The gospel of white fascism (Part 30)...What do Love and Hip-Hop's "Amara La Negra" and Marvel's "Black Panther" movie have in common?

Dana Danelys De Los Santos, a.k.a. Amara La Negra, was born on October 4^th, 1990 in Miami, Florida. Her Dominican parents separated when she was a child, and Amara was raised by a single mother who purportedly worked 3 to 5 jobs at a time, to make ends meet.

Amara grew up near the Miami offices of “Univision”, which is america's largest “spanish-speaking” TV network, and being that Amara had an innate fondness for performing, her mother enrolled her in several dance, modeling and acting classes. As a result, Amara pretty much grew up in the entertainment industry.

And her resume reads like this: at age 4, Amara won the title of “Miss Chicquita”, and from ages 4 to 10, Amara appeared on the TV show, “Sabado Gigante” in the 90's. The Sabado Gigante gig, helped her win back-up dancer spots with artists like: Celia Cruz and Gloria Estefan, and at age 19, she won third place in the “Diva Latina” competition. In 2010 and 2011, she appeared in telenovellas for the “Telemundo” TV network and performed “product presentations” for “Mega TV”.

Now, as of late, Amara's become not only a singing sensation in latin america, but she's a star of the hit TV series, “Love and Hip-Hop”. The latest installment of which takes place in Amara's hometown of Miami. And in the show's latest episodes, she's shown a determination to put “Afro-latinas” on the map of the music industry—and the world.

*Note: In the 1970's, the term “Hispanic” was created by the american government cause “Census Bureau” administrators, found that “latino-americans” were checking the “white” or “caucasian” boxes, when they identified themselves. And I'll tell you why this is crucially important to Amara's story later on in this post.

Marvel Studios movie, “Black Panther”, has a release date of February 16^th, 2018 (Black History Month). And Ryan Coogler, who's a brotha, not only directed this film, but wrote it's screenplay as well. Now, I think everyone reading this realizes that Chadwick Bosworth is playing the lead role, and knows this movie is bringing out all the heavy-hitters, as far as dramatic acting is concerned. You have Angela Bassett playing “Ramonda”, who's not only T'Challa's mother, but the “Queen Mother” of Wakanda. There's also Forest Whitaker playing, “Zuri”, who's an elder-statesmen of Wakanda. You have Michael B. Jordan as “Killmonger”, Lupita N'yongo as “Nakia”, who's an international Wakandan spy, etc. And the movie's estimated budget is somewhere in the neighborhood of 150 to 200 million dollars. So Marvel's pulling out all the stops on this one.

And this movie's basically about T'Challa going back to Wakanda after his father (T'Chaka) is killed, to defend his homeland against foes (Killmonger, Klaue), who are plotting it's takeover—and to prevent a world war.

Now, I want you to take note of how this film's narrative (Cinematic Symbolism) has direct roots to white fascism. Whereas, the first initiative enacted by them, once we fell for the trick of integration, was to get Black men out of the home. Additionally, I'll always remember the 70's TV series “Good Times”, and the episode where “James Evans” died. Now, for decades I'd been told that John Amos left the show, due to artistic differences. Turns out, John was fired cause he didn't like the shows demeaning content. Again—take the Black man out of the home.

And after we bit the bait of integration, whitey gave Black women government benefits that would pay for their food, clothing and shelter, under one condition—(again) they couldn't have a man in the house. Now, at least half of Black women didn't take these benefits cause there was still a spirit of unity left in us. And this is the reason why in the “Reagan 80's”, we had the government-funded, three-headed monster of Reganomics, Crack and AIDS to contest with. Now, I've gone over that ad-nauseum, so I won't do it here. But eventually, I'll put out a tome dedicated to breaking these facets of the 80's, and what Black americans went through in that decade, all the way down. So stay tuned.

Moving on...

You should also take note of the fact that brotha Wesley Snipes was going to star in the film adaptation of Marvel's Black Panther in 1992. He was even in talks with Columbia pictures and Stan Lee to produce the film. Now, rumor has it that the film's script wasn't up to par—but what brotha Wesley probably didn't like was being in a flick with a Black male character named “Man-Ape” (Winston Duke, who plays “M'Baku” in Black Panther). Or playing alongside primitive-looking brothas with plates in their lips (above left). So instead, brotha Wesley starred in the movie, “Blade”. And not only was this movie a hit, but it helped him maintain his dignity while doing it. Kudos to brotha Wesley!

Now, you might be sayin', bruh—what's any of this gotta' do with Amara La Negra, or what she and the Black Panther movie have in common?

Here's the answer...

The most valuable social currency in america, or anywhere else on the globe, is “Black street cred”. PERIOD.

And that's exactly what Marvel studios and Amara “LA NEGRA”, which literally translates into Amara “the Black”, are trying to capitalize on.

Now, remember when I said in the 70's, the american government created the term “hispanic” cause so many of america's Dominicans, Puerto Ricans, Mexicans, Colombians, etc. were identifying themselves as “white”? Well, let me give you another tid-bit about this regarding “latino” rappers.

The rapper “Fat Joe” was once interviewed about 90's era Hip-Hop and how brothas were wearing “African medallions” (left). In it, he said: “Well, I always wore my gold (jewelry), so I don't know what they were trippin' off.” Mind you, it was rap music and Hip-Hop culture—a culture created by Black americans, that made him rich.

So now in 2018, we see Amara “the Black” claiming that she's “unapologetically Afro-Latino” (and this term was blatantly taken from Dr. Umar Johnson who says he's “Unapologetically African”). So basically, not only do both Joe and Amara understand that Black people create the best genres of music, but they also know that Hip-Hop culture, trumps all others in it's popularity, especially with young people around the world.

In other words, Amara doesn't care about identifying herself as Black, she's just hustlin' our music and culture.

Also, the name Amara “the Black”, is directly insulting to our people—she's mocking us with that ridiculous surname.

Additionally, I'll never forget how a former latino friend of mine, once gave me a shirt that said, “Puerto Rico club” on it's back. And I remember passing a group of young latino men while wearing it. After seeing it, they got into a hot argument—and I remember this one latin guy repeating, “Nah, nah, he ain't Puerto Rican—he's Black.” Mind you, they did this in a way saying, he's not one of us, he's one of them. And trust me, 99.9% of latinos, feel the same way.

Now, with the Black Panther movie, the stakes are even higher. Cause first off, what's being sold to us in Black Panther is a culture of obsessing over comic books, video games and super-hero flicks. Meaning, what's being promoted, especially to young Black men, is why we should adopt the tenets of “negro nerdom”. And at the nucleus of this culture are traits that would have us subscribing to being effeminate and immature males—not MEN. And this absolutely fits with the zeitgeist of mainstreamed homosexuality. Which is what white fascists ultimately want us to adopt.

Bottom line of their agenda is to keep Black men, who have the most genetic power to breed them out of existence, from pro-creating.

Additionally, what Marvel wants is that cultural gold standard of “Black street cred”—cause it would cast a legitimately cool light on the whole of the Marvel universe.

So I've said all that to say this: as a Black person, don't be surprised if you go to Amara La Negra's concert and find out these dark-skinned latinos have a problem with you—a “pure-bred” Black man or woman. Cause like I've said so many times in the past, it seems like every non-Black person in america lives by the same motto, and that's this...

It's OK to love Black culture, but you should hate Black people.

Thus, non-Black folks in america have no problem dressing like us, dancing like us, singing like us, or talking like us, while tryin' to make us hate ourselves.

So remember fam—this credo, along wit' Amara's big “backside”, are the only things this “afro-wigged, pseudo-Black” latin woman, is ultimately out to sell.

Later...

MontUHURU Mimia

P.S.

Here's Dr. John Henrik Clarke's classic lecture on why Black people, “have no friends” in other ethnic groups. Now, this vid is 35 minutes long, but just listen to the first 10. And once you do, I promise, you'll have no choice but to listen to the whole of Dr. Clarke's masterfully motivating, Black Nationalist dissertation.

THIS IS STRAIGHT FIRE Y'ALL!!

Why Mona Scott's 'Love and Hip-Hop' is so addictive...and why I'll stop watching the show...

Why can't I stop watching 'Love and Hip-Hop'?

I mean, I realize why all the critics hate it, and I understand why I shouldn't like it either; but there's something about this show that keeps me tuning in season after season.

The fact that this show seamlessly blends the televised genres of the classic soap opera with the best celebrity gossip news casts, says something about the ingenuity of the people producing it. 

I liken this show's effects on people to the time I first read an issue of 'wired' magazine; I thought wow, I've never been so informed and entertained by one magazine in my life. 

Of course there's nothing that edifying about this show, but it terms of pure entertainment value, I have to admit it's got all the right stuff.

And coincidentally, I stopped reading 'wired' because its writing staff is comprised of a bunch of 'neo-liberal' white bigots. 

But in an attempt to understand the show's magnetism, I thought I'd look into the backstory of it's executive producer, and see how her career and life reflect what I'm seeing on the show. 

After Mona Scott's collegiate years, she took on a job as the manager of a graphic designer's firm in New York City. 

One christmas holiday, she took a side job as a P.R. (public relations) rep. at Radio City Music Hall. This is where she says she got her first taste of interacting with celebrities. 

While taking dancing classes at a studio called 'Broadway Dance Center', she came in contact with a woman's dance consortium called 'Duntori'. They did A&R (artist and repertoire, i.e. artist development) for a musical group called the 'A-team'; and liking Mona's skills, they hired her to help with the group's choreography.  

Unbeknownst to Mona, the group was managed by a company called the 'Trackmasters'; and after assessing her multi-tasking skills, they approached Mona about coming aboard to help manage their group. 

This is when Mona met the late Chris Lighty, being that he was a friend of the 'Trackmasters'. 

After the 'Trackmasters' and Mona decided to part ways, she and Chris went on to form their own management company which they later named 'Violator' management.

At first, Mona was surprised at how comprehensive a job artist management was. She was at every meeting, she went on artist's tours, and she also styled 'Foxy Brown' for her first videos. She says she spent more time on the job than she did with her own family. 

Mona says she recognized that as she built these artist's brands to the point where they were being called for spots on TV and certain sponsorships, that her artist's would turn to other managers who came in and took over; and she and Chris would be left out of those negotiations. 

She and Chris then formulated a plan where they could maintain control of their artists at that phase of their careers. 

This lead to a deal with the founder of a company called the 'Creative Artist's association'; and it was this connection that lead to a show starring Missy Elliott called 'Road to Stardom' for the 'UPN' network. This was one of the first shows dealing with artists showcasing their talents ala 'american Idol'. Mona said she liked the challenge of conceptualizing various elements of a TV show, and decided this is where she'd concentrate her future efforts. 

Love and Hip-Hop's Yandy Smith, was a co-worker of Mona's at Violator. She had taken on the managing of rapper Jim Jones and bought him to Mona as a client of Violator management. 

Jim Ackerman of VH1 wanted to build a show around Jim Jones at the time, but Jones was reluctant due to the fact that he had personal issues that made it hard for him to adapt to the 'reality show' format. Meaning, he couldn't stand being followed by cameras 24/7.

So instead of concentrating on Jones, Mona concentrated on the females surrounding him; like his mother and his woman friend Chrissy Lampkin. 

And Mona noticed the popularity of reality TV shows that were more female-oriented, like the 'Real Housewives of...wherever'. And that's where the idea of 'Love and Hip-Hop' was born. 

Now, with that said, the ingenuity of Mona Scott's rise to power should definitely be applauded...but here's why I'm going to stop watching Love and Hip-Hop.

This show's portrayal of black women has them looking like the embodiment of everything that's wrong with today's modern woman. 

I mean, how many times have we seen these women physically fighting?

Beyond their being loud and profane, they're pulling out weaves, throwing drinks or any other pieces of furniture that might be handy, and being made to look like the she-demons of the world.

If I ever met Mona, I'd ask her, as a black woman, is this the way you want yourselves portrayed?

Now, I don't expect every black woman on TV to be Claire Huxtable (Bill Cosby's wife on the Cosby Show for those under 25), although it would be a nice change; but there are other, more urbane ways of showing black women having a problem with each other. 

It doesn't always have to resort to weave-pulling slugfests. 

And consciously or sub-consciously, the message this is sending to the world's men, is that we shouldn't want anything to do with a black woman. 

And it's not just Mona who's in on this action, Shonda Rhimes, the executive producer of 'Scandal', has Kerry Washington's Olivia Pope character literally having sex with the white male president in a closet...in a DAMN CLOSET!

Now, what are the world's men suppose to think of black women, when they're portraying themselves this way?

Personally, what I'd love to see...and I think a lot of other Black people would agree with me on this, is a reality show about a corporate executive like Mona, who's trying to get a series on the air about normal, everyday hardworking African-Americans, and the travails that person goes through trying to get a network to greenlight that project.

So, I've said all that to say this, I think it's time for the Black diaspora, myself included, to go to 'Love and Hip-Hop' rehab. 

It's time we boycott these shows that portray us as sub-human, even if one of our own kind is at the helm of it's production. 

I liken this show to a car wreck; in that even though it's hard not to slow down to see if we can get a glimpse of some gore, we all need to step on the gas and keep movin'. 

And I can sincerely tell you, the next time I'm jonesin' for a hit of Love and Hip-Hop, regardless of how tempting it might be, I'm turning the channel.

And I know myself, and everyone who watches this crap show religiously, will be better off for doing the same. 

Ma'at Hotep, 

MontUHURU Mimia