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 1st, 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 1st, 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 26th, 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, 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.
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 6th, 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.
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 17th, 2019, John suffered a stroke, after complaining about severe “weakness” in his legs—and on April 25th, John was said to have fallen into a coma. A short time after, he was removed from life support and passed on April 28th, 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.
The movie, “Avengers: Infinity Wars”, had its nationwide theatrical release on April 27th, 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.
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 1st, 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 1st, 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 26th, 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.
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
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 6th, 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 17th, 2019, John suffered a stroke, after complaining about severe “weakness” in his legs—and on April 25th, John was said to have fallen into a coma. A short time after, he was removed from life support and passed on April 28th, 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 27th, 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…
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.
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…
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.
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!
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.”
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 31st, 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 13th—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…
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.
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.
”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, 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.
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…
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 31st, 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 13th—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.
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.
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.
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