The gospel of white fascism (Part 14)...What do MO'Nique and Damon Dash have in common?

Damon Anthony Dash, also known as Dame Dash, was born in Harlem, New York City on May 3^rd, 1971.

Growing up, Dame had a paper route—so did Sean 'Puffy' Combs coincidentally, and Dame reportedly swept floors in a local barbershop where he was exposed to the 'hustler's ethic' that he espouses and extols whenever he's interviewed. Also, according to Dame, his mother was a living example of Harlem's hustler mentality, and bred this into him and his brothers, Bobby and Jeremy.

Unfortunately, tragedy struck the Dash household when Dame was 15, when his mother died suddenly of an asthma attack. And being that Dame's father was only in his life intermittently, he had little available to him in terms of monetary resources. However, young Damon, being a whiz at standardized tests, was able to acquire school scholarships that eventually led to his attending an exclusive boarding academy called the “Dwight School, Isaac Newton, Manhattan Center, South Kent” in Connecticut, New York. And this experience helped Dame see how he could marry his Harlem street hustling mentality with a mainstream/corporate sensibility he'd use to win over clients and consumers.

After finishing school, Dame became a party promoter. And those parties were so successful, that he and his business partners thought about starting a record label and clothing line like the Hip-Hop mogul, Russell Simmons.

A short time later, Dame, along with his close friend, Kareem 'Biggs' Burke, and his cousin Darien, began managing the recording artists 'Future Sounds', and got them a record contract with Atlantic Records. Coincidentally, it was Clark Kent, the world-renowned Hip-Hop DJ, whose real name is Rodolfo Franklin, who signed Future Sounds to Atlantic. And being that Kent had an ear to the streets, in 1994, he began telling Dame about an exceptionally gifted emcee hailing from Brooklyn, who was a former drug dealer. The emcee's name was Shawn Carter, who'd later rename himself, 'Jay-Z'.

Unable to secure a record deal for Jay, Dame put up his own money to start 'Roc-A-Fella' records, and put out Jay's first album, 'Reasonable Doubt' in 1996. Although the release got mixed reviews, it's deemed a cultural 'classic' in Hip-Hop circles and did the job of putting Jay-Z on the national radar.

Dame and Jay followed up 'Reasonable Doubt' with the album 'In my lifetime...Volume 1' on November 4^th, 1997, which went platinum. But, the duo's lives would be forever changed when they put out 'In my lifetime...Volume 2: A Hard Knock Life' on September 29^th, 1988.

Now, I can attest to the fact that once I heard the title track, 'Hard Knock Life (Ghetto Anthem)', I instantly saw the ingenuity of the 'Annie' musical sample as the song's hook. And even though a lot of white critics panned the track, anyone who loved Hip-Hop and rap music knew this represented a quantum leap in terms of marrying irresistible sonics with insightful lyrics. The song was scalding hot.

'Volume 2...Hard Knock Life' went 5 times platinum as a result of it's enhanced production and Jay's evolution as a masterful emcee. And Roc-A-Fella records, along with Roc-A-Fella clothing, became lucrative brands that america's mainstream could no longer ignore.

Now, I mentioned Sean 'Puffy' Combs earlier, and one of his sayings rang true of what happened to the duo of Dame and Jay, which is: 'Mo' Money, Mo' Problems'.

In 2002, rumors began spreading about a rift between them. At the nucleus of this, supposedly, was Dame giving Cam'ron, a childhood friend of Dame's, and someone Jay-Z didn't particularly care for, his own imprint label at Roc-A-Fella. And allegedly, Dame did this without Jay's knowledge. Now, unbeknownst to Dame, Jay was making friends with Def Jam executives, Kevin Liles and Lyor Cohen. And when this team was offered the top spots at Warner Music (Lyor was CEO of Warner Music, and Kevin Liles was executive Vice President), they offered Jay the chance to be the CEO of the seminal Hip-Hop record label, Def Jam Recordings.

So in December 2004, Jay asked Dame out to dinner, and told him that he'd been offered the top spot at Def Jam. Dame agreed that Jay should take the job, but he told Jay not to take Roc-A-Fella with or from him. Jay told Dame, he could keep Roc-A-Fella, a subsidiary of Def Jam, if he'd agree to give him back the rights to the master recording of 'Reasonable Doubt'. Dame refused.

Now, after this happened, the passionate vitriol that Dame used to fight for monies that fueled the success of Jay's career, and his brash convictions that his victories gave him the leeway to operate more or less independently from the executives he worked with, got Dame labeled as being 'difficult'. Therefore, when industry execs saw that Jay and Dame were splitting, they went with Jay.

Years later, Jay-Z would enjoy an almost unprecedented success, not only as a rapper, but as a businessman as well. Simultaneously, Dame would watch his finances and parts of his life fall into an unpredictable downward spiral.

Monique Angela Hicks, better known as MO'Nique, was born on December 11^th, 1967 in Baltimore, Maryland. Her parents, Alice and Steven Imes Jr. also had three other children: Millicent, Steve and Gerald. 

MO'Nique graduated from Baltimore's Millford Mill High School in 1985, and then went on to attend Morgan State University. Shortly after, she graduated with a degree from the Broadcasting Institute of Maryland in 1987.

She got her start in comedy at the Baltimore Factory Outlet, while she worked a job as a customer service rep. at 'MCI', a phone company located a couple of towns away from her.

Now, MO'Nique's acting prowess, if you can call it that, in the movie 'Precious', was due to her real life experiences. And this resulted in her confessing in a 2008 interview with 'Essence' magazine, that her brother Gerald had sexually molested her from the ages of 7 to 11 years old. That same brother went on Oprah and stated how he abused MO'Nique cause he himself had been sexually assaulted by a relative, and also said, this led him to abuse drugs for the majority of his life.

But before the Essence article, MO'Nique won a role on the 'UPN' network's TV show 'Meet the Parkers' from 1999 to 2004. She also had recurring appearances on 'It's Showtime at the Apollo' and 'Russel Simmon's Def Comedy Jam'. And she had parts in an assortment of films like: 'Welcome Home Roscoe Jenkins', 'Beerfest', 'Three Strikes', 'Two Can Play that Game', 'Half Past Dead' and 'Soul Plane'.

Now, in 2009, MO'Nique played the hyper-abusive and dastardly mammy-of-a-mother, in the Lee Daniel's movie, 'Precious'. This film was about the trials and travails of a Black girl from an impoverished home, who was also molested and impregnated by her father, twice. And to top this off, Precious could neither read nor write. And let me just state for the record, that I haven't see this film—and I never will. Cause this flick is just more grist for the ol' self-hatred mill in regards to conditioning the psyche of Black folks.

Anyways, it was after this role that MO'Nique won an assortment of awards, up to and including the 'Oscar' for her performance. I also found in my research, that not only was MO'Nique's Oscar dress fashioned after the actress Hattie McDaniels (maid in 'Gone with The Wind'), but she proudly stated that she'd bought the rights to Hattie McDaniel's life story. And supposedly, she was gonna' play this epic mammy in a movie that was slated to be directed by Lee Daniels. It would've been a cavalcade of coons spectacular for sure.

Unfortunately for MO'Nique, she made the fatal error of not supporting the traveling coon-fest of press junkets that was required of her to promote Precious. Thus, she is now saying that Lee Daniels, Tyler Perry and Oprah, have expelled her from their cooning coterie 'cause she's been labeled as being 'difficult'.

So ultimately, what did MO'Nique and Dame Dash learn, and what do they have in common?

Well, let me just say this—for the record, I can't stand Lee Daniels. He's a sexually-conflicted and mentally emasculated, third-rate movie director—but, what he said on CNN's the 'Don Lemon' show was correct, and he stated this: “...this is the show business, and you've got to play ball...”

Meaning, and be forewarned, I'm about to drop the 'f-word' again—you can't take a freemasonic order's money and opportunities, and then challenge them right after. See, what Jay-Z and Lee understood that Dame and MO'Nique didn't, is if you're gonna' play the freemasonic game, you can only be successful ON THEIR TERMS!

And you might be thinking, well, how do you know Dame and MO'Nique are down with the freemasons? Well, in Dame and Jay-Z's case, you can't talk about their success without mentioning a man named Dr. Dwight D. York.

Dr. York is a 33^rd degree mason who set up something called the 'Ansaru Allah' community in Brooklyn, New York City in the 1970's. And coincidentally, this community was only several blocks from the 'Marcy Projects' where Jay grew up. 'Jaz-O', Jay's mentor, was the person who introduced Jay to Dr. York, and they were the ones who started Jay's music career. *Note: Other rappers Dr. York made famous were KRS-ONE and Queen Latifah.

Now, in MO'Nique's case, I think anyone with common sense should understand that Oprah, Lee and Tyler, are three homosexuals tasked with mainstreaming this lifestyle to Black people for their freemasonic orders. And they're doing this so we'll produce less children who have the most potential to breed whites out of existence. Cause again, whitey's birth rates have fallen below replacement levels for the last quarter century plus. So white fascists are scrambling to get rid of as many pure-bred Black people as they possible can, and the mainstreaming of homosexuality to our Diaspora is just another way of making sure Black children don't get born, period.

So I've said all that to say this, NO ONE should feel sorry for MO'Nique's (and Dame's) plight. Cause they truly bought this on themselves. 

My question is, why would MO'Nique have a problem doing anything her freemasonic handlers asked of her, after she played this disgustingly horrific, mammy-of-a-mother in Precious? Maybe she didn't read the fine-print on her freemasonic contract that said, you'll take what we give you and like it, or, we'll take all your money and opportunities away.

But hopefully, MO'Nique can get back in the good graces of her freemasonic brethren. If not, it serves her right for casting aspersion on Black women everywhere with her role in Precious. And let me add, what's happening to MO'Nique is a karmic-reckoning (ass-kicking) that's righting the wrongful stereotyping white fascists have foisted on our people for far too long.

So in this case, I say what any right thinking Black person would say—I say it's justice. And I also say, that's something our people could use a hell of a lot more of.

Later...

MontUHURU Mimia

The virtues of segregation (Part 2) The movie 'Selma' and the cult of Black masochism...

Originally, I wasn't going to write about the movie 'Selma'; 'cause I basically knew, this movie would serve as another trigger to get Black folks to hate themselves via more imagery of us being brutalized trying to get the right to sit or stand next to a white person. Then I had a change of heart, behind a gathering I was within earshot of at my local library.

A middle-aged Black woman led five young Black girls, the oldest appeared to be about seven or eight, into the library's lounge; which I happened to be seated next to. She began waxing philosophic about Black women heroines of the past, and I thought that sounded pretty positive. The girls took a vote on which biography they wanted read to them; the choice was between Coretta Scott King or Rosa Parks. Being that we've all been force-fed the iconography of Dr. King, the girls voted on Coretta. But somehow, the Black woman mentor gave up talking about Coretta and began speaking about Rosa.

The woman mentor went through the usual paces of talking about Rosa Parks not giving up her seat to a white man, before the lecture took a strange turn. This woman began asking the girls whether or not Rosa was brave for not giving up her seat to the white man on the bus, so she could start the initiative to integrate the bus system and this country. The girls all agreed Rosa was indeed brave. Then the Black woman began talking about Rosa having to go to jail to start the integration initiative, i.e. the 'Civil Rights' movement. A second later, this woman asked the girls, would they be willing to go to jail in support of the integration movement? Then I turned around and shot this woman a perplexed look. She didn't see me 'cause her back was turned to me. The woman continued asking the girls in different ways, if they'd be brave enough to go to prison in support of integration. I was thinking about saying something to this woman, when another Black woman working for the library, came and told her that the room they usually use was now free; so the small class moved out of the lounge and into this room.

After the small group of girls went in this room, a sign was put on the door saying, 'Meeting in session, do not disturb'. My head couldn't stop shaking.

Now, this would be insidious enough if it were a group of young Black boys being asked this, but this woman was asking this of young Black GIRLS! What this woman was imparting to these Black girls was the notion that they should be ready to literally lay their lives on the line for the privilege of standing or sitting next to a white person.

And this again, ultimately, is the message of the movie 'Selma'.

Now, I'm not gonna' lie and say I saw this movie, 'cause I haven't...and I won't. To me, this is one in a long line of cavalcade of stars coon show flicks, in the spirit of: '12 years a slave', 'The Help', 'The Butler', 'Django Unchained', etc. And when I watched the trailer of this flick, what I saw repulsed me. There's one moment in the trailer I'll include at the end of this post, where a state trooper at the march on the Edmund Pettis Bridge in Selma, puts razor wire around a bat, for the up-coming slaughter of our people. There's another moment where the actor playing Martin King introduces himself to a white man, who punches him in the face a second after. A moment later, you see Martin with an ice-pack on his face, uttering the words, “Man, that white boy sure can hit.” Now this is doing two things, one, it's quelling the white man's inferiority complex around his being physically weaker than a Black man; and two, it's telling Black adults, like the woman mentor in the library was doing with those children, that we as Black people, should be masochists when it comes to trying to gain, or keep, a close proximity to white people...who are killing us!

And that's the main tenet of this film folks, to tell the Black Diaspora how we should continue to love these inbreds, literally, TO DEATH!

And, at the base layer of this crap flick, again, is the good 'ole psychological trigger of Black people watching themselves being brutalized, so as to make sure our minds stay anchored in the self-hatred these people have bred into us. Good night at the pictures, huh?

Now, as of late, I've begun talking on this Blog about the virtues of segregation, hence, the title of this post. And what I always want to make perfectly clear is, if you're a Black man or woman reading this, I'm not telling you to pack a bag and get on the next thing smokin' to Africa. But if you have the financial wherewithal to do so and that's the choice you've made, more power to you. For myself and the overwhelming majority of Black folks in america, it's not that simple. Not only have we built lives here, but it takes an organized infrastructure to make this transition on a massive scale. And we all need food, clothing and shelter in the meantime. But, I say our 'long-term' goal should be building a nation, or nation state where ethnic homogeneity, on our terms, would mean we could work for an economy that is literally, for us, by us. But before we can achieve any of this, we have to rid our selves of the self-hatred that movies like 'Selma' are hell-bent on reinforcing. And, whether we, the Black Diaspora, like it or not, we're going to face another period of segregation in this country. What's coming behind this massive wave of gentrification in america, is our people being put into areas where we have less access to resources, especially the resource of public transportation. Whitey feels we have too much access to stores, trains, buses, and other vital goods in the areas he's sequestered us into. So, white fascists are hell-bent on putting poor Black folks in rural areas, where you have to get pretty much of everything, and where you have to get everywhere, by car. And if you don't have one, then they can more easily restrict your access to damn near everything.

But again, before building any kind of sovereign nation, our diaspora has to get back to square one, which is, how do we recondition ourselves out of our self-hatred?

Now, my answer will always be, by accessing the subconscious through a means of meditation. And, beyond the fact that I'm working on a technique allowing anyone to access the subconscious in under five minutes, which I'll share with the family soon; I understand, the majority of our diaspora are really not gonna' take to this. So I say to those who really want to rid themselves of this self-loathing, that you should find what works best for you. Whether it be positive visualization, self-hypnosis, or some sort of chanting ritual. But whatever you do, don't think you're gonna' pray this away, 'cause you won't. Like I said in a previous post, prayer changes things, but one thing it doesn't change is behavior. Find a way to get into your subconscious, so you'll see some tangible results. 'Cause again, ten 'hail marys' and five renditions of the 'lord's prayer' ain't gonna' cut it.

And, it could be that my generation is too far gone to be saved from this self-hatred, but we should do all we can to help our youth rid themselves of this. 'Cause if we do this seriously and diligently, we could see a change in our people in a matter of two or three decades.

Now, will we do all this before it's too late? Ultimately, that's the greatest question of all. So let's get to work...and the sooner, the better.

Later...

MontUHURU Mimia

P.S.

Here's the 'Selma' trailer I spoke about earlier, this footage let me know that this was a movie I needed to miss.

What do 'Django Unchained', the TV series 'Roots' and 'The Butler' have in common?

Tommorrow, the 'craptastic' movie 'The Butler', starring Forrest Whitaker, will be released in theaters. I for one will definitely not be in line to see this nonsensical piece of cinema. 

But what I'd really like to share with you about this film is the reason it's being put out, and why it's being put out at this time. I also want to draw some parallels between the timing of this film's release and two other works like it, that being, the TV series 'Roots' and that other slave narrative/Black servitude oriented film 'Django Unchained'.

Let's start with the TV series 'Roots': 

Alex Haley's novel 'Roots: The Saga of an american family' was published in 1976. 

This novel caught the eye of a TV executive and was expedited into a mini-series on the ABC network. This show became a cultural coup with american audiences as it garnered unprecedented Nielsen TV ratings; so much so that to this day it's said to be the third highest rated TV show in american history.

*Side Note: I once did some research on Nielsen TV ratings and it exposed a rampant tampering and manipulation of the ratings numbers. Also, ask yourself, if Black people are always getting told we watch the most TV, wouldn't you think they'd put some Nielsen ratings boxes in our neighborhoods? Have you ever known of a Black family with a Nielsen TV ratings box? If you have, please contact me.  

Anyway, this show received 9 Emmys awards, a Golden Globe and the Peabody award. Yep, the white elite were certainly puttin' their stamp of approval on this puppy. 

So, let me tell you why this TV series was so favored by them. 

In the seventies, Black people were especially upwardly mobile. After the Civil Rights struggle (or as I'd like to call it the Black Human Rights struggle), Blacks were gaining momentum monetarily through access to workers unions and collegiate educations. And anytime this happens, there's a kneejerk response from the white elite to supplement our white supremacist educations with a reminder about slavery. 

This in effect, triggers the indoctrinated shame we feel over our enslavement and is used to let us know what we've accomplished isn't worth a damn 'cause we're still descendents of slaves. 

You see, when Mr. Charley isn't keeping us in perpetual states of fear and hatred (Trayvon Martin), he keeps us mired in self-loathing. This way, we have less probabilities, collectively and individually, of reaching our full potential. AND if we're kept hating ourselves, we'll always continue to hate and mistrust one another. 

I was in my pre-teens when this came on TV; and even though I couldn't verbalize what I was feeling, I knew being Black was a source of shame. And this is the state my peers and I were kept in during our grade and high school years.  

Now, let's discuss Django Unchained:

This film was released on Christmas day of 2012. 

This was an added incentive for Black folks to go see this film. Because we've all been taught to be good christians, being that there's a church on every corner in our neighborhoods. A church AND a liquor store. 

*Side Note: I once heard Prince refer to christmas as 'Nimrod's birthday'. Nimrod is the Babylonian Fish god that white supremacist freemasons are famous for worshipping; also, the greek god 'horus' was called a 'fisher' of men, also tying into this myth. But understand Nimrod, horus and even christ are adaptations of one of our Black ancestor's deities, 'Heru'. (Look him up.) Heru is also where we get the word 'hero' from.

Again, all sciences, be they spiritual or physical, were created by ANCIENT BLACK PEOPLE! But I digress...

Now Django was released a month after President Obama's second inauguration. 

Now, I've heard BLACK FOLKS talk about how lovely it is for Quentin Tarantino...who's a queer bigot by the way (yep, if you think white gays are your friends, you better think again), to make a movie about a Black slave emancipating himself from white bondage and saving the black woman; all while wielding a big gun. 

This was the same soup reheated folks. 

This again was the white elite telling Black folks, before the second term of Barack Obama's presidency, that you shouldn't feel too proud to have a Black president 'cause you were once slaves in this country. Also, notice how Quentin ultimately showed us that our emancipation is predicated on 'good' whites rescuing us from our hellish existence...that was the purpose of the Dr. King Schultz character (a.k.a. Dr. Martin Luther King)...and Dr. Schultz is a german guy; so you already know how they feel about Black people.

And please, don't think the white elite didn't know Obama was gonna' get a second term, they put him there in the first place. 

This film was yet another way to keep us in that indoctrinated self-hatred so we can effectively stay in our places. Especially mentally. Why do you think they had a scene of Kerry Washington a.k.a. Olivia Pope a.k.a. Sally Hemmings, enduring a brutal whipping in the film. These are triggers to keep us mentally fearful of turning against white supremacist institutions (our white masters)...and, as always, hating ourselves. 

I haven't seen the film and I won't. Like Spike Lee said, "I can't disrespect the ancestors like that."

And finally, the new slave/Black servitude epic, 'The Butler':

I wrote an earlier Blog Post on this movie, and for those interested, I'll leave a link at the bottom of this post for those who'd like to go back and read it. 

I just let my words flow on that post, and I'll do the same here.

Oprah and The Butler's director Lee Daniels are a couple of freemasonic queers; they have no intention of doing what's right for Black people and their whole agenda is in service to their white masters. Being that they're fags, they're mixed up in the head anyway; so we shouldn't patronize any movie these two put out. 

Remember they also put out that piece of crap 'Precious'; and that was to trigger our subconscious 'post traumatic slave syndrome' through the movie's severely brutal scenes. 'Cause they know the white elite love to see us suffer like that, and they get more brownie points with their respective secret societies for showing our suffering.

These two make me sick, straight up; and there's a karmic asskicking with their names on it for what they've pushed on Black people.  

So, I've said all that to say this...BLACK PEOPLE NEED TO BOYCOTT THE BUTLER. 

Spend your moive-going money elsewhere, but don't patronize this crap film. We need to start mobilizing our dollars to work for us and show the white elite that this kind of junk is not WORTH OUR HARD EARNED MONEY!

And like I said in my last post about this film, we need to serve the white elite up some justice by staying away from theaters; and that's definitely something worth serving up piping hot and on a silver platter. 

Hotep and Kem Wesir,

MontUHURU Mimia

P.S.
If you'd like to see my earlier post about 'The Butler', you can see it here.

P.P.S.
If after viewing this vid you're still not convinced that Quentin Tarantino is an epic homosexual, you're just in denial. Watch this.

Why every sane Black person should boycott 'The Butler'...

'The Help'...or 'Driving Miss Daisy 2'?

From the sell-outs who brought us nightmarish cinema fare like 'Precious', comes the latest installment of regressive negro theater...ladies and gents, I give you (and you can surely take this piece of junk), 'The Butler'.

Here's a short synopsis of this fractured cinematic fiasco: 'The Butler' is based on the true story of Eugene Allen; an African-American man who served eight presidents as a white house butler over the course of three decades. From the Civil Rights movement to the Vietnam war, Eugene sees the epic changes of the times as he serves mint julips to his pale-skinned benefactors, and we get a glimpse of how these events change the lives of him and his family. This movie has a star-studded cast which includes the likes of: Oprah Winfrey, Lenny Kravitz, Cuba Gooding Jr., Jane Fonda, Terrance Howard, Coleman Domingo and Forest Whitaker as Eugene Allen. Ah yes...we won't drink the poisoned Kool-Aid if it ain't sweet. 

Lee Daniels and Oprah Winfrey, the dastardly homosexual duo, are at their old tricks again. 

I'm not going to build to a climax with this post, I'm just gonna' let my feelings flow. 

Lee and Oprah put this piece of crap out 'cause they're both white supremacist freemasons who are tasked with instilling in Black people that we shouldn't be too proud to have a Black president. Have you noticed 'The Help' and this movie were put out during both of Obama's terms? Just like that nonsensical crap TV show 'Scandal'. The Butler's movie poster (to the right) is meant to evoke the image of Obama as nothing but a servant. White elites are saying he'll never be as legitimate as any white president is or was. Also, seeing this image is supposed to reinforce the message that we Black folks shouldn't get too full of ourselves; and we sure as hell shouldn't ever contemplate out-thinking our white supremacist supervisors, bosses, land-lords, corporate stalwarts, politicians, etc. 

As a pre-teen, I watched the TV mini-series 'Roots', and unbeknownst to me, the same crap was happening. Because Black people were becoming too upwardly mobile, we had to be humbled and made to feel inferior and subhuman; so what better way to do that than to show our people being tortured and made to work for free. 

When films like 'Shaft', 'The spook who sat by the door' and 'Sweet sweetback's badass song' came out and showed Black men literally beating the hell out of white cops, soldiers, klansmen, etc., they got the Black bourgeoisie to label these films 'Black exploitation' with the expressed purpose of ending the genre. 'Cause again, we couldn't have tales of Black men fighting white supremacists and their institutions...and winning. Even a film like 'Superfly' had the drug-dealing protagonist 'Priest' beating up white cops and riding off in his Cadillac. (Love that ending, LOL!) It's the same reason we learn nothing about our real history in school with the exception of, again, slavery and Martin Luther King. 

Black people need to be kept loving their white oppressors and hating themselves. That's the real story being served up in 'The Butler'. 

So if you're a thinking and at all 'conscious' Black person, or even if you fancy yourself one, let's send 'Hollywierd' a message by boycotting 'The Butler'. We need to let white elites know we're tired of these highly-priced, cavalcade of stars coon shows; so we should stay waaay the hell away from this film. 

And by voting down this piece of garbage film, we can serve these white fascists and their lackeys some of our own brand of justice, piping hot and on a silver platter.    

Hotep,

MontUHURU777  

P.S.
If you'd like to see a trailer for this cinematic piece of crap, you can check it out here. Also, check out how YouTube already has their negro provocateurs out to support the film, and how they just happen to have the highest rated comments. Unreal.