The end of feminism (Part 3.5)...Blythe Masters, Credit default swaps, the bitter-sweetness of "Bitcoins", Jay-Z's Diasporic manifesto, and the rise of "disaster" capitalism...

“I do believe CDS’s (Credit Default Swaps) have been miscast, much as poor workmen tend to blame their tools.”

—Blythe Masters 

“Financial freedom’s our only hope…”

—Jay-Z, from the song, “The Story of O.J.”

To the readers of this blog: One of the reasons I started the “End of feminism” series, is to spotlight the fact that (one) of white fascism’s deadliest weapons—is the white woman. And that means what? It means that because white women have been given the title of the world’s prettiest and most exquisitely feminine female (according to european standards anyway), more often than not, the Black Diaspora will let their collective guards down, when it comes to her stealthier and more finessed form(s) of fascism.

For example, a Black man who’s slated to make a lot of money, will often be targeted by white fascist freemasons, to not only join their ranks, but to be paired with some icy-blue eyed, hawk-nosed, and flat-assed white female, so his money stays in their clutches. And for Black women, it could be joining up with some feminist cadre whose real goal, is to give a Black female (or at least to make her feel) like she’ll have more access to white men by joining them, in hopes that she’ll marry one some day. And white women’ll do this, while telling Black women that they’re “sisters in the same struggle”.

Always remember family, the ultimate goal of white fascism, is to MAKE SURE THAT BLACK MEN AND WOMEN DO NOT GIVE BIRTH TO ANOTHER BLACK CHILD, WITH THE SAME GENETIC POWER TO WIPE THEM OUT, THAT WE HAVE! Also remember, because of this, ONE OF US ANYWHERE, IS A THREAT TO THEM EVERYWHERE!

So, Blythe Masters’ story is yet another example of a white woman working to further the causes of the pale-skinned fascist agenda, all while she and her kind, try to pass themselves off as an “oppressed minority”. 

Now, Blythe Masters’ endgame not only fits in with the 3 tenets of the “Hegelian Dialect” (Problem, Reaction, Solution), but this dastardly template reminds me so much of a “3-act” play, that I thought it warranted my presentation of her tragic trajectory, in 3-acts. Now, for those who aren’t familiar with the 3-act play (or movie) format, it basically consists of the first act, which is the set-up for the main incident that kicks the whole story off, the second act, which describes the confrontation, or the “rising action” that fuels the story’s momentum, and the third act which is the story’s “resolution”, which basically details how the whole darn thing will end. Mind you, I’m doing this ‘cause Blythe, at least in my opinion, is the poster-girl for not only what’s wrong with the financial industry, but the covert agenda that’s fueling its convoluted culture.

Now, (supposedly) outside the confines of corporate boardrooms, we have the rapper Jay-Z—who’s not only a white fascist freemason, but says in his song, “The Story of O.J.”, that “financial freedom’s our only hope…” And understand, while Jay may not have the ear of middle-aged Black folks like myself, he’s definitely influencing our children—and ultimately, that’s why he makes so much money, ‘cause he’s got the power to make people do the things he says.

And with that said, I’ll thank you in advance for your kind indulgences, while I break down the real goal of whitey’s financially engineered fascist maneuverings, with an emphasis on the insidious agenda(s) of globally marketed “exotic” monetary instruments. And as always, I invite you to let me know what ya’ think about my take on this sordid topic.

—MontUHURU Mimia

Act 1: Blythe’s Beginnings

Blythe Sally Jess Levett, better known as Blythe Masters (right), was born in Oxford, England, on March 22^nd, 1969, and attended the “King’s School” in Canterbury, England. Now, this is the “boarding” school, which provided her with much of her grade, middle and high-schooling needs, before she attended “Trinity College”, where in 1991, she graduated with a B.A. in Economics.

Shortly after graduation, Blythe joined the J.P. Morgan banking company, where she worked her way up to a managing director at 28. Mind you, she was the youngest director to hold that position in the firm’s history. Also, for the record, Blythe took the last name, “Masters” after she married her ex, Daniel, who also works in finance. Now, it was before winning the title of managing director, that Blythe not only became a white fascist freemason, but was tasked by her masonic handlers to help them solve an age-old problem. And that was, how to (legally) loop-hole around the pesky regulations mandating that banks have a required amount of money on hand, so they could more safely cover monetary or credit losses in the future. Basically, banks were looking for a better way to manage credit risks, so they’d be more profitable.

So, in June of 1994, a group of financiers in J.P. Morgan’s global derivatives department, went to a luxurious resort hotel in Boca Raton, Florida, for a weekend excursion, where they’d come up with an answer to their industry’s dilemma.

Mind you, during this “convention”, this group of “twenty-something” financial engineers got drunk, jumped into the hotel’s pool(s) fully clothed, and basically had a party, while mulling over ways to navigate around credit risk. Now, keep in mind, when I say these were a group of “twenty-somethings”, I’m talking about young people in their early 20’s. So, these were basically a group of kids tasked with solving an industry-wide problem—and the leader of this jejune coterie, was none other than Blythe Masters.

48 hours later, this confederacy of well-educated dunces, came up with the idea of purchasing “insurance” policies, that would remove risks intrinsic to issuing loans—and in more layman’s terms, they’d created a buffer between them and defaulted credit—and these “exotic” financial instruments would be called, “Credit Default Swaps”.

Now, you might be thinking, okay, theoretically, that’s nice to know bruh, but how does this work in real life? Welp, let’s take the case of the Exxon-Valdez oil spill that happened in 1998, as an example.

Now before that year, J.P. Morgan had extended a $4.8 billion-dollar credit loan to Exxon. After the spill, Exxon faced a $5 billion-dollar lawsuit, after dumping literally millions of gallons of oil in Alaska’s Prince William Sound. Now, a group of J.P. Morgan bankers (again led by Blythe) purchased insurance against Exxon’s credit line, with the help of the “european Bank of Reconstruction and Development” who issued the insuring bond to them. And this not only shielded the bank from Exxon’s blunder financially, but it also allowed J.P. Morgan to cut the cost of capital it was required to hold against Exxon’s default. And this essentially reduced J.P. Morgan’s own risk—making the bank more profitable. Mind you, these Credit Default Swaps (CDS’s) were considered so revolutionary, that not only did the whole of the banking industry adopt them, but behind their protections, J.P. Morgan began bundling these “risky” loans together and sold them in packages they called “BISTRO”, and this stood for “Broad Index Secured Trust Offering(s)”. On top of that, these new “bad loans” were bought by other financial institutions, to be sold off to yet another bank. So, the finance industry now had free (and legal) reign to begin cannibalizing itself.

Act 2: Monetary Meltdown(s)

Now, when the finance industry’s home loan brokers saw what CDS’s would allow them to do, they dove in head first. And what this meant was, banks (or organizations like them) basically didn’t have to have any repositories of cash or credit to cover loans, so they could offer the homebuyer any kind of outrageous sum of money to buy a home, if they had a CDS in play—and all that banker or broker would have to worry about, was collecting their fee. Thus, some real estate brokering agencies would take out several loans on the same house—'cause it didn’t matter whether the homebuyer could afford them or not, as long as brokers got paid, they were good.

Mind you, hundreds of banks were doing this, to the point where it became so common, that these practices were given a name, “predatory lending”. And while all this went on, these bad home loans were bundled up, and sold on stock markets to any corporation(s) wanting them—then the company that purchased them, would sell them to another bank. Mind you, this was creating what finance industries call a “bubble”, which had been growing since the turn of the new millennium—and it would all come to screeching halt in 2008.

Fast forward to 2008, when a “financial crisis” hits america.

Now, most people who lived to see this, remember that people on “Main Street” lost their jobs, homes, families, etc. due to the abuses of the financial industry—while “Wall Street”, which represented america’s biggest banks, got bailed out by bureaucrats, via “TARP” Funding. Mind you, “TARP” stood for “Troubled Asset Relief Program” and it effectively excused banks for their thievery by “gifting” them with $700 BILLION dollars, to make their troubles magically go away. And adding insult to injury, financial executives in charge of these funds, took hundreds of thousands of dollars of this money, and literally threw parties with it. So much so, that separate legislation had to be written to abate these abuses.

Now, let’s stop here a sec’…

Cause this is the “official” story of what happened—but what actually happened was this: Henry Paulson ( Bush Jr.’s Treasury Secretary back in 2008) was tasked with destabilizing america’s finance industry, so the government could take it over. Mind you, Blythe was just doing her part in created the insidious financial instrument that would get the ball rolling, so the markets could go bust—which they did.

And this fits the 3-staged template of the “Hegelian Dialect” to the letter—so, let’s go through those steps right quick…

Step 1: Problem: whitey wants control of american banks

Mr. white folks saw the scandalous amounts of money being made in the finance industry and felt like they weren’t getting enough of that action, so they needed to find a way to shut the whole system down and start anew—with them running the show.

Step 2: Reaction: Creating the instrument of destruction

Ordo Ab Chao, or “Order out of chaos” is not only a motto of freemasonry, it’s the actual means by which they gain control of the world. So, they tasked ol’ girl Blythe to come up with an “exotic” means of destroying the financial markets, and they infected the whole of the industry with this “disease”. And when the disease effectively killed the organization (or organism), fascists enacted the third step…

Step 3: Solution: The “Jack” move

Henry Paulson, with the sanction of his freemasonic handlers, meets with the head of america’s top banks, and tells them about the “bail-out” monies that’ll be given to them. Now, some bank CEO’s refused the money (cause they understood they’d be under governmental rule), to which Henry said (and this is documented), anyone of you who refuse this money will see your bank(s) destroyed. So, this was a good ol’ fashioned “stick up”, without the gun.

Act 3: Blythe, the “blockchain”, “BitCoin”, and the real-real “endgame”

Now, when the dust settled in the finance industry, I remember Blythe’s CDS’s being called a “weapon of mass destruction” by finance guru, Warren Buffet. And with that kinda’ bad press, you’d think for sure that no one (in finance at least) would want anything to do with Blythe, right?

Wrong.

From 2001 to 2004, Blythe became J.P. Morgan’s “head of Global Portfolio and Credit Policy and Strategy”—from 2004 to 2007, she became the Chief Financial Officer of J.P. Morgan’s Investment bank—and surprise of all surprises, J.P. Morgan was caught manipulating energy markets in California and Michigan under Blythe’s tutelages. And behind this fiasco, they had to pay $410 million dollars in damages. Blythe left J.P. Morgan shortly afterwards.

Now, in 2015, Blythe became the Chief Executive of a company called, “Digital Asset Holdings”. And this is a consortium that distributes “ledger technology” to reduce cost, risk, and capital requirements in wholesale financial services. Mind you, this ledger technology goes by a more common name, and that is the “blockchain”. Moreover, this technology was created to support the “BitCoin” cryptocurrency. And again, surprise of surprises, BitCoin stocks are in a precipitous fall—and in more layman’s terms, the stock’s tanking y’all.

Additionally, I’d be remiss, if I didn’t say this: the real-real endgame of any kind of american (or even global) currency, whether it be digital or physical, is a TOTAL DEVALUATION of it. Meaning, whitey has to make every currency totally worthless.

Why you ask?

Cause in order for whitey to get any working-class person to be a willing slave, he’s got to make them think they have no money. This way, people will be complicit with any plans white fascism’s got for ‘em. Mind you, they can’t do that all at once, cause too many people would revolt, and the working class outnumber elites by like 100 to 1.

Remember, money was only given to the masses to block our access to resources—PERIOD.

So, in conclusion, let me just say, that white men and their women, should be recognized for what and who they really are—arbiters of death.

Now, am I telling you that you shouldn’t make money?

ABSOLUTELY NOT!

I’ve said all this to say, that money is not sustainable, and whitey will make sure of that—so, the ONLY virtue that will ultimately save us is UNITY!!

And IT’S THE ONE RESOURCE THAT’S ABSOLUTELY FREE!

With it, we can get EVERYTHING!

Without it, we can’t get ANYTHING!

SO THAT BLACK MAN AND WOMAN, IS WHAT WE SHOULD STRIVE FOR FROM THIS DAY FORWARD!

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

Later…

—MontUHURU Mimia

P.S.

Family, I had to include this vid, which is a CNBC interview with Blythe in 2009, a year after america's financial crisis. Now, rarely do I see much in the way of emotional displays, when it comes to finance broadcasting, but check out how CNBC’s description of Blythe’s corporate title says that she’s the “woman behind financial weapons of mass destruction”. That always makes me laugh. Mind you at this time Blythe was working for “SIFMA”  (Securities Industry and Financial Markets Association), meaning J.P. Morgan had to temporarily give her more of a “covert” banking position, cause she was too much of a lightning rod, at that point. And I apologize in advance about this vid’s lack of clarity, but it's content (I believe) more than makes up for it. 

    

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 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 gospel of white fascism (Part 16)...Ingenious jews and The continuing story of Jay-Z...

Joseph Patrick Kennedy Sr., father of JFK, was born on September 6^th, 1888, in Boston, Massachusetts. He was the elder son of politician Patrick Joseph 'P.K.' Kennedy.

After completing middle and high school, Joe followed in his cousins footsteps and attended Harvard. There, he focused on becoming a social leader and joined several frats that would foster life-long friendships and business partnerships.

Joe graduated from Harvard and entered the business world straight away. In his mid to late 20's, he made a grand fortune as a stock market and commodities trader, and also made a killing investing in real estate. So much so, that Joe amassed the kind of wealth that generations of his offspring will enjoy for decades. And that's a testament to his business ingenuity and acumen.

Now, that's what white fascists want us to think—but let me give you the straight dope on how Joe really made a killing.

On January 29^th, 1919, america's Eighteenth Amendment was signed into law. This was 'alcohol' prohibition family. Meaning, it was illegal to sell, transport, or import, 'intoxicating liquors' for 'beverage purposes'. And once Joe heard this, he saw a golden opportunity.

Long story short, Joe formed alliances with italian crime bosses in Chicago, New York, Boston and New Orleans, to feed this underground market. And notice I didn't use the term 'Black' market.

Among Joe's 'mobbed-up' friends was Frank Costello, former boss of the Luciano crime family, and Sam Giancana, who would be a major source of funds for JFK's presidential campaign. On top of this, Frank was known to openly brag and say, “I helped Joe Kennedy get rich”.

Joe bought liquor from overseas distillers and shipped it to organized crime syndicates that made pick-ups on american shores. Joe's trap-house was a place appropriately named, 'Rum Row', which was a shipment point where police were paid to look the other way. From there, it was distributed throughout the country. Once the liquor was distributed, Joe and his crew fixed prices, established quotas and continued paying off law enforcement and politicians. And, they enforced their own law with machine-gunned contract killers, who performed bloody hits on Joe's command.

By the mid-1920's, Fortune magazine estimated Joe's wealth at $2 million dollars. And by today's standards, that would be like $100 million—and this was at a time when Joe didn't seem to have a 'visible' job. Joe used these profits to manipulate the stock market and finance his later film endeavors.

Now, you might be asking yourself, bruh, why are you tellin' us about Joe Kennedy?

Well, while I was doing some research on Jay-Z for my last post, I not only realized that I forgot to include a major point in my editorial, but I happened across a certain YouTube video that triggered this fact about good ol' Joe.

A couple of days ago, I came across a vid titled: 'Jay-Z isn't deep and neither is his album. His job is social control'. And this was created by a woman named Yvette Carnell. Since I was intrigued by the subject, I clicked on it, expecting to hear about Jay-Z's insidious ulterior motives for the Black community. But what I got was more like an emotional rant from someone with their own ulterior motives.

Yvette's whole discourse was centered around how Jay-Z doesn't have as much money as he's reported to have. Cause according to her, since Jay used to sell crack, he doesn't have that kind of 'business acumen'. And when she brought up Jay's reportedly giving Kanye West 20 million for one of his tours, Yvette pursed her lips and said, “Jay-Z ain't never gave anybody 20 million dollars, he don't have nothing worth 20 million dollars.”

Then I just saw her for what she was, an old, manless, bitter Black woman. Now, I don't use these terms lightly, cause throughout her diatribe, she had this scowl on her face and she radiated this air of negativity. And I know why she was so frustrated. In a nutshell, Yvette was told by the american social order that if you get a degree from some anglophilic american university, that you will definitely out-earn anyone who doesn't. And Jay-Z confounds that theory. You could just tell her rants were sour grapes behind her thoughts that she should have Jay's money.

And one of the most disturbing moments of the vid is when she shows a newspaper article that says, young Black men are looking to invest in stocks behind advice they heard off Jay's latest single, 'The Story of O.J.'. Behind this, Yvette replied, “They (young Black men) don't know nothing about price-to-earnings ratios, or stock portfolio management. And if you're just thinking about investing in stocks behind Jay's song, then you clearly don't have that kind of money to spend, so just move away from your computer.”

And if you're a young Black man with limited funds reading this, and you do wanna' start investing in stocks—there are financial instruments called 'Penny Stocks', and on-line brokers like 'Scottrade', 'TradeKing' or 'OptionsHouse' that'll let you invest in these for literally under $5.00 a share. Now, you won't see dividends like you would from shares of 'Microsoft' or 'Apple', but it's a great way to get started. And even if you don't wanna' start there, you can just research the markets and do 'paper-trades'. Meaning, you just follow certain stocks without investing any money, and see how they perform and figure out if you wanna' invest in them later. Remember, like anything else, the hardest part is getting started.

Now, even though I applaud Jay-Z for influencing our youth to be aspirational, I still see the white fascist hand in his music and his latest video. Now let me expound on that.

The whole Black Trans-Atlantic slave narrative, and showing that to us repeatedly, is meant to do one thing—keep us hating ourselves.

Understand, Black 'consciousness' is cool now. Especially in the wake of Tariq Nasheed's 'Hidden Colors' documentaries. So to counter that, the white fascist freemasonic order Jay works for has the 'Jaybo'—or 'Sambo' character, walking through cotton-fields and surrounded by Klansman. Towards the end of the vid, Sambo is even walking through the bowels of a slave ship. But the most insidious parts of the vid are when a 'Huey P. Newton'-looking character, who sits in a wicker chair with a spear and rifle in each hand is made to say, “Still Nigga”. Also, characters that resemble the brothas Tommie Smith and John Carlos, who raised the Black Power fist in the 1968 Olympics, are also made to say, “Still Nigga”.

This was done to tell Black people that we should never be proud to be Black, cause no matter what we accomplish we're 'Still Niggaz'.

Also, Jay-Z's cheating (whether he did or not) on Beyonce, was made known, so they wouldn't influence Black men and women to form stable, two-parent families. Cause the last thing white fascists want is Black men and women producing 'pure-bred' Black children, with the most genetic power to breed them out of existence. Especially since white birth rates have fallen below replacement levels for the last quarter century plus.

But what's even more insidious than that, is Jay's lyric, “You wanna' know what's more important than throwing away money in a strip club—credit. You wanna' know why jewish people own all the real estate in america? That's how they did it.”

Now, this takes me back to the question posed by so many Black people, and that's: why are jewish people so much smarter than Black folks?

Throughout my life I've heard Black people say jews are indeed the chosen ones, and how they were so gracious to give us jobs post-integration—so the logical question would be, how did they come to own so much more than we do?

Here's the answer...white jews are indeed the chosen people—cause white fascists chose to give them hundreds of billions of dollars in REPARATIONS!!

For instance, in a New York Times article that I'll leave a link to at the end of this post, it details how Germany has paid white jews holocaust reparations to the tune of $89 billion dollars (that's billion with a 'b') over the past 60 YEARS!

And that's just Germany.

white jews are getting these kind of monetary reparations from several countries. Now, let me ask y'all a question: what could Black people in america, or anywhere else, do with $89 billion dollars?

We could get ourselves free—like, for real free. Like free to segregate ourselves from these inbreds and be fine free.

And the reason Jay brings up jewish wealth, is again, to reinforce reasons why we should feel inferior to white folks—it speaks to reasons why we should continue to hate ourselves.

Now, I'll end this post on this point. In 2008, the Haitian 'gourde' (dollar) was completely devalued by it's government (white fascist forces), to the point where Black Haitians were shown to have wads of cash, but they couldn't buy food. So they literally ate dirt to survive. Now, Jay-Z and the powers that be would have us thinking, financial freedom is our only hope. Problem with that is, once white fascists devalue the dollar, credit, or whatever financial instrument we might have an abundance of, we're right back at square one. Meaning, we could have all the cash and credit in the world, but if white fascists devalue these, then we're broke.

What they don't want us to realize is our ultimate power lies in our UNITY!!! That's why at all costs, white fascists keep us hating ourselves and each other.

And whitey also knows that with unity, we can get everything else—without it, we can't get jack!

So by any and all means, let's get unified people—let's get fo' real free!

Later...

MontUHURU Mimia

P.S.

You can read the article about (white) jewish reparations here.