The white fascist attack on Black femininity (Part 10)...

The white fascist attack on Black femininity (Part 10)…"Honorary" white people and a woeful Whoppi Goldberg, the “Harriet” 20 and “Maya’s” 25, capitalizing on Catwoman’s curvaceousness, and deciphering the detrimental “Black woman’s bet”…

“white fascism is the foundation of global law. Should any Indigenous Black person find flaws in a statue, ordinance, code, or constitution, whitey will just change it.”

--MontUHURU Mimia

 Today while heading to the House (of Representatives) floor for votes, I respectfully asked my colleague Hal Rogers (whiteboi), to put on a mask while boarding the train (U.S. Capitol Subway System). He then poked my back, demanding I get on the train. When I asked him not to touch me, he responded, "Kiss my a$$."

--Congressional Black Caucus Chairperson, Joyce Beatty

 Part 1.

In 2021, President Biden’s administration was lauded for voicing their declaration to “speed up” efforts to put abolitionist Harriet Tubman on the front of the $20 dollar bill, replacing President Andrew Jackson. Mind you, this was after Donald Trump promised to do this as well—which we know he never did.  

Fast forward to this year, where Biden has also failed to put out the “Harriet 20”--but what he did approve, was putting the posthumous likeness of the late poet Maya Angelou on the American “quarter” (right). Now, this is wholly indicative of the “bait and switch” technique whitey loves to use when it comes to promises they make to Black Americans—and Black people period. Moreover, this is reflective of how the “duopoly” of Democrats and Republicans really feel about Indigenous Black Americans. ‘Cause turning the “Harriet 20” into the “Angelou quarter” is like saying, you people aren't worth twenty dollars—your value, to us, is closer to a quarter.

Additionally, what I’d like to impart to brothas and sistas, is how these events mirror human psychology, insomuch as, people tend to tell you what they really think of you when they’re angry. Meaning, the Dems see Black America turning their backs on them, and rightfully so, since they’ve done NOTHING for us—so, in retaliation, these miscreants turned Harriet's twenty to Maya's twenty-five cents. 

Now, the upside to all this, is Black Americans are finally becoming more savvy in terms of giving up blind allegiances to political parties—and seeing there’s really no difference between moderate Republicans and conservative Democrats.  

Part 2.

On the first of this month, Whoopi Goldberg, along with her female co-hosts on ABC’s “The View”, were discussing matters of “Critical Race Theory” and the American educational system’s banning of the graphic novel, “Maus”. Now, for the uninitiated, this graphic novel’s narrative is one describing Nazi Germany during the “Holocaust” where cats are basically the Nazis and Mice are white Jewish Europeans, thus, the Maus (Mouse) reference.

So, during the conversation Whoopi talked about the irony of a grade-school student being offended by some nudity in the graphic novel, but not the graphic depictions of Nazis persecuting white Jewish Europeans. Now family, I just want you to know, the reason I use the term “white Jewish Europeans” and not “Jews”, is because Judaism is a religion, it’s not an ethnicity. Moreover, the original “Semitic” people were and are Black--go look up the word Semitic in the dictionary if you don't believe me. Meaning, WE, Indigenous Black people are the real Jews, everyone else, especially these white Europeans are just “Jew-ish”—and I’ll tell you why this makes a difference, especially in Whoopi’s case in a ‘sec.

Now, at a certain point in this conversation, Whoopi says, “This (the Holocaust) isn’t about race…it’s about man’s inhumanity to man…” Meaning, the atrocities of the Holocaust transcend ethnicity, ‘cause they speak in universal ways about human beings absurdly cruel treatment of other human beings. Now, I for one, definitely got the point she was making. Unfortunately, there’s “3” points Whoopi herself completely missed—and they are as follows…

Point#1. Whoopi’s 15 years on the View got her so comfortable, she thought she was an “honorary” white person. Meaning, this is another classic case of a Black celebrity getting their “negro wake-up call”.

Point#2. While Whoopi was trying to put a “universal” spin on the Holocaust, she failed to realize one of white fascism’s main rules, which is: under no circumstances are you supposed to point out white people’s wholesale killing of other white people. Meaning, Whoopi wasn’t supposed to talk about “white-on-white crime”. Reason being is, white fascists, and white people, don’t want themselves put into the same category as Black people, especially when it comes to the falsely stereotypical flaw of the Black Diaspora fighting each other more than every other ethnic group. This is especially true now, when white birth rates have fallen below replacement levels, and whitebois are over-dosing on drugs to the point where Biden is spending 30 million dollars on “safe smoking kits”, so more of these inbred addicts don’t lose their lives to opioid addiction(s).

Point#3. Whoopi stating, “…it doesn’t matter if you’re Black or white…” in her diatribe was supposed to let her white handlers know, she was gonna’ push the “ALL lives matter” narrative, instead of the “Black Lives Matter” talking point-which she figured would keep her in whitey's good graces. Now, this is what happens when you can’t properly contextualize the parameters your white paymasters have you in—or when your dalliances with hundreds of white folks, has you thinking you’ve successfully “humped” your way into whiteness.

Moreover, this is the fatal flaw of the “modern day” Black woman. Meaning, so many Black women, especially in corporate America, mistake mainstream society’s ad campaigns targeting them as evidence of their being completely integrated into white and “non-Black” circles. This is the danger represented in what I call the “Black woman’s bet”—meaning, the overwhelming majority of Black women have rolled the dice on white fascism and lost. Which has ultimately left them in the same condition as Whoopi, which is overweight, oversexed, and alone.

Part 3.

Zoe Kravitz, who’s the daughter of Lenny Kravitz and Lisa Bonet, is revising the villainous “Catwoman” character in the superhero flick, “The Batman”, which comes out in March. Now, I gotta’ admit, this is gonna’ be something like a second “Addendum” from my last post on the latest Batman movie. Why you ask? ‘Cause I felt my last post was so densely-packed, there wasn’t any room left for the points I wanna’ make here. This said, let’s go ALL THE WAY IN… 

Now, before I dive head first into the “Cinematic Symbolism” associated with The Batman movie, I gotta’ revisit a fact which is a bit more sociopolitical in nature. Above are the “Rolling Stone” magazine covers of Lisa Bonet (1988) and Zoe Kravitz (2018) for the mag's “Hot” Issues—but, before I comment on these, I have to recall one of my life’s most memorable incidents when it comes to watching PBS (Public Broadcasting Stations). While watching a documentary on my local PBS station, a man who looked a lot like the billionaire George Soros spoke about a party he’d been to where he was speaking to a Rockefeller. The George Soros-looking guy said the Rockefeller asked him what he thought about the “Women’s Liberation” movement, which eventually became the “feminist” movement. The George Soros-looking guy said, “I think it’s positive, ya’ know, equal pay for equal work.” The Rockefeller replied, “We funded Women’s Lib’ cause we couldn’t tax half the population if women were staying at home and being housewives. Also, we understood with both parents out of the household, what would be essentially raising their children would be the TV, thus, future generations would be more easily programmable than the last ones.”

With this statement in mind, I wanna’ go back to the Rolling Stone (RS) covers. Now, the Lisa Bonet cover and the Zoe Kravitz cover are the embodiment (pun intended) of the Rockefeller’s social engineering technology. Meaning, while Lisa’s RS cover has her donning a white shirt, Zoe’s cover has her completely naked—now you might be thinking, yeah, okay, and? My point is, what these covers are showing is how Zoe, who represents the modern day (Black) woman, is less inhibited, more promiscuous, decidedly shameless, and completely comfortable with fulfilling her role, cinematically or realistically, as a white male's sex toy. Now, Lisa’s cover does make her look like an oversexed starlet, but it also looks like she might think twice before fellating every male member of a movie crew. So on these covers, we can see proof of the generational degeneration initiated by white fascist “feminism”.

Now, in regards to the latest Batman movie, I’m going to include a condensed version of the trailer which makes “3” emphatic points about Black women—and they are: 1. The sista telling Bruce Wayne he isn't doing enough for the “city”, is supposed to represent the stereotypical “welfare queen” who’s leeching off America’s working class—even though the majority of America's welfare recipients are white. 2. Zoe as Catwoman says to Batman, “…the bat and the cat, it’s gotta’ nice ring.” This implies how Catwoman, who's symbolizing Black women, should seek out and want relationships with Batman, who's really a proxy for white men. 3. Seconds after the aforementioned scene, we see Batman fighting Catwoman before he slams her down on a table and they exchange a sexualized stare. This reflects how Batman, or white men collectively, should understand and treat Black women like they’re only good for two things: fighting and fornicating.  

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

Later…

--MontUHURU Mimia

 So family, take another look at the trailer for “The Batman” and see if you can spot the above “3” aforementioned points in this clip.