wants to keep you, cause believe it or not—YOUR FUTURE HAPPINESS DEPENDS ON IT!

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

Later…

—MontUHURU Mimia

P.S.

And you can read about Charlize Theron’s wanting more attention from men HERE.

And if you'd like to read the other posts in this series, you can do that HERE, HERE, HERE, HERE, and HERE.

John Singleton (January 6, 1968-April 29th, 2019)

To the (consistent) readers of this blog: The european Union (eU), was originally called the “european Coal and Steel Community” (eCS), and it was founded in 1950. At first, it had six members: Germany, France, Italy, Belgium, Luxembourg, and the Netherlands—and thereafter, the “eCS” became the “european Economic Community” in 1957 under the “Treaty of Rome”—and if you’re new to this blog, yes, I’m purposely putting a small “e” in front of europe. Shortly afterwards, this consortium became known as the “european Community” (eC), and its early focus was on a common agricultural and customs policy, that would lessen the barriers between these nations in terms of effectively trading goods and services. Now, the “eC” expanded in 1973, to include the countries of Denmark, the UK, Greece, Ireland, and Spain. On top of this, a directly elected “Parliament” was formulated in 1979.

In 1986, the “Single european Act”, solidified principles of european foreign policy cooperation and extended this forum’s powers over the community—mind you, this initiative’s sole purpose was to further the agenda of a singular european market (therein lies the name). Additionally, the “Maastricht Treaty” (MT) took effect on November 1^st, 1993, and that year, the european Union (eU) replaced the “eC”. Now, the MT was the basis for the “euro” currency—which debuted in the eU on January 1^st, 1999—and the creation of this currency was, and is, an integral part of consolidating europe’s markets towards the goal of maximizing “trade” efficiencies.

Now, on cinematic fronts, the movie, “Avengers: Endgame” was released in american theaters on April 26^th, of 2019, and it was produced by Marvel Studios. And this film franchise’s distribution and ownership lies under the umbrella of Walt Disney Studios. Additionally, this flick had a budget of $356 million, and to date has grossed $2.5 billion dollars—yep, that’s “billion” with a “b”. With that said fam, even though you couldn’t help but hear about this flick, I’ll give y’all a cogent synopsis of the movie. Basically, Thanos, this movie’s villain, has eradicated half of all life in the universe, so the remaining “Avengers” must hatch some sort of plan to reverse the damage done by him, to in effect, become the “saviors” of us all.

Now, here’s a question: what do the “European Union” and the “Avengers” movies have in common?

And now you might be thinkin’, what the heck are you talkin’ bout bruh? The “eU” ain’t part of no movie—and you’re right, it’s not. But what all the “Avengers” movie(s) really represent, are disparate groups of white people, with “mutated” (and in “reality’s” case, “recessive-traited”) genetics, forming a united front to fight off a common enemy—GENETIC ANNIHILATION.

Meaning, with white people overdosing on drugs like crazy, committing suicide in droves, and with white birth rates falling below replacement levels for the past couple o’ decades, now more than ever, groups of white people understand that they’ve got to put differences aside, cause the reality is, they’re effectively being bred out of existence—kinda’ like what ole bwoy Thanos did to half the universe.

So, this Avengers movie (and this franchise) are a clarion call for caucasians across the globe, to unite for their own survival.

Now, before I administer some tough love on myself (again) for lettin’ “life thangs” get in the way of my posting here on a more timely basis, I need to let you know that the passing of master auteur John Singleton happening 3 days after the latest installment of the Avengers movies came out, kind of assaulted my sensibilities in regards to my naming this forum the “Cinematic Symbolism Blog”—and to top that off, I just found out about that minstrel-show-of-a-movie, “MA”, starring actress Octavia Spencer, opening in cineplexes nationwide, so I’ve been deluged with all this info. at a time that’s running concurrent with the tempestuousness of my personal life lately.

So, I felt my response to these “goings on”, warranted my curating of an editorial that spoke in more of a “visual” language, than a literary one. Thus, I dusted off my old video editing software and proceeded to combine an assortment of clips speaking to a central tenet of the Avengers movie(s) that (I feel) many folks missed. Only problem was, the 10 to 15 minute video I’d planned, wound-up being a bit long-winded when it came to the text elements (and text animations) embedded in it, thus my 15 minute clip turned into a nearly 30-minute video thesis—and my older video editing software couldn’t handle that kinda’ volume. Mind you, I’d made a second vid that I felt sufficiently parsed down all the elements I’d had in the first one, still, my older software wasn’t able to handle the “text-heavy” parts of my video—long story short, I had to look for other video editing software—and I’m happy to inform everyone, that I found some more up-to-date software that better suits my needs, but I’m currently (still) learning how to use it.

In the meantime, though, I thought I’d give readers here a “literary” breakdown of what’s in those earlier videos—and in doing so, I thought I’d take a “3-sectioned” approach to this post. Meaning, in this post’s first section, I’ll do my best to properly eulogize the late great John Singleton—and in this post’s mid-section, I’ll write about the sublime messages emanating out of the Avengers movie, “Infinity Wars”, especially pertaining to “Gamora’s” odd relationship with the villainous character, “Thanos”—and in this post’s last section, I’ll take on what’s wrong wit’ that macabre mammy-movie, “MA”. And note, I understand this editorial’s subject matter may be a bit outdated, but it’s imperative that I feature and decode them here, not only for the sake of this blog’s mission-statement, but for those indigenous Black men and women who might wanna’ traverse to movie theaters but aren’t fully aware of the “conditioning elements” in these flicks. Additionally, this post is gonna’ be somewhat of a “mash-up” between the “Cult of Black and white Cinematic Symbolism” series and the “the white fascist attack on Black women” postings, so, it might run a little long.

But, as always, I’m writing with you guys in mind, to ensure you have a comfortably fluid read—and once again, for the intrepid amongst you who made it a point to visit my blog while I was away, I say, thank you, thank you, and THANK YOU!

—MontUHURU Mimia

Section#1. John Singleton

First off, I remember in a couple of interviews, John Singleton said he lived near a “drive-in” movie theater—now, let’s stop there. Being that my first love was cinema, I could only imagine how this molded the imagination of John in his pre-teen and “tween” years, especially when it came to the “magic” involved with movie making. Moreover, in these same interviews, John waxed philosophic about the pleasures of being able to literally look out his window and see 20 feet tall movie stars acting out various scenes.

Now, my own father was an artist, and I remember vividly how he created this one art installation comprised of a Black box, with a silver screen at its front, and inside he’d created a mechanism that would flash varying colored lights that appeared on the screen as various shapes—for instance, one red colored light would flash in the form of a triangle, the other would be a yellow circle, another was a white rectangle, etc. Now, as a pre-teen, I would stare at this for hours, and wait for my favorite TV show to come on, until he told me it wasn’t for that (Lol!). When I was a couple of years older, my parents took me to see my first movies, and I was immediately smitten with them from the experience(s) I had with my father’s art installation—so, I can somewhat relate to John’s early fixation with the grandiosity (and early pageantries) of cinema. But with that said, let’s start at John’s beginnings…

John Daniel Singleton was born on January 6^th, 1968 in Los Angeles, California. He was the son of Danny Singleton, who was a real estate agent, mortgage broker, and a financial planner, and his mother, Shelia Ward-Johnson, was a sales executive at a pharmaceutical company. John attended Blair High School, Pasadena City College, and USC Film School. In Film School, he was enrolled in USC’s “Filmic Writing” program that was designed to take students directly into the Hollywood system as proficient writers/directors.

Now, if you’re a brotha or sista reading this, chances are you remember watching “Boyz in the Hood” (1991), and the emotional connections you formed to Ice Cube’s “Doughboy” character, and how you responded to the sorrowful ending of his brother, Ricky (Morris Chestnut). For that film, John received Academy Award nominations for “Best Original Screenplay” and “Best Director”—and mind you, at age 24, he was the youngest movie director ever nominated for “Best Director” and the first indigenous Black man to be nominated for that award. Now, movin’ on to John’s next film, “Poetic Justice” (1993), what I remember about this movie is Janet Jackson’s scathing diatribe towards Regina King’s character, Lesha, about her drinking, saying it reminded “Justice” of her mother. “Higher Learning” (1995) takes me back to thoughts of Michael Rappaport’s character, “Remy”, and how he joined up with a group of white “skinheads” on campus, before killing himself—which we’re seeing more and more of in real life.

And then John directed the movie, “Rosewood” in 1997…

Now, for those who haven’t seen this film, it’s a period piece that takes place in Rosewood, Florida (hence the movie name) in the year of 1923. And it depicts how a town of working class, indigenous Black people were slaughtered by white mobs—and this all happened behind the lie of a white woman saying she was raped by a Black man. Now, this is a classic film, but I confess that I didn’t see it in theaters, even when I had the chance due to the emotions it would stir up in me—but seeing it years later, I wish I’d have watched it in some cineplex as opposed to on TV. Mind you, in 1921, the bombing of the “Black Wall Street” happened, cause there were literally several Black millionaires in their midst—and whitey couldn’t have that, while a good many of them were literally starving to death.

John’s movie, “Shaft” (2000) had some redeeming qualities, namely, Jeffrey Wright as “Peoples Hernandez”, whereas “Baby Boy” (2001), wasn’t really my type of film, so I kind of dismissed it as typical-fare in regards to what Hollyweird offers to Black folks. His other films included, “2 Fast 2 Furious” (2003) and “Four Brothers” (2005). Now, in 2013, John was linked to the Tupac “biopic”, but because he had major artistic differences with the movie studio, Morgan Creek Productions, he backed out of the film, and said he’d make a competing film about ‘Pac in the future.

Thereafter, John focused his efforts on episodic TV production—after directing episodes of “Empire” and “American Crime Story”, he executive produced the dramatic series, “Rebel” for BET, and co-created the show, “Snowfall” for the “FX” TV network.

Now, in 2014, John went to Loyola Marymount University, and told an audience of students about how Hollywood studios, “refused to let African-americans direct ‘Black-themed’ films…” And went on to say quite frankly that, “They ain’t letting the Black people tell their stories.” He also stated, “They (Hollyweird) want Black people to be who they want them to be. And nobody is man enough to go and say that.”

Unfortunately, on April 17^th, 2019, John suffered a stroke, after complaining about severe “weakness” in his legs—and on April 25^th, John was said to have fallen into a coma. A short time after, he was removed from life support and passed on April 28^th, of this year, in Cedar-Sinai Hospital. John was 51 years old.

John is survived by his children, Justice, Maasai, Hadar, Cleopatra, Selenesol, Isis, and Seven.

Now, anyone can say what they want about this man, but if you paid any attention to his work, at the nucleus of it all, was not only a reverence for his people, but 9 times out of 10, he depicted us as heroes (HERUs), heroines, and the last-best hope for america (finding and reclaiming) its moral and spiritual center.

So, to the NEGUS/NETCHER/NAGAS/GOD we knew as John Singleton, FOR A BATTLE WELL FOUGHT AND A LIFE WELL LIVED, TAKE YOUR RIGHTFUL PLACE AMONGST THE ANCESTORS, AND CONTINUE TO HELP US SPIRITUALLY, IN OUR FIGHT TO PURGE THIS WORLD OF THE GENETIC-DEAD ENDERS HELL-BENT ON DESTROYING IT. ASHE AND ASHE! 

Section#2. Avengers: Infinity Wars and the strange relationship between “Gamora” and “Thanos”

The movie, “Avengers: Infinity Wars”, had its nationwide theatrical release on April 27^th, of 2018—and for those who haven’t seen this movie, here’s a brief synopsis of its story: “Thanos”, this franchise’s “supervillain”, is hell-bent on acquiring the “Infinity Stones”, with the intent of killing off half of all life in the universe, and it takes a legion of “superheroes”, namely the mutant coterie called the “Avengers”, to stop him.

Now, a friend of mine told me this flick had some redeeming qualities, even when I said I wasn’t interested in seeing it—but it came on cable one evening so I gave it some attention. And as I watched, what I got was the typical superhero movie fare, but one “relationship” immediately stuck out to me more than any other—and that was the strange “pairing” of “Gamora” and “Thanos”.

Now to the left is a header I created for the post I was gonna’ publish before this one, and here, you can see a pic of “Gamora” (in green) played by the actress Zoe Saldana (and you can click on this pic to enlarge it). Now, the reason I have Zoe’s pic from the film “Avatar” is to illustrate a point—and to expound on that point, let me ask y’all a question: Did you ever wonder why Gamora’s character has “green” skin? Well, long story short, “Chlorophyll” is the natural pigmentation that makes plants green, but what’s lesser known about Chlorophyll is, in its most concentrated and refined form, it turns “Black”. So, what we’re talking about here is a natural pigmentation that results in “darker” skin—basically, what we’re talking about is “Black” “Melanin” y’all. And this is not only evidenced by the fact that the actress Zoe Saldana is Black herself, but how in the majority of her films, she’s representing “Black women” collectively (reference ‘again’ the films “Avatar” and “Star Trek”).

Now, in one scene (and I’ll include a video clip of this at the end of the post), Thanos and Gamora are conversing about why he plans to kill off half the universe, and his rationale is this: because the universe’s resources are finite, (he says) there’ll never be enough food, water, air, etc. for ALL of us. And basically, that’s nothing but the “overpopulation” argument white fascists have been touting for the last couple of centuries—but what whitey really means when he says the world is “overpopulated” is there’s too many “Black” people in the world. Moreover, cause the majority of the world looks like “US”, there’s too many people who have the potential to breed white folks outta’ existence, which again, is happening RIGHT NOW.

Also, in this conversation, “3” statements are made that pretty much sum up why Thanos is the voice of white fascism, speaking directly to Gamora, who’s representing Black women collectively—and those statements are…

Statement#1. “EVERYTHING I hate about myself YOU taught me.”

This was Gamora’s response to Thanos, when he called her his “daughter”. Gamora says emphatically, “I’m not your daughter…”, before she utters the above-mentioned words. Now, this speaks directly to america’s white fascist social order (especially when it comes to this county’s “mis” educational system) conditioning Black women and men, to hate themselves more than any other kind of person on the planet, cause again, we have the most genetic power to breed white people outta’ existence.

Statement#2. “And in doing so, I made you the FIERCEST woman on the planet.”

This was Thanos’ response to Gamora telling him, “EVERYTHING I hate about myself YOU taught me.” And what this speaks directly to is whitey molding the “perception” of the modern-day Black woman. In other words, white fascists have stereotyped Black women as being the most abrasive, argumentative, combative, and hypermasculine kind of woman on earth—for the expressed purpose of keeping her alone and out of loving relationships. And why would mr. and mrs. white folks do that? Welp, that leads us to the next statement…

Statement#3. “That’s why I trusted you to find the ‘Soul’ Stone.”

Now, this is what Thanos told Gamora, right after he declared that he made her the “fiercest” woman in the galaxy. Mind you, the reason white fascists want men thinking that Black women are the fiercest females, is for the expressed purpose of keeping sistas out of loving relationships and marriages (like I mentioned above), and they do this so Black women can be kept in “3” states of being: that’s 1. well-paid, 2. oversexed, and 3. alone. Now, a sista reading this is probably thinking, well, of course no woman wants a reputation for being oversexed and alone, but what’s wrong wit’ being “well-paid”—and the answer is: NOTHING. But mind you, whitey’s keeping Black women well-paid with the intention of her being the world’s greatest consumer.

How, you ask?

Well, whitey knows that any group of women who are kept out of loving relationships, will compensate for that lack of love by “buying” more clothes, food, cars, vacationing trips, jewelry, etc. It’s the same reason that Black women tend to be overweight, cause “sweets” and/or sweet foods, can be comforting to a woman who’s not getting the affection she needs in a personal relationship. So whitey “trusts” that Black women will become his main consumer base. And this is whitey’s real plan for Black women. Moreover, that’s why ole bwoy Thanos said he “trusted” Gamora to help him find the “Soul” Stone—now, here’s a question: which kind of woman has the most “soul” (or spirituality) on our planet?

Hands down, it’s the Black woman—and this is the slick way(s) white fascists are speaking to sistas (in)directly. So, this flick ain’t just for entertainment purposes only y’all. Moreover, this relationship (and what eventually happens to Gamora) speaks to what becomes of the indigenous Black man or woman who imbibes in and abides by whatever white fascist social order they happen to live in—meaning, the moral of this story is, embracing white fascism ain’t murder y’all—it's SUICIDE!

Section#3. “MA” the mammy movie

 

First off, let me give y’all a brief synopsis of this flick’s narrative: “MA” (Octavia Spencer) is approached by a group of under-aged kids who want her to buy them some alcohol, and when she does, this starts a friendship between MA and these adolescents. Moreover, MA offers these youngsters the basement of her house to “hang out” in, so they don’t have to get drunk and high somewhere else. Unfortunately, these kids don’t realize that MA’s a sociopath with intentions of killing them off one by one.

Now, this movie is more of mr. white folks baiting “US” back to the “horror film” genre we abandoned, cause we got tired of seeing ourselves killed off first in these crap flicks—moreover, horror films are a better means of socially engineering Black movie-goers cause one of the best ways to condition a group of people is through “trauma”, or seeing “trauma-inducing” images (and if you want more of a breakdown on these facts, check out my post about the “US” movie—and I’ll leave a link for it at the end of this post).

Also at the end of this post, I’m gonna’ leave the trailer for this minstrel-show-of-a-movie so you can see the “3” specific messages being sent about Black women through this film. Mind you, this film is slated for release on May 31^st, of this year—now, that just happens to fall on a “Friday”, so if you switch the numerals around, then this movie’s gonna’ hit theaters on Friday the 13^th—see, what’s going on here is all “spellcasting”. Meaning, not only are the producers and writers of these films a bunch of white fascist freemasons, but they’re sorcerers too. But let’s get to the “3” messages I mentioned earlier—and they are…

Message#1. Black women are horrible mothers.

The reason that “MA” buys the alcohol for this group of kids is to stereotype the Black woman as having a moral obtuseness that keeps her mind and values in the gutter (thus, she gives the kids her “basement” to party in). Mind you, in the “US” movie, we see the “Tethers” live below ground, and this is supposed to represent the “Black subconscious”—same holds true here, this basement is supposed to not only represent a Black woman’s subconscious, but her “basest natural instincts”. Thus, MA is giving the kids her “basement”, or her “mentality”, so they can engage in any kind of debauchery they want to.

Message#2. All Black women are (or will act like) oversexed and overweight “party girls”, regardless of their age.

This movie goes out of its way to (again) stereotype “mature” Black women as having or thinking like teens or 20-year-olds when it comes to how they comport themselves in public. Meaning, Black women, young or old aren’t fit for any kind of relationship, especially with men, outside of a “sexual” one.

Message#3. The only ethics a Black woman can bring to any relationship, are ones involving chaos and disorder.

”MA” is telling not only Black men, but the “world’s” men, that Black women are so damaged mentally and morally, that the only thing they have to offer any relationship is belligerence, stress, and VIOLENCE. Mind you, in this movie’s trailer we see her engaging with a young Black and white man—and what “MA” does to the young brotha is paint his face “white”, implying that if you’re a Black man, ALL Black women will think you’re inferior to white ones—and when we see her with the whiteboi, he’s naked under a blanket and she’s wielding a huge knife along the length of his body—this is telling white men that you will be (or at least feel) emasculated if you endeavor to be in a relationship (sexual or otherwise) with a Black woman.

Now, I know I said “3” messages, but let’s be audacious and go for “4”…

Message#4. “Conscious” (or “woke”) brothas, should avoid “mature” Black women, when thinking about dates or mates.

Now, you might be thinkin’…bruh, I was wit’ you with all these other “messages”, but this one don’t make sense. Well—let me break this one down…

In the “Black Conscious Community” (BCC) a good many brothas have sought out “mature” sistas for relationships cause we see that they’re the most likely, to be down for brothas. Mind you, like anything else, there’s exceptions to this “rule”, but from personal experience, I can tell you that when I talk to mature sistas, they “seem” more likely to exhibit the traits that younger sistas don’t—meaning, they seem a bit more concerned about their “femininity” than the average younger Black woman, and they seem to have come from a bygone era, when there was still a sliver of unity between Black men and women. Now, this movie puts the kibosh on all that—meaning, we see a mature sista in this movie, wreckin’ shop. So, I think, whitey seeing the numbers of the BCC growing, means they wanna’ put a stop to this notion as well. 

So, if you’re a sista reading this, you might wanna’ vote wit’ your dollars, and sit this “MA” movie out.

Mind you, ALL of this whitey’s doin’ cause they know they’re on their way OUT OF EXISTENCE! Now, they know there’s nothing they can do to stop that, but they ain’t goin’ quietly. So again, my message to every brotha and sista reading this is, even if you endeavor to go see one of these flicks, GUARD YOUR MIND! Understand the inherent social engineering afoot in these films, so you don’t get adversely affected to the point where you’re walkin’ outta’ the cineplex hating yourself and everyone who looks like you, more than you did when you went in.

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

Later…

—MontUHRU Mimia

P.S.

Here’s the conversation clip between “Gamora” and “Thanos” I wrote about earlier. Keep a watchful ear for Thanos’ “overpopulation” argument, and the discourse that happens after Gamora says, “I’m not your daughter…”

P.P.S.

Here’s a clip that debunks white fascism’s “overpopulation” myth.

P.P.P.S.

Here’s what happens to Gamora when she decides she don’t wanna’ be down wit’ whitey’s fascist plans no mo’. *Warning: This clip contains some violent imagery, viewer discretion is advised.

Here’s the movie trailer for that minstrel show “MA”. *Note: Watch what “MA” does around the young Black and white men. *Warning: This clip contains violent imagery, viewer discretion is advised.

Just found this clip of Zoe Saldana in “Star Trek”—guess this confirms my whole theory on why Zoe has “green” skin in the Avengers. *Warning: there is partial nudity in this clip, viewer discretion is advised.
 

And if you wanna’ check out the post I wrote about the “US” movie, you can see it HERE.