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

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

—Jay-Z, from the song, “Bring it On”

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

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

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

Now, let's stop here a sec'.

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

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

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

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

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

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

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

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

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

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

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

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

Moving on...

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

I just shook my head and kept walking.

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

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

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

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

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

And let me break this down even further...

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

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

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

Everyone of 'em.

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

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

I LOVE BEING BLACK!

And mean it.

Later... 

—MontUHURU Mimia

P.S

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

 

P.P.S.

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

    

The gospel of white fascism (Part 22)...3 Reasons why the white elite fabricated the 'Black (male) privilege'...

Saul Stacey Williams (man pictured in header) was born on February 29^th, 1972 in Newburgh, New York, which is 60 minutes north of New York City. He attended Newburgh Free Academy, before graduating from “Morehouse College” with a B.A. in acting and philosophy. From there, he attained an MFA in acting from New York University's 'Graduate Acting Program' at the college's 'Tisch School of the Arts'. And while at NYU, he became a star of the New York cafe poetry scene.

Now, the first time I heard of Saul Williams was on Russell Simmons' HBO series, “Def Poetry Jam”, hosted by Mos Def (who's now 'Yasiin Bey'). Shortly after, I'd heard he'd won the highly coveted, Grand Slam Championship at New York City's 'Nuyorican Poet's Cafe'—which he did in 1996. And it was a year later that I saw him in the film, 'Slam', where Saul portrays a drug dealing young man, who seeks redemption and resurrection from the hazards of urban blight through poetry (And trust—this flick is definitely worth watching).

Since then, I've read one of Saul's books, listened to his myriad albums, and have been a fan of his lectures more than any of his other artistic endeavors. But it was one of his talks in particular, that struck and stuck with me more than most...

Earlier this year, Saul spoke about his artistic life at Duke University, with Mark Anthony Neal, a brotha who's a professor of Black popular culture in Duke U.'s African-American studies department. And that evening, Saul told Mark about something he experienced in one of his acting classes.

Saul spoke about Morehouse not having a drama dept., and how he had to take those courses at neaby Spellman College in Atlanta, Georgia. Mind you, Spellman is a woman's college (More specifically, Spellman is a Historically Black College, so the overwhelming majority of it's student body are Black women). So Saul explained to Mark that he remembered how his professor, Glenda Dickerson, made all the young Black men attending those courses, participate in “menses” riutals, where they'd hold white candles and were told to sit in silence while Glenda led the female students, who were wearing white themselves, in whatever pantomimed ceremonies that Glenda planned for the class.

Now, even though these exercises were suppose to teach these young Black men to respect their women, here's what Glenda was really indoctrinating them into.

The white candles Saul and the other young Black men held during these rituals, really represented a white phallus (Washington monument). And what this told those young brothas, or was suppose to tell them, was their Black manhood, would always be inferior to a white male's. Moreover, Glenda was teaching them that this would be the case no matter what they accomplished—especially in the eye's of Black women.

And ultimately, it told those young brothas that the white man was the only one who could offer them the 2 things they craved most—security and a sense of ethnic purity.

Additionally, those Black women wearing white told those young brothas, how Black women, at least those in america's social order, would be completely obsequious and complicit to this country's (or world's) white fascist status quo. Even if it was to their detriment—which we now see that it was (Olivia Pope).

And I just gotta' say this—at a time when we had a Black man as the american president (Obama), it was a Black woman, Shonda Rhimes, who created a TV show, featuring an African-american woman who's the mistress of a white male american president. And Black women held parties to watch this show.

There was even an episode where Olivia Pope and Fitzgerald, have sex in a closet. And right after good ol' Fitz is done with Olivia, he says the act was a mistake in judgment on his part.

Now, a lot of Black women were thinking that Black men were just bitter behind this show featuring a Black woman sleeping with a white man. But what brothas were really asking themselves was: why would Black women wanna' portray themselves this way? And Kerry Washington lived the real life consequences of this portrayal, when she and her rainbeau, Dave Moscow, got a divorce. And personally, I'm still shakin' my head behind that show, and it's overall effect on sistas.

Moving on...

Fast forward from Saul's collegiate years, to September 19^th of this year, when a Black male journalist named Damon Young, wrote and published an article for his VSB (Very Smart Brothas) website, titled: 'Straight Black men are the white people of Black people'.

Now, before I go in on this brainwashed, anglophilic, white kiss-ass-of-a-negro, let me throw one fact out there—the 'Very Smart Brothas' organization, came to prominence by way of the Black news site, 'The Root'—which is itself owned by the 'Univision' corporation. So Damon's clearly speaking for his white fascist benefactors—not us.

Anyways, what this crap piece of propaganda is really saying, is straight Black men are like the white men of Black people, insomuch as the violence perpetrated by us against our women, is tantamount to the violence that white fascism perpetrates against Black folks. And that's the anglophilic negro's argument for some sort of fairy tale whitey's calling the 'Black (male) privilege'.

Now, there's myriad reasons why Damon's diatribe is dumb as a box of rocks, but I'll expound on those below, in the '3 reasons whitey fabricated the fallacious Black (male) privilege'. 

So without further ado, let's go in...

Reason #3: Donald Trump is single-handedly making white men look like the dumbfounded bigots that they really are. So to distract from that, white fascists are throwing shade at Black men, in an attempt to make us look equally dim-witted.

On his presidential campaign trail, Donald Trump told a crowd of his followers: “I am your voice.”

And that's the main reason I love Donald Trump being the american president, cause with him, there's no veneer of whitey's feigned scholarly intellectualism or benevolent humanitarianism. There's just brute elitism, colorism and blatant displays of plagiarism, embedded in every second of Trump's oligarchic behaviors. And in more layman's terms, the man's a bully—and he can't hide his true nature.

So to take mainstream america's attention away from that, Damon's white fascist handlers commissioned him to validate and qualify reasons why Black men are just as privileged as white ones, so white men won't look like the empty-headed and morally bankrupted, predators on 'hue-man' life that they actually are. And the people they want believing that most, are Black women, Black children and gay Black men.

Reason #2: white fascists want us thinking that they're our saviors and straight Black men are the real enemies of our people.

Bottom line is, whitey's saying that straight Black men, emphasis on the word straight, are the enemy that's really holding our people back. So we should quit blaming whitey for our problems.

But anyone who's thinking beyond the brain-stem level should realize they've fabricated this lie, cause Black men—especially straight Black men, have the most genetic power to breed whites out of existence. Thus, a 'straight' Black man existing anywhere is a threat to them everywhere.

Reason #1: And the number one reason whitey wants everyone believing in the Black (male) privilege, is more than anything, white fascists don't want us to think that the white privilege exists, so whitey can say that he's smarter than everyone else—and that's why he's on top.

Now, white folks can give you chapter and verse on why they feel their people don't benefit from having pale skin. But the white privilege isn't part of some fantastic folklore, cause there's more than enough empirical evidence to back this up. Case in point, I vividly remember an article I read about an ACLU (American Civil Liberties Union) employment study out of New York, showing how white men were given more callbacks for jobs than the study's Black men, even when the white job seeker had a criminal record, and the Black man didn't.

Moreover, I remember seeing the book, “Hillbilly Elegy”, written by J.D. Vance, stay at the top of the New York Times bestsellers list for more than a year. And in it, Vance tells of his working class roots and how he got to be a Yale Law School grad through sheer hard work and determination. And how his brethren (i.e. working class white folks) are all in the same boat. Mind you, if they didn't believe this, they'd have to admit how whites, whether they're working or upper-class, share an unfair advantage that gave them the social status (and all the resources that come with it) they now enjoy.

So I've said all that to say this, ultimately, whitey will do anything to get Black people thinking that we're our own worst enemies—but like the fallacy of the Black (male) privilege, and the myriad stereotypes they lob on straight Black men, we should understand that these are nothing but idiotic and ignorant, bold-faced lies—and not little white ones.

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

Later...

MontUHURU Mimia

The lowly nature of white women (Part 7)...'Black privilege' and the ethnic escapades of Rachel Dolezal...

The movie 'Soul Man' was released in american theaters on October 24th, 1986. This odious flick tells the tale of Mark Watson, played by actor C. Thomas Howell. Mark wants to attend Harvard Law School; but when he finds out his father blew the trust fund he'd set up for his college endeavors, he seeks out a scholarship for his education. Problem is, the only scholarship that's available is one for African-Americans.

So what Mark ends up doing, is overdosing on tanning pills to get his skin darker so he can look like a Black man. After doing this, he wins the scholarship and is bound for Harvard Law.

Now, eventually, Mark sees the travails of being a Black man in a overwhelmingly white world, and at the end of the movie he winds up falling in love with a Black woman. So the moral of this story is, Mark putting himself in 'Black face' makes him see what our people go through and he becomes somewhat of a champion for Black people.

Now let me tell ya' what this piece of crap flick is really saying...

Firstly, when this whiteboi puts on Black face, goes to Harvard Law and falls in love with a Black woman, the message to Black women is, no matter how good a Black man may appear, the best choice for her will always be a white guy. So this is just more of that ole' 'divide and conquer' tactic employed by white fascists to keep Black men and women apart.

Secondly, and more profoundly, this movie's saying that it's easier for a Black person to get any kind of college financial aid, than it would be for any white person.

Now, I think we've all heard about the sexually and ethnically confused misadventures of one Rachel Anne Dolezal, and how she tried unsuccessfully to qualify herself as a Black woman. But the question I hear most when people talk about her is: why'd she do this? Why does she wanna' be Black?

Well, I think the main answer lies in the Soul Man movie, in so much as Rachel thought, especially after receiving her Bachelors degree from Belhaven University in Jackson, Mississippi; that the best way to fund her grad school endeavors, and later get herself a position in the NAACP, would be to put on some 'Black face'...just like Mark Watson.

You see, especially in the case of Rachel's Howard University romp, white fascists have convinced their inbreeding minions that every Black person will assuredly get financial aid before they, or any other kind of person will. So much so, that a a bunch of brainless inbreds started the '#Black privilege' Twitter page. This is an initiative to bring attention to how unfair it is for Black americans to get any kind of financial aid 'privileges' over anyone else. And this page also speaks to how unfairly, according to these inbreds, whites are labeled as the most murderously bloody ethnic group in the world.

But beyond the Twitter non-sense, I wanted to concentrate on finding out which ethnic group ultimately gets the most financial aid dollars in america. So, being a curious-minded type of fellow I did some research...and here's what I found...

Financial aid analyst Mark Kantrowitz conducted a study on this matter and crunched the collegiate numbers to get at the truth. He is the publisher of Finaid.org and received an ABD (All but dissertation) degree in computer science from Carnegie Mellon University.

So here's his stats: Mark found that Black college students, who constitute about 11.5% of the american collegiate population, get roughly 10% of every kind of financial aid assistance. Spanish american college students get approximately 14% of this aid. And white students receive approximately 59% of all collegiate financial aid funding. And this includes grants, scholarships, loans and private funds.

Now, even Mark seemed unsettled by his own discovery, 'cause he tried to detract from his own findings by emphasizing that white students get the most 'merit-based' grant funds. What he's basically saying is, his people DESERVE their financial aid more than anyone else. So my question to him would be: does that mean white students also deserve to get the most financial aid monies from loans, private agencies, donors and non-merit based grants too?

What really pisses me off about this, is all my life I've internalized what white fascists have told me as the gospel truth. But now that I'm mature and actually doing the research into these theorems, I've come up with a bit of a joke that I'm always telling myself, especially lately, concerning my findings. And here's the joke...

How can you tell when a white person's lying?

When their lips are moving.

Now, getting back to good ole' Rachel Dolezal, she showed her true colors (pun intended) once she got a full scholarship to Howard University (a 'Historically Black College'), and then sued Howard U. under the name Rachel 'Moore'.

After she was accepted and got the aforementioned scholarship to Howard U. posing as a Black woman, she claimed as a 'white' woman (Rachel Moore) she wasn't granted access to certain scholarship funds, a teacher's assistant position and 'other' opportunities. Now mind you, she received a 'full' scholarship to Howard...but I guess that wasn't enough for ms. thang. Deep down, she still felt she would've gotten more financial aid as a Black woman...even though she faked being a Black woman to get into Howard U.

It get's better...Rachel even said some anonymous (Black) man sexually took advantage of her while she attended Howard. When she was asked why she didn't report her rapist to the police, she responded: “...suing was nearly impossible.”

So Rachel stole our people's culture and lied about being raped by a Black man...that sure as hell sounds like a white woman to me!

So if you're a Black man or woman reading this, here's my question to you...how long will it be before we collectively realize that we'll never be able to peacefully co-exist with these inbreds?

How many more atrocities do we have to suffer at their hands, before we make plans to get the hell up from around these folks for good?

When I saw how these degenerates created a hash-tag to put in front of the words 'Black privilege', after they continually see our young men and women getting shot down in the streets like dogs by thrill-kill white cops, I was mad enough to spit.

And I'm not telling you to hate anyone, 'cause that's only gonna' result in some kind of self-hatred, but we need to understand, a perfect world to white fascists means that every Black person has been gotten rid of. 'Cause again, we have the most genetic power to breed these inbreds out of existence.

And with white birth rates well below replacement levels, we need to remember one thing emphatically, and that's how WHITE LIVES DEPEND ON BLACK DEATHS!

So let's wake up, smarten up, and put aside our differences for the travails we have ahead.

The next president after Obama is surely not gonna' be one of us. And this person, male or female, is gonna' have our Diaspora right in their cross-hairs, just like these murderously bloody white cops.

So will we be ready?

That's the $64,000 question...and it's one we better get an answer to ASAP!

WE GOT WORK TO DO PEOPLE...SO LET'S GET TO IT!

Later...

MontUHURU Mimia

P.S.

If you'd like to see the other parts of this Blog post series, you can check 'em out here: Part 1 Part 2 Part 3 Part 4 Part 5 Part 6