Bold-faced lies about Black men (Part 7)...

 Bold-faced lies about Black men (Part 7)…The propulsive rise of Black American men, the precipitous fall of white fascism, the passing of Kevin Samuels, and what Dave Chappelle, Will Smith, and Chris Rock have in common… 

“I never lose. I either win or learn.”

--Nelson Mandela

"Artists are the gatekeepers of truth."

--Harry Belafonte

"Chickens coming home to roost never did make me sad. They've only made me glad."

--Malcolm X

"Take care of the king...everything else follows."

--actor Dennis Haysbert, from the movie, "Life of a King"

"Was that Will Smith?"

--Chris Rock's comment after Dave Chappelle was tackled at the Hollywood Bowl

To the consistent and patient readers of this Blog: Fam’…seeing as how we’re betwixt the Spring Equinox and the Summer Solstice, white fascists have gone into overdrive regarding the roll-outs of socially-engineered “psy-ops” designed to control the masses. ‘Cause according to them, this is when spiritual forces are most favorable to their initiatives--especially when it comes to celebrity "sacrifices". So, we’re in a “psy-op” season (read, killing season) of sorts y'all. Case in point, as I'm writing this, the relationship "guru" Kevin Samuels has passed away under rather unusual circumstances--and I'll speak about this later on. Hence, his untimely passing is in keeping with the profile of Spring Equinox deaths which happen ritualistically. 

Additionally, I'm sure you've heard about the Supreme Court legislation which could potentially repeal the Roe vs. Wade law. Now, I find it funny how these same white women who're protesting so feverishly against this, are the same ones who voted for Donald Trump TWICE. Meaning, white women wanna' keep Trump's brand of conservative white fascism intact, until it infringes on their reproductive "liberties". Mind you, while Trump was in office, he brought in all his stiff-hipped, right-winged friends to dictate ordinances, codes, and laws to fit their agenda--but white women didn't have a problem with it then, like they do now. To which I say, welp, these Karens wanted a more conservative American government--now they got one. I liken this to Malcom X's "chickens coming home to roost" speech, which is why I included it beneath this post's header. See, this is why I laugh when white women try to pass themselves off as an oppressed minority--'cause while they're doing this, they also wanna' keep their white "privileges". Hence, reconciling these kinds of paradoxes and exposing the truth, is what I'm gonna' go about doing by splitting this post into “3” parts. This said, lemme now jump into the DEEP END o' these murky waters before I breast and backstroke my way to shore with a bevy of doused and deciphered explanations, which’ll cleanse your mind of any delusional residue whitey might presently be throwin' at you. In other words, let’s GO ALL THE WAY IN fam'…

--MontUHURU Mimia

Part 1.

Attack of the Clones

On Tuesday May 3^rd, Dave Chappelle was performing at the Hollywood Bowl, when towards the end of his set, a 23 year-old man named Isaiah Lee (pictured right), jumped on stage and tackled Dave to the ground. After Dave’s security made short work of Isaiah, he was loaded into an ambulance before being arrested on charges of battery, possession of a weapon with intent to assault, unauthorized access to a stage area during a performance, and commission of an act that delays an event or interferes with a performer. Now, if you’re reading this, I’m sure you’ve heard about it over the last few weeks. Hence, I'll cut to the chase and roll out “3” reasons why I know Isaiah was a “plant” tasked with attacking Dave. 

Reason#1. There's no way Isaiah could've gotten into the Hollywood Bowl with a knife encased in what looked like a handgun. Tariq Nasheed went to one of Dave's concerts at this venue, and even he confirmed how tight security was. Meaning, not only did patrons have to go through metal detectors before taking their seats, but everyone's phone was taken from them so they couldn't film the show. 

Reason#2. Now, media reports have confirmed Isaiah is currently living in a homeless shelter—and the cheapest tickets for Dave’s concert were listed at $300 a piece. So question, how could homeless Isaiah afford “front row” seats at the Hollywood Bowl? Conversely, even if Isaiah was in the back rows of the venue, how was he able to mosey on up to the side of the stage, and hop on it before he attacked Dave? Answer: Isaiah was let in by either the Netflix staff who filmed Dave's performance for one of their specials, or he was let in by the venue's staff members. Either way it was an inside job.

Reason#3. Now fam', if you look at Isaiah's above pic, do you notice anything about his clothing and the photo's color scheme? Notice the repetition of the colors red, Black, and white? This speaks to the white fascist factions he's working for. Meaning, these colors are used to identify white fascist freemasons and their minions. Now, you might be thinking, c'mon bruh--you're reachin' now, don'tcha' think. Welp fam', I'll show you why this is important in my next few paragraphs dealing with...

The Frank James "psy-op"

On April 12th of this year, Frank R. James (pictured right), who's 62, committed what's being called a "terrorist" act in New York City's subway system when he left off a smoke bomb in a subway car and shot several commuters on the same train. Now, according to media reports, Frank drove from Philadelphia, where he rented a "U-Haul" van, and parked it right outside the New York subway station he supposedly "terrorized". Several hours after cops found this van, they caught Frank and arrested him. 

So, first off fam', I don't want to sound indifferent to the "victims" who were hurt, but I think anybody with half a brain can see how Franky was working with government forces who helped him pull this off. So, you may be thinkin', aiiiight bruh, you've made your allegations--now prove 'em. Bet. Mind you, this'll be light work compared to some other freemasonic foibles I've had to decipher. So, I'll break this down wit' "3" signs of who's really pulling Franky's strings, starting with...

Sign#1. The first thing you should notice about Frank is what he's wearing. Now, compare and contrast what Frank's wearing with Isaiah, who attacked Dave Chappelle, and you should immediately notice how they're both decked out in the colors red, Black, and white (hint, hint). Franky takes it a step further, with the skull design on his shirt. This is usually indicative of someone belonging to the "Skull and Bones" fraternity--and if you've never heard of this organization, just google them. 

Sign#2. Not only did Frank conveniently leave his "credit card" at the crime scene, but he called the "Crime Stoppers" 800 number on himself. Moreover, when the cops "found" him, media reports say, Frank told them, "I've been waiting for you." Now, topping this off fam', on the way to NYC from Philly, Frank stopped in Moon Township, Pennsylvania--so you might be thinking, yeah, okay, and? Welp, Moon Township not only has a high concentration of military bases in it, but this area just happens to be where intelligence agencies run mock reenactment simulations for "disaster scenarios". Meaning, organizations like the FBI, CIA, ATF, and DEA will stage things like hostage negotiations, mock bombings, and floods in this area--and ol' Franky boy just happened to make a pit stop there before coming to NYC. Coincidence? Hmmm... Mind you, if this ain't enough evidence, then let's look at...

Sign#3. Now fam', Frank just happens to be homeless--like Isaiah Lee. This said, I need you to understand what I'm NOT SAYING--I'm not blaming Frank and Isaiah's moral obtuseness on their homelessness, but when it comes to government agencies, homeless shelters and mental institutions are the first place they'll go to look for "expendable" agents. Now lemme break this down even further, the reason I named this section "Attack of the Clones" is, Frank and Isaiah are prime examples of MK Ultra mind control victims who were probably given several "treatments" and monetary "treats" as incentives to go out and commit these crimes. 

This said, I remember when there were rumors of Kanye West being a clone--and he is--psychologically. Meaning, when secret societies "clone" humans, they're not necessarily talking about cloning their physical bodies, they're talking about hacking and cloning their psychological profiles. Which is the reason why they've put Kanye on a cocktail of "prescription" drugs, 'cause according to Kanye's "handlers", he'd be crazy if he failed to take them. This was the first step in destabilizing Kanye's mind, so they could "reprogram" him to function on command. Meaning, they're only keeping Kanye mentally stable enough to create and perform music. The rest of the time, they're going to keep him so mentally disoriented, he'll barely know his own name. 

Part 2.

The precipitous fall of white fascism

Recently, a Black YouTuber asked me this question: when will karma ever visit crooked white cops and their institutions? To which I replied, first off, as I’m writing this, there’s a war going on in Russia and the Ukraine where you have hundreds of white people, killing off hundreds of other white people. Second, white birth rates have fallen below replacement levels for the last several decades, which is why the Supreme Court is looking to overturn Roe vs. Wade, in efforts to stop abortions, third, white men are overdosing on drugs in droves, and fourth, white men are committing suicide like crazy. Now, this ain’t even counting how white people in this country stormed D.C.’s Capitol building ‘cause they’re dissatisfied with America’s government, which works for them more than anyone else—meaning, white culture is cannibalizing itself.

Then, I said to this person, if this ain’t a karmic “a$$kicking”, I don’t know what is. Hence, this is what I mean when I call the fall of white fascism “precipitous”, ‘cause it’s so steep, it can’t be stopped. Which is exactly why we’re seeing white fascism’s voracious attack on Black masculinity—and speaking of this fam’, let's delve deeper into the next subject. Which is…

Part 3.

The passing of Kevin Samuels

Now fam’, if you’re reading this, I’m sure you know of the “relationship guru” Kevin Samuels, and I’m also sure you know he’s made his transition recently—under some very unusual circumstances might I add. This said, I’m not gonna’ expound on this brotha’s passing too much here, ‘cause I’m gonna’ dedicate an entire post to his memory--but what I will say about him is this: Kevin and his forum symbolized the propulsive rise of the modern day Black man in America, due to his hitting on “3” points primarily—and they are…

Point#1. Kevin let the world know how the stereotypical narratives attributed to Black men have been completely false. For example, stats say, Black men collectively earn more than Black women, 55% of Black men are childless and in the middle class, and according to the Centers for Disease Control and Prevention, Black men make the best fathers.

Point#2. Unlike Tommy Sotomayor and the late David Carroll, Kevin wasn’t a self-hating Black man speaking on relationships between Black men and women. Now, I’ve seen a Black blogger who I’ve followed for years talk about how Black men didn’t make this much of a fuss over Dave Carroll’s death—this is because Black men collectively knew Dave not only hated Black people, but he hated himself for being Black--just like Tommy Sotomayor.

Point#3. Kevin had style for days. Meaning, not only did Kevin exemplify what a Black “high-value man” looked like, but stylistically, he had more grace and poise than we’ve seen Black men have in years. Which is exactly why people like Will Smith, Chris Rock, and Dave Chappelle are being tasked with denigrating the image of Black men by staging these assaults in globally recognized venues like the Oscars and the Hollywood Bowl. ‘Cause we gottta’ remember fam', white fascism is a “zero-sum” game, meaning, if Black men are winning, in ANY capacity, then whitey’s losing—and they’ve been takin’ “L’s” left and right-and the hits will just keep on coming, whether they like it or not...

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

 Now fam’, here’s a video showing the infamous tackling of Dave Chappelle by Isaiah Lee. Notice the stage is bathed in a red light, and if you look at the pic below, you’ll see Dave’s wearing Black and white. There go the colors red, Black, and white again. Meaning, this was a freemasonic ritual performed right before our eyes y'all.

The Gospel of white fascism (Part 64)...

The Gospel of white fascism (Part 64)…What do Tiffany Haddish, Jada Pinkett, Will Smith, Chris Rock, AMC’s “Atlanta”, and Chevy car commercials all have in common?

 

“Maybe the world may have not liked how it went down, but for me, it was the most beautiful thing I’ve ever seen, because it made me believe there are still men out there that love and care about their women, their wives.”

--Tiffany Haddish, commenting on the Will Smith and Chris Rock “incident” at The Oscars 2022

“Team reflects leadership.”

--The Black Authority, Black Nationalist and YouTuber

Fam’…I realized I may not have hit on the nucleus of white fascism’s agenda with the “staged” Will Smith and Chris Rock imbroglio at this year’s Oscar ceremony. So, I wanna’ make this point emphatically clear with this post, which’ll also finalize the trilogy of videos I’ve curated around this topic. So enjoy, and lemme know whatcha’ think fam’.

Later… 

--MontUHURU Mimia

The Gospel of white fascism (Part 63)...

 The Gospel of white fascism (Part 63)…Will Smith, Chris Rock, #Slapgate, The Oscars, and the white fascist art of DISTRACTING “misdirections”…

“white racism (fascism) is a ‘zero-sum’ game—if Black people are winning in ANY capacity, they’re (white folks) losing.”

--Dame Dash, Co-founder of Rocafella Records and serial entrepreneur

 Fam’…remember when I said we gotta’ whole lot to talk about in regards to Will Smith, Chris Rock, and the Oscars? Welp, here’s the conversation. Lemme know what you think y’all.

Later…

--MontUHURU Mimia

The gospel of white fascism (Part 31)...Mo'Niques "Netflix" masquerade and the moral of every freemasonic story...

Late last month, the comedienne/actress Mo'Nique asked Black americans to stand with her in boycotting Netflix for “gender and color” biases. And I trust that more than likely, if you're reading my Blog, you already know about this.

But if you don't, let me break Mo'Nique's beef with Netflix down briefly...

Mo'Nique said on “Instagram”, that she got “low-balled” by Netflix, when they offered $500,000 for her to appear in one of their televised comedy specials. Then she talked about Netflix offering Amy Schumer 11 million dollars for hers, while comedians Chris Rock and Dave Chappelle each got 20 mill'. Then, Mo'Nique said that when she asked for more money, a Netflix spokesperson told her, “Well, we thing that's what you'll bring”. And when she replied, saying her resume should command a higher price, the same person from Netflix said, “We don't go off of resumes”.

Now ultimately, the question is this: does Mo'Nique's “Hollywood” credentials (Remember, she won the “Oscar” for playing that violently abusive, mammy-of-a-mother in “Precious”), and her previous history as a “headlining” comedian, give her the kind of cultural cache to back up her asking price?

And the best way to tackle this question, in my opinion, is to do a comparative analysis of Mo'Nique's comedic career, in retrospect to what these other comedians she's named, have or haven't done, to command those kind of Netflix “numbers”.

So let's start with Amy Schumer...

After graduating college with a degree in theater from Towson University in 2003, Amy did some off-Broadway work in NYC theater, while she plied her comedic trade in places like New York City's “Gotham Comedy Club”. This led to a “Comedy Central” TV special, and from there, she appeared on the “NBC” talent show, “Last Comic Standing”. She parlayed these successes into TV stints on shows like “30 Rock”, “Bob's Burgers” and “Louie”, and she appeared in a few “HBO” series like “Curb Your Enthusiasm” and “Girls”. Eventually, Comedy Central gave Amy her own show called, “Inside Amy Schumer”. And this led to one of her first movie roles, in a film that was titled, “Price Check” (ironically enough). After this, she went on to play roles in other flicks like, “Trainwreck”, “Snatched”, and “Thank you for your silence”.

Now, on June 23^rd, of 2016, Amy sold out the world famous, “Madison Square Garden” in NYC. And it was there that she announced she'd be taking her comedy show on a world tour. To top that off, she wrote a memoir tilted: “The Girl with the Lower Back Tattoo”, which held the top position on the “New York Times” Best-sellers list for two weeks in September of that year.

Mind you, the Netflix spokesperson who Mo'Nique spoke with, told her that Amy's selling out the “Garden” twice, and being in a “big movie over the summer”, was a factor in what she got paid. So much for not going off of resumes.

Now, in my opinion, Mo'Nique is totally right for asking Netflix for a similar price to Amy's. Cause quite frankly, Amy's a third-rate comic at best and a corn-fed looking, inbred bigot at worst. white elites only hype Amy cause she's supposed to represent some new breed of feminist, with her brand of comedy some critics are calling, “casual racism”(CS).

And for those who don't know, let me explain what CS really is—Amy's CS is a rallying call for white women who not only wanna' have their “white privilege(s)”, but who wanna' be recognized as an “oppressed minority” while doing it. Furthermore, they also want white elites, like Trump who the majority of them voted for, to make sure they're always recognized as the world's prettiest women, while showing their true colors (pun intended) by lobbing any and every kind of insult towards Black people. Mind you, these are the same women who're pleading for our sympathies in the #METOO campaign(s).

So, in the case of Amy Schumer, I think Mo'Nique's argument over salary discrepancies is right on and righteous!

Now, we're all pretty familiar with Chris Rock's back-story and credentials. But for those who aren't, let me give you a brief primer on his comedic career.

Chris began doing stand-up comedy at New York City's “Catch a Rising Star” club. While plying his trade, he was fortunate enough to meet Eddie Murphy who happened to visit one evening. And after Eddie asked the club's manager to put Chris, who wasn't slated to perform that night, on after another comic, Eddie was so impressed with him, that he put Chris in the film, “Beverly Hills Cop II”.

Chris parlayed the aforementioned coup, into his stint on “Saturday Night Live”. After which, he began his string of HBO comedy specials, like the one that catapulted his career into the stratosphere, (1996's) “Bring the Pain”. And coincidentally, it was this special's skit about “Niggas vs. Black people”, that got him in the good graces of the white fascists who control Hollywierd.

After winning two “Emmys” for the aforementioned comedy shows, Chris' HBO special called, “Bigger and Blacker”, won him even more acclaim with critics and fans—and this got him to his own HBO show, “The Chris Rock show”. After this, he went on to garner major roles in movies like: “New Jack City”, “Boomerang”, “CB4”, “Panther”, “Lethal Weapon 4”, “Dogma”, and “Jay and Silent Bob Strike Back”.

He then took on the role of a film writer/director, with movies like: “I think I love my wife” and “Top Five”.

Now, in regards to the pay-out discrepancy for Mo'Nique as it pertains to Chris Rock, I say she's wrong here for several reasons. First off, Chris' brand of socio-political comedic stylings tend to be more astutely observant and cerebral than Mo'Nique's comedy. Mo'Nique trends towards more “down-home” or “round-the-way” types of punch-lines—whereas you can tell Chris makes it his business to tackle complex sociological issues, which he presents in ways that are easily digestible for the masses. At one point in his HBO comedy speicals, you hear Chris waxing philosophic about how women know within the first five minutes of meeting a man, that they're gonna' sleep with him—then you hear him talk about how “affirmative action” and the white privilege got and kept Bush Jr. in his job as america's president. You're not really gonna' experience that range of cerebral/comedic gymnastics at a Mo'Nique show.

So in this instance, I think Mo'Nique doesn't recognize that Chris' psychological dexterity, is greater than her own—at least comedically.

Now, Mo'Nique's suggestions that she get as much money as Dave Chappelle, to me, is questionable at best and outright crazy at worst. And here's why...

After attending Washington D.C.'s, “Duke Ellington School for the Arts”, a young Dave Chappelle moved to New York City, to ply his comedic trade. He made such an impression on New York City's comedy circuit, that Whoppi Goldberg nick-named him, “The kid”, when he was 19. A talent agent “discovered” him in a New York club and put Dave in his first movie, “Robin Hood: Men in Tights”.

Thereafter, he was involved in several TV “pilots” that got rejected—but Dave was so revered as a master comedian, that once again, Eddie Murphy stepped in and put a young Dave in his hit movie, “The Nutty Professor”. After this, Dave and Neal Brennan co-wrote the stoner-classic, “Half-Baked”, and Dave also appeared in the box office success, “Blue Streak”, with Martin Lawrence.

Dave's Hollywood cache had evolved to the point where white elites “green-lit” the ideas he had for his own sketch-comedy program, and that became the “Dave Chappelle Show”, which debuted in 2003 on Comedy Central. And we all know how wildly successful and iconic this show became—and, we all know how it ended.

But what people may not know is this: The first season of the Chappelle Show on DVD, remains the number one best-selling TV series on DVD of all time, with 3 million of its units sold. Now, this DVD made the Comedy Central network $500 million dollars—and Dave's contract stipulated that he get half of that, which of course, is $250 million.

But Comedy Central only wanted to give Dave $50 million. That—along with a host of artistic and political differences he had with Comedy Central, was the main reason Dave walked away from the deal. So “crazy” had nothing to do with it.

But Dave didn't stop there, on top of telling Oprah that he wouldn't wear a dress cause he saw the psychological impact it would have on Black people, Dave left the u.s. and went to Africa.

Now—do you know what that means?

If not, let me tell ya'—cause in my estimation, Dave struck the mightiest blow to white fascism, I've ever seen in my lifetime.

EVER. 

Cause with Dave's actions, he told Black people, in america and the Diaspora, that the white fascist dream, american or otherwise, was BOGUS (and I wanna' use another word, but I won't), and he wasn't gonna' sell-out to it or for it. Now, even though Dave made a comeback, and a deal with Netflix for $60 million, I still fear for his life. Cause white fascists may be wicked as all hell, but they ain't stupid.

And the way whitey usually gets rid of revolutionaries like Dave (and that's not hyperbole, Dave's proven himself to be one) is this: they give someone what they originally fought for, in Dave's case $60 million ($20 million for three comedy specials), and a couple of years after the celebrity's won their battle, they kill them and usually blame it on a drug overdose (Prince).

Cause it would look too suspicious to kill a celebrity, while they're fighting their battle.

But back to Mo'Nique...

Now, if Mo'Nique was offered $50 million dollars, what do you think she would've done?

Ya' darn right—she woulda' took it!

Meaning, not only doesn't Mo'Nique have the kind of ingenuity and knowledge of world politics that Dave infuses his humor with, but I know for a fact that she doesn't have the kind of moral fortitude that would've allowed her to say no to that kind of money. And she sure as hell, wouldn't of went to Africa, to further prove her point.

So, I've said all that to say this: I applaud Mo'Nique for knowing her worth when it comes to hack comics like Amy Schumer, but when it comes to a generation's greatest comedic minds like a Chris Rock, or true-to-heart revolutionaries like Dave Chappelle, she'll never be in their leagues.

And the reason why is simple—it's cause at the end of the day, Mo'Nique is just a narcissistic opportunist, frontin' like she's “conscious”.

Mind you, I believe Mo'Nique is very talented, but she suffers from the same disease that Dame Dash, formerly of “Rockefeller Records” had. Cause both Mo'Nique and Dame are white fascist freemasons—so they should know that they're only allowed to be successful ON FREEMASONIC TERMS—NOT THEIR OWN! 

And that's the moral of every freemasonic story. It's also the reason why Jay-Z's nearly a billionaire, and Mo'Nique and Dame ain't.

So to all celebs, or aspiring celebs who wanna' get down wit' tha' freemasons: if you wanna' survive and thrive in your chosen profession, you should heed the pithy words of Lavar Ball Sr., and know when to “STAY IN YO' LANE”. In other words, if you're dirty dancin' wit' tha' devil, don't cry when ya' gets burned.

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

Later...

MontUHURU Mimia

*Addendum: (2/6/18)--Here's a video put out by "The Atlantic" magazine, simply called "Typecast", featuring actor Michael K. Williams (most noteably known as "Omar" from the HBO series, "The Wire"). Now, this mag covers national and international politics, technology, business and "culture", but more than anything, this mag's vid talks about an entertainer possibly regretting their "celebrity". So ultimately, the moral of this vid's story is: if you're gonna' get down wit' "Hollywierd", you've gotta' play by their rules. And in white fascist freemasonry's case, you can't have your cake and eat it too. Either you abide by their ways, or you go the "independent" route, so you don't have to. Enjoy this clip.

Warning:This video contains harsh language. Viewer discretion is advised. 

The triumph(s) of Terrance Howard...

Terrance Dashon Howard was born in Chicago, Illinois on March 11, 1969. His parents Tyrone Howard and Anita Williams moved young Terrance to Cleveland, Ohio where he was raised.

Terrance comes from a long line of stage actors and actresses; his great grandmother and several uncles were known in local theater circles, and I think this had more than a small influence on a young Terrance. 

Unfortunately, the artistic temperament of his household, couldn't shield him from the bigotry of prejudiced whites and the american social order. 

One christmas evening, at the tender age of two, Terrance's live would be changed forever.

21 year old Tyrone Howard took his three sons and his pregnant wife to see santa claus at a local department store called 'Higbee's' in Cleveland, Ohio's Public Square. 

Also there, was a 36 year old white guy named Jack Fitzpatrick who was shopping with his pregnant wife. 

Now, there are differing accounts of what happened between these two men, but from what I've researched and surmised, this is what took place: Tyrone had left his wife and children in 'santa's waiting line' while he looked for a certain product; when he couldn't find it, he returned to his family. 

Mind you, Terrance's father Tyrone is a Black man with a very light-skinned complexion, and in a lot of circles he could pass for white. So when he returned to his family, and his wife especially, who was darker-skinned, Jack the inbred asked Tyrone, "...why'd you let some ni@gers cut you in line?"

After an argument ensued, several witnesses say Jack pinned Tyrone up against a wall, kicked him in the groin and started chocking him. 

Tyrone retaliated by grabbing some sort of sharp instrument and stabbing Jack several times in the neck and thighs. Later, Jack perished from his wounds.

Initially, Tyrone fled the scene to avoid the cops who were called; but after a change of heart, Tyrone turned himself in and was incarcerated shortly afterwards.

It's said that the life of Terrance and his family was turned upside down as they had to leave their middle/working class home to reside in a tenement in a rough part of town. 

All thanks to the bigotry of inbred Jack.

This incident was broadcast in Cleveland's local paper as the 'Santa Line Slaying'. 

This was also the reason Terrance's home became completely unstable after his father was jailed; so much so, that Terrance emancipated himself from his parents at the age of sixteen. At eighteen, he moved to New York City to pursue an acting career. 

Originally, Terrance had aspirations to be a science teacher and was attending the Pratt Institute to pursue that course of study; but once he accompanied his brother to an audition for the 'Cosby Show' and got a part, his life was forever changed once more.

Now, when I originally set out to write this post, I was gonna' call it 'The real triumph of Terrance Howard'; but after doing a bit of research on this man, I saw I couldn't limit his triumphs to just one. 

And it's no secret that Terrance is one the Black Diaspora's finest actors. Along with thespians like Don Cheadle and Jeffery Wright; Terrance's seeming ease at conveying pathos and depth of emotion is nearly unparalleled. And his difficult childhood is what gives him such access to the gravitas and range of sentiments he displays so well; so essentially, he took something negative, and made it positive. 

This is Terrance's personal triumph; now I'd like to talk about his professional one. 

The movie 'Hustle and flow' was an indie film released in theaters in 2005. It was written and directed by Craig Brewer and produced by John Singleton of 'Boys in the hood' fame. 

I couldn't imagine anyone out there hasn't seen this film, but for those who haven't, Terrence plays the protagonist 'Djay', a small town pimp who basically becomes dissatisfied with his life and tries his hand at getting into the music industry. 

I remember my conversation with a middle-aged co-worker who said she saw the movie and wasn't very impressed with it, even though it had garnered so much praise. I gotta' admit, I didn't think the movie itself was so hot either, even though Terrance was nominated for Best Actor at the Oscars. 

And then, what made the film so exceptional hit me. 

But before telling you what aspect of the film made it great, let's explore the person behind this film's script. 

Criag Brewer said this film was dedicated to Sun records founder Sam Phillips. 

And good 'ole Sam was quoted as saying, "...if I could get a white boy who sings like a ni@ger, I could make a million dollars." 

Shortly thereafter, he began working with a young elvis presley. 

Now, this film is set in Memphis, Tennessee, and I remember one of it's white characters saying, in reference to the rise of southern Hip-Hop, "...this music is coming home..."

Like the american south was ever a home for the Black Diaspora; for centuries, up to and including today, the temperment of the american south has its Black citizens feeling like they're behind enemy lines. But just like elvis, this is another attempt at white guys saying they had something to do with the creative ingenuity of Black culture. The next step is to basically claim it as their own (reference Rock and Roll).

'Cause everybody knows, or at least should know, that the birthplace of Hip-Hop is and was in the South Bronx of New York City. 

But, Craig is acting just like every other neo-liberal, white supremacist, fair-skinned guy infatuated with Black culture (reference Quentin Tarantino). 

Side note: Hustle and flow takes place in Memphis, Tennessee and Quentin Tarantino was born in Knoxville, Tennessee. Coincidence? 

Anyway, the reason I'm calling Craig a white supremacist, is he scripted one of the most stereotypical scripts I've seen in years. He talks about how Hip-Hop music is coming home to the american south, but his main Black character is a pimp...surely, if you have so much reverence for the culture, you could have scripted a different vocation for its main character. 

But no matter how 'down' with Black culture white people are, their true feelings will come to the surface about how they always feel superior to us. 

Now in order to get the accolades for this film, and a boost into real celebrity circles, Terrance had to play some sort of low life, (reference Denzel Washington's 'Training Day' and Halle Berry in 'Monster's Ball'); but what made this film so exceptional, in spite of it's third rate, bigoted script, is Terrance's powerhouse performance, and the humanity he brought to this lowly character. 

Terrance almost singlehandedly pulled an extraordinary performance out of a script and a film that had no business being 'green lit' in the first place. 

I remember the scene where Terrance is sitting in a church listening to music while tears streamed down his face; it was a testament not only to his acting prowess, but his ability to call up the gut-wrenching feelings involved with music being 'Djay's' salvation; and it spoke to the day that Terrance's father was plucked out of his life indefinitely. 

Terrance's ability to transmit this kind of primal energy radiates off the screen; and it had little or nothing to do with Craig's bigoted, mediocre script. 

A lesser actor couldn't of pulled off this kind of vocational coup.

I'm glad to see Terrance get his shot at real acting stardom; of course, again, he had to do something self-debasing to do it (reference also Chris Rock's joke about ni@gers and Black people), but it's a rare man who can up-end this ritual and keep an almost regal aire about himself in the process.

So I say kudos, Hotep and Sutekh to the Netcher/Neter/Negus/God Terrance Howard; keep it Black and strong bruh!

Later...

MontUHURU Mimia