The white fascist attack on Black femininity (Part 5)...J. Prince, Suge Knight, and Irv Gotti's thwarted "power moves", marginalized "Little Mermaids", "Yemaya" the Orisha, and answers to the age-old question of why Black folks don't stick together...

To the (consistent) readers of this blog: Fam, as of late, I’ve been focused on following through with the mission statement of this forum, especially in terms of honoring this site’s name—that being, “The ‘CINEMATIC SYMBOLISM’ Blog”. Meaning, I felt the need to explore other mediums that spoke in more of a “visual” language, than a “literal” one. Thus, I’ve been obsessing over my video editing, being that I went through the trouble of swapping out my older software for a newer program—but, I must confess that over the last few weeks, I’ve really missed the tactile sensations of typing out my feelings on a keyboard. So much so, that when I read about the topics of the “live-action”, “Little Mermaid” movie backlash, and the dismantled music distribution company J. Prince, Irv, and Suge attempted creating, I eventually decided, I need to get back to my writing.

Mind you, in keeping with the template of my last few “written” posts, this one’s gonna’ stick wit’ tha’ “mash-up” style I’ve recently adopted. Reason being, both these topics kinda’ hit me at once—so what I’ll write about here is how I was repulsed, but not surprised, by chez whitey’s negative reaction to a young sista playing the lead character in Disney’s, ”The Little Mermaid”, and how the thwarted corporate troika of Irv Gotti, Suge Knight, and J. Prince can answer the age ol’ question of why Black folks can’t seem to stick together. Now, since this post is gonna’ be bifurcated, for the most part, I thought I’d compartmentalize these goings-on by splitting this editorial into a “Part 1” and “Part 2”. So, with that said—let’s get into the first deciphering(s) of how these seemingly disparate subjects, actually fit together under the umbrella’d tyrannies of america’s white fascist social order.

Now family, last week, a young brotha from Africa, who I’d acquainted myself with, out of the clear blue, asked me this question: why haven’t Black men (Black american men especially) created organized crime networks, like the italian “mafia”?

Now, what the young brotha was really saying (or telling me) was “3” distinct things about himself. And those are: #1. He was saying, Black (american) men (especially) aren’t as smart as white men—and when I say white, I mean italians, irish, jew-“ish” men, etc. #2. He was telling me, he didn’t realize he’s Black himself, thus, he’s indirectly calling himself stupid, and #3. He let me know by asking this question, that he’d received the same kinda’ education I did to “subconsciously” make me hate myself and everyone who looks like me.

So, after I gave him a talking to in private, I told him the true story I’m about to tell you brothas, sistas—and the assortment of other ethnic enemies who’re reading this post. And when I use the term “enemies”, that’s NOT hyperbole. If you’re not one of us, then I really don’t want or need you to read this post, or blog, for that matter—cause now, more than ever, we’re seeing that there is not (and never will be) a “Black-brown” alliance, or any kind of other “alliances” forged between “US” and other people—and I’ll expound more on that in my next post.

So, with that said, let’s go in on this true story of what happened behind the attempted alliance forged between Suge Knight, Irv Gotti, and J.Prince, and the “Black power” move they initiated.

—MontUHURU Mimia

Part 1.

Marion Hugh “Suge” Knight Jr., was born in Compton, California on April 19^th, 1965. He’s the son of Maxine Dikemen and Marion Knight Sr.—and mind you, the nick-name “Suge” came from his parents who nick-named him “sugarbear” when he was young, cause of his sweet demeanor.

Suge attended Lynwood High School in California, where he was a football and track star. He graduated from Lynwood in 1983. And after high school, Suge attended El Camino College, and later transferred to UNLV (University of Las Vegas) where he played collegiate football. Now, at UNLV Suge not only made the “Dean’s List”, but he was such an outstanding athlete that he wasn’t only voted UNLV’s “Rookie of the Year”, but he was made a “defensive captain”, and won “first team ‘all conference’ honors” in UNLV’s football program. And what Harvey Hyde, who became UNLV’s football coach said about Suge was this: “Knight played his butt off…He was a ‘yes sir, no sir’ guy…the type of player any coach would want for his team.”

After graduating from UNLV, Suge played briefly on the Los Angeles Rams football team during the 1987 NFL strike. After the NFL, Suge found work as a concert promoter and a bodyguard for celebrities such as Bobby Brown, before he opened his own music publishing and management companies. And behind these, one of the first moments when he saw any real profits of his labor, was when Robert Van Winkle, a.k.a. “Vanilla Ice”, agreed to sign over royalties to Suge for his hit, “Ice Ice Baby”. Mind you, the person who wrote the song was a brotha named Mario Johnson, a.k.a. “Chocolate”. Now, I can’t very well write about Suge’s first monetary windfall without addressing the rumor that Suge robbed Vanilla Ice for these royalties, by holding mr. Ice Ice Baby over a balcony by his ankles, until the white rapper forked over the publishing rights to that song. So, the truth is, after this alleged incident, Suge had to sue both the music company “EMI” and Vanilla Ice to reclaim those monies—and it wasn’t until a couple of months to a year later, that Suge and “Chocolate” were paid for those songs.

And thereafter, Suge’s management company signed the artists “DJ Quik” and “The D.O.C.”—and it was the D.O.C. who introduced Suge to Dr. Dre. And when Dre talked to Suge about his being robbed for royalties at “Ruthless Records” behind Jerry Heller’s chicanery, they both decided to form “Death Row Records”.

Irving Domingo Lorenzo Jr., a.k.a. “Irv Gotti”, was born in Hollis, Queens, New York City on June 26^th, of 1970. In his teenage years, he was known as “DJ Irv”, and became one of the most revered “turntablists” in his neighborhood, especially after garnering the coveted honor of being the official DJ for block parties in “Jamaica Park”, which was the nucleus for the burgeoning Hip-Hop culture in Queens. Once Irv got his first taste of being a “local celebrity”, his music career evolved to the point of him beginning to DJ for mainstream Hip-Hop artists like a young “Jay-Z” (and we’ll talk more about ‘Jay’ later), and this predated Irv’s producing records for artists and beginning to think about forming a management company of his own.

Irv’s music industry cred, and his seeing how he could affect more change in the industry from the “inside out”, got him an “A&R” executive position at “Def Jam” records where he was responsible for signing and producing songs for DMX, and Jay-Z. Now, once Irv felt he’d developed a “formula” for making mainstreamed (or at least “cross-over” eligible) hits, he created his own record company, “Murder Inc.” in 1988 with his brother Chris, and the first artist he signed was a young, up and coming rapper from the “Woodhull projects” in Hollis, Queens named, “Ja Rule”.

James Prince, also known as “J. Prince”, was born in Houston, Texas on October 31^st, of 1964. Now, James started out being a “used-car” salesman as a young man, and years later, he became the owner of a “car-lot” himself. And while James was busy running his business, he saw how much trouble his younger brother was getting into on the means streets of Houston’s “fifth ward”. And what James also recognized, was his brother’s passion for rap music. Now, James’ brother went by the emcee name, “Sir Rap-a-Lot”, thus, James founded the music company, “Rap-a-Lot Records”.

Now, I’ve detailed all that to say this, between the years of 2001 and ’02, Suge, Irv, and J. Prince spoke of creating a Black music distribution company. Reason being was, at some point they realized our people were the ones providing not only the majority of the best talent in the industry, but we were also setting the musical trends nationally, and globally. Moreover, their artists were the ones doing the marketing and promoting of their products—thus, the only service(s) white execs could offer these brothas was distribution, and even that perceived fact was now (complete) fiction with the advent of the internet (and we can thank brotha Dr. Phil Emeagwali for that invention, and I’ll leave a link for my post about him). So, it was between the above mentioned years that these brothas had a meeting, where they drew up plans and put up monies to make this company happen.

But there’s even more to this story—turns out, these “3” Black men not only wanted to create a music distribution company, they were gonna’ create a full-fledged “union” for Black music artists, regardless of genre. Or as Irv Gotti stated in Rob Markman’s article titled, “Irv Gotti and Suge Knight planned to unionize artists”, for “MTV News”: “It wasn’t a ‘distribution’, it was a union. In the music business, the artists, we have no union. There’s no health care, it’s nothing like that. It should be done…” said Gotti, crediting Suge with devising the plan.

Now, here’s where the wild card comes in folks…

Dame Dash of Rockefeller Records was rumored to also be at this meeting (and if you don’t know who he is, I’ll leave a link for a post I wrote on him). And supposedly, he had Shawn Carter, a.k.a. “Jay-Z” with ‘em. Now, once again, rumor has it that Jay-Z decided to tell his white fascist buddy, Lyor Cohen (he’s a high-ranking music exec. working for “YouTube” y’all) what the brothas were up to—and long story short, “3” things happened…

#1. In late 2002, the L.A. Police Department raided Suge Knight’s offices in Las Vegas and L.A. Mind you, they said they weren’t directly targeting Knight, but someone associated with him.

#2. In 2003, the Feds raided Murder Inc.’s offices in New York City, and arrested Irv Gotti. Federal investigators alleged that Irv’s seed money for Murder Inc. came from Kenneth “Supreme” McGriff, and his criminal enterprise—a few years later, Irv was acquitted of these charges.

#3. J.Prince talked about how the Feds seemed to be stalking him, and how they pulled him over in Dallas, Texas. He hired a private investigator and found out that one of the federal agents assigned to him had killed 8 people previously—so this man was essentially an assassin for the federal gov’t. Thereafter, J. Prince took it upon himself to go to Washington D.C. and tell authorities that this “hitman” wasn’t gonna’ get a chance to murder him without him hiring security in his own defense.

Now, I’ve said all that to say this, when people—especially (indigenous) Black people, ask the question: How come Black folks don’t stick together? The answer is, when we do, THIS is what happens. Meaning…WE WILL ALWAYS COME UP AGAINST MORE OPPOSITION THAN ANYONE ELSE WHEN IT COMES TO THE TOPIC OF OUR UNITY!

AND I SAY AGAIN, WE’LL COME UP AGAINST MORE OPPOSITON THAN “ANY” OTHER KIND OF PERSON!

For “3” reasons—and those are…

#1. We have the most genetic power(s) to breed these inbreds outta’ existence, #2. white birth rates have fallen below replacement levels, and #3. whitey’s committing suicide and overdosing on drugs in droves, thus, now more than ever, they’ve literally got more bullseyes on our backs ‘cause of reason #1.

Now, for the indigenous Black persons reading this, not only don’t you ever have to ask yourselves this question again, but you can tell other folks, especially other Black folks, who ask you this question, to STOP ASKING STUPID QUESTIONS!

Part 2.

Now fam, I was gonna’ use more of a formulaic approach to writing this part of the post, but I have to say what’s on my heart, so I’ma just freestyle in this section y’all. With that said, lemme speak on Halle Bailey, and the backlash surrounding her playing the lead role in Disney’s remake of “The Little Mermaid”, with a little primer on one of the deities of the Black Spiritual Sciences—the “ORISHA”, “YEMAYA”.

Now, I can already hear people saying, “Yema—who?” And behind that, I'll say this, to the right are 2 displays of the deity Yemaya, who's said to be the “mother” of ALL “The Orishas”, and this energy was depicted as a Black female “MERMAID”. And Yemaya predates both the author, Hans Christian Anderson’s tale of the ”Little Mermaid” and the 1989 Disney flick of the same name. *Note: On the left of the above pic, is a modern depiction of this deity and on the right is a photo that's reppin’ for the ancients, and you can click on this pic to make it larger.

Moreover, as depicted (right) you can see that Yemaya was the inspiration for the “Starbucks” logo—who’d a thunk it? And again, you can click on the pic to enlarge it.

So, here’s what I wanna’ really say directly to tha’ sistas reading this post—you NEED to understand that a white woman’s MOST valuable asset, when it’s all said and done, is her STATUS AS THE WORLD’S PRETTIEST WOMAN! And mind you, she’s called that behind “european” standards of beauty.

And that means what? It means that while trailer trash Tina (3T) is selling sistas on “feminism”, she’s liable to get spittin’ mad whenever she feels you’re takin’ this title from her. Or, let me say this another way—3T feels that the tale of “The Little Mermaid” speaks to the kind of exquisite femininity, that’s ONLY RESERVED FOR HER—and that’s why she’s showin’ her true colors (pun intended) when it comes to this Disney flick. But, like I’ve showed you with YEMAYA, EEERRRYTHANG—AND I MEAN EVERYTHING, IN THIS WORLD BEGINS WIT’ US! And like I’ve said in the past—ultimately YOUR “FEMININITY” IS WHAT’S GONNA’ SAVE YOU SISTA—NOT FEMINISM!

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

Later…

—MontUHURU Mimia

P.S.

Here’s a video detailing the controversy over Halle and her lead role in Disney’s, “The Little Mermaid”

   P.P.S.

Now, I was tryna’ find a longer video to explain what happened to the triumvirate of Suge, Irv, and J. Prince—but this short clip from a J. Prince radio interview just says it all.

 

 *Addendum: 7/25/2019—Family, the link I promised to post about Damon Dash you can read HERE. 

*Addendum: 7/25/2019—Also, you can check out the post I wrote on the ingenious brotha who created the internet, Dr. Phil Emeagwali, HERE.

What do Prince, Miquel and Michael Jackson have in common?

In the summer of 1984, the movie 'Purple Rain' was released into theaters. 

It was of little consequence to me since I wasn't a fan of Prince's music in my mid-teens, and I kind of pursed my lips whenever the film was mentioned. To me, Prince was some kind of androgynous, sexually conflicted freak, and the movie looked too much like some sort of bad b-rated musical.

That was until I relayed these sentiments to my older brother; who quickly retorted, "Yo...that movie's dope." 

I was shocked. You see, my brother was such a harsh critic when it came to what was culturally cool, that if he liked it, that meant it had to be something special. So with my big bro's stamp of approval, I hurried to the theater to check this flick out.

I went to see this film with a friend. And while he casually watched this movie, I was having a religious experience. 

I always fancied myself a bit of an iconoclast...or at least some sort of an outsider; and this movie not only reassured me that other people felt the same way, but it bonded me to Prince in a way I'd never quite experienced before. It almost made Prince my mentor, and if nothing else, it definitely informed me that I needed to pursue a career in the arts. 

What I didn't know--but would find out decades later is, that evening, I'd fallen into a carefully laid trap crafted by white supremacists. And here's the reasons why... 

Prince Rogers Nelson released his first album for Warner Brothers records in 1978; the LP was titled 'For You' and he played every instrument on it and wrote all the songs with the exception of 'Soft and Wet' which he co-wrote with his friend/mentor Chris Moon. Several albums later, he released 'Purple Rain' as the title of a movie and an LP. Now in the movie we see what pretty much resembles Prince's real troubled childhood home-life. And one element of the film that really appealed to people, especially a lot of younger folks, was that they'd come from a similar home. This instantly endeared Prince to a certain moviegoer, and this was done by design. And if any young movie-goer ever felt like a pariah, this movie said all you have to do is find someone, or someone(s) like you. 

What's also worth mentioning is Prince's style of dress; throughout Prince's career, he's worn high heels, eye-liner and women's attire; and became sort of a fashion icon. I'll talk about what impact this had on young movie-goers in a second.

*Side note: I remember reading a review of the movie Purple Rain years ago, and a white journalist said Prince's suffering wasn't genuine because he wasn't ugly and poor. You gotta' love those wiley caucasians. 

Now let's talk about this man, Michael Jackson. I still can't believe Mike is gone, and I don't think the world will see an entertainer this talented for years to come. 

He was more than exceptionally talented; the man was a flat out genius. Those movements he performed were and are legendary. I can still remember him moonwalking during the Motown 25 special, and myself, along with my family, were simply mesmerized by what he did that night. 

And in case anyone is still pondering about Mike's death, I'll tell you straight out that he was murdered. And the circumstances went something like this:

Michael Jackson's last full studio album was 'Invincible', and it was released on October 30th, 2001. It was his last album for Sony records and it was a fast seller; problem was, Sony didn't promote the album. Not only that, but Sony returned thousands of copies of the record that the public wanted to buy. 

This was done because Sony's goal was to get back Michael Jackson's musical catalog which included all of the Beatles music. They figured by sabotaging the album, Mike would be in such dire financial straits that he'd have no choice but to give back this catalog. But Mike was smart enough to know that the catalog was worth more than his debt to Sony. 

So Mike announced he was going back on tour...that was the purpose for the european 'This is it' concerts. Those tickets sold like hot cakes. Mind you, the tour was originally slated for ten shows; but tickets sold out so fast that the greedy promoters added forty more...thus, the fifty shows Mike was going to perform. But then Sony and the promoters had a revelation. They and Sony knew that if Mike performed these shows, he'd get out of debt to Sony. And, if he made it a 'world' tour, he'd clear a substantial profit. 

So the only way they were gonna' get that catalog back, was to kill him. And you know the rest.

*Another side note: Michael Jackson's catalog also included Little Richard's publishing catalog. Yep...the 'Good golly Miss Molly' Little Richard. So what Mike did was give Richard back the rights to his music. Remember when Little Richard complained about not getting any accolades for his contribution to music; well the reason he's been so quiet lately, is because Mike hooked the brotha up; and now, Little Richard is set for life. 

But before Mike had a change of heart about Sony and the industry, he too was part of the white elite's agenda. 

But before I tell you the part Mike played, let's talk about an artist by the name of Miquel Jontel Pimentel--better known as "Miquel". 

Miquel was signed to Jive records in 2007, and he looked quite different when he first made his way onto the music scene.

To the left is a picture of Miquel when he first started gaining notoriety in the music industry. He was being billed as the typical R & B crooner. Note the short hair and hoodie. Miquel was being sold as the next Usher until Jive wanted to change his image; and believe it or not, he's yet another cog in the wheel of the white elite's agenda machine. 

So now that we have all the culprits accounted for, let's see what white secret societies have them tasked to do, and what outstanding trait all these artists have in common. 

The one trait all three of these artists share is...they're all exceptionally effeminate and have been tasked with making homosexuality acceptable to Black men. 

Not only have these three worn hyper-effeminate articles of clothing and long processed hair, but their mannerisms smack of men who are bi-sexual or openly gay. I even saw Prince in a full-on women's dress once. This is the reason the white elites ALLOWED them to be the most popular artists of their time. Now, don't get me wrong, ALL these brothers are very talented; Prince and Michael especially are/were extraordinarily talented--but this sends the message to everyday Black men that the only way to be an 'acceptable' Black man is to model yourself after a woman. 

And quite frankly, this is the same message of Black christian churches on every corner of our community, that everything positive is feminine and everything negative is masculine.  

Another trend with Mike and Miquel is, or was, 'high water' pants. The reason for this is high water pants are emasculating. They send a message that a man, regardless of his age, is a 'geek'; and notice the word geek rhymes with meek and weak. As you can see to the left, the man in high water pants is wearing what looks like a purse; and the brotha behind him is like...Oh hell no! High waters generally send a message that a man is undersexed and/or sexually conflicted; or he's at least very easy to push around.

As we all know Michael was famous for wearing high waters, and he was also famous for wearing his arm-band on every one of his various jackets.

*Note: The reason Mike wore an arm-band and military styled jackets like the one in the picture below is, it was his way of showing allegiance to the white elite's Nazi party.
 

See, the Nazi's never went anywhere, they've just morphed into corporate executives. And they're the ones who control the music industry; they're also the ones who killed Mike when he went against them. 

Coincidentally, that's why Mike almost always wore the colors red, white and Black; 'cause these are the colors of the Nazi flag. And the artist who's wearing the Nazi arm-band these days is Will-i-am. Also note that Nazi's were famous for their rampant homosexuality.

You see, the white elites know that Black people, and Black men especially, set the standard for what's culturally cool. And if Black men say being gay is cool, then that'll be the final stamp of approval gay culture needs to be accepted by everyone in the u.s. Because whatever we do culturally, is accepted universally. 

So when you see Miquel's styles of hair and fashion, know what you're looking at has been carefully crafted by white supremacists.  

It is one more attempt at getting Black men to adopt, adapt and engage in the 'death-style' of homosexuality. 

'Cause regardless of what anyone says...if everyone, or a large amount of the population became gay, the next generation(s) won't be born. 

That's why homosexuality is a 'death-style', not a lifestyle.

And that's why we need to think twice before we download or pick up music from one of these hyper-effeminate brothas. 

Later...

MontUHURU Mimia

P.S.
If you want to read my older post that delves a little deeper into why the Black diaspora should reject the mainstreaming of homosexuality, you can find it here.