The gospel of white fascism (Part 32)...the assassination of Abraham Lincoln, what Lincoln and Mo'Nique have in common, and one mo' comment about the "Gullah Wars"...

“Give me control of a nation's money, and I care not who makes the laws.” 

—Mayer Rothschild

Just the other day, I was conversing with a 19 year old brotha, and the american president “Abraham Lincoln” came up. Immediately, this young brotha stated that Lincoln “freed the slaves”—meaning, he freed Black american slaves, during periods of american chattle and indentured slavery. And when I told him the reason(s) why Lincoln didn't free any Black american slaves, the brotha asked: “Then why was he killed if he didn't free us?”

I didn't let the young brotha know this—but I was mortified.

Cause not only was the brotha tricked into believing that Abraham Lincoln freed our people, but the american (mis)educational system, conditioned him to think that's the very reason why he was murdered.

Then I thought, it's a darn shame that our young people are being so misguided by america's schools—which is why I'll soon write a post about “homeschooling”, but then I thought, wait a sec'—most Black american adults, don't really know why (stinkin') Lincoln was murdered.

So that's what I'll expound on in this post.

Now, to answer the question of why Lincoln was murdered, we have to look at america's “Civil War” (1861-1865), and the nature of war itself. And what every Black man and woman reading this needs to know is, all national and international wars are fought so elites can keep the proletariat in “debt”.

PERIOD.

Meaning, white fascist-run federalized banking systems, only make money by charging interest to the public (us) for the privilege(s) that go along with handling their “currency” (dollars, yen, pesos, shekels, etc.). Now, at a more localized, or “tribal” level, any kind of “civic” war might have to do with the principles of fighting off oppressive forces, or liberating yourself from an invading enemy, but once these battles go national and international, they're being financed by white fascists.

Now with that said—let's look at Lincoln...

During america's “Civil War”, Lincoln needed money to finance “war efforts” from the North. And the “international” bankers, were more than happy to oblige him, but as par for the course, these “banksters” were gonna' charge him 24% to 36% interest on those notes. So what Lincoln did was create a currency that would be exclusively american, and he printed about $400 million dollars worth of this money, which had a “green” color affixed to it's back—thus people started calling american dollars, “greenbacks”.

A short time later, The “London Times” published an article stating that if these greenbacks were to become a “staple” of america's economy, they would not only satisfy Civil War efforts, but our country would be debt free behind them. This article also stated that it would set a precedent for other countries to follow, and as a result, it would: “...destroy every monarchy on the globe.”

Needless to say, whitey can't have that...

So, a short time later, international bankers hired a mercenary named, John Wilkes Booth, to fire the fatal shot that assassinated america's 16^th president.

That's also why, in 1913, america created and passed the “Federal Reserve Act”. Now, abiding by this, meant america's Congress gave up the right to print its own money—and it gave that power solely to a “Federal Reserve” (read: privately owned) bank, that freely charges any amount of interest it wants.

Now of course, there's gonna' be some silly negroes who make reference to the “Emancipation Procrastination”, I mean, “Proclamation”—so let's cover that right quick...

america's “Emancipation Proclamation” was an executive order issued by Lincoln on January 1, 1863. It ordered the freedom of slaves—not all slaves mind you, just those in 10 states. And to top that off, it was not an order backed by Congress, meaning, it was really a rubber stamp from jump. Additionally, the confederate states where slavery was legal, didn't recognize the proclamation as legitimate.

In other words, slave owning states simply ignored it.

Moreover, (stinkin') Lincoln was so low-down, that he ordered hundreds of freed Black americans, to be shipped to a Haitian cotton plantation, so they could be “re-enslaved” there.

So understand, BLACK americans OWE THIS MAN NOTHING!—CAUSE THAT'S WHAT HE DID FOR US—NOTHING!

In addition, when we look at the “Gullah Wars” (1739-1858), which is how Black men really fought and won their freedom, we see how literally hundreds of revolts like Nat Turner's, were commonplace amongst our people. Meaning, the american (mis)educational system telling us that we just sat back and were content to be slaves, was a LIE!

A BIG-AZZED, BOLD-FACED ONE!

Now, I realize there's still gonna' be some anglophilic negroes, who're so indoctrinated to the white fascist fable of Lincoln freeing Black slaves, that they're bound to be sayin—c'mon bruh—there ain't no whites who can vouch for any of us fighting that fiercely in or outside the Civil War.

So ya' want some proof?

Bet.

Check out what James Gilpatrick Blunt (who was a white Civil War general) said about the Black troops, who ultimately won the war for the north. "The question that negroes will fight is settled; besides, they make better soldiers in every respect than any troops I have ever had under my command."

James wrote this in a letter to a friend on July 27^th, of 1863. 

And speaking of written letters, check out what stinkin' Lincoln wrote in a letter to his friend, Horace Greely: “If there be those who would not save the Union unless they could at the same time destroy slavery, I do not agree with them. My paramount object in this struggle is to save the Union, and is not either to save or to destroy slavery. If I could save the Union without freeing any slave I would do it...”

And that's why I put this particular pic of Lincoln (right) in the center of this post's Header. Here, we see the true “honest” Abe Lincoln, who looks like some kinda' drunken fool (and you can click on the pic to enlarge it). Now, you may ask, bruh, why would you call Lincoln a fool, when he's so exalted around the world as this great emancipator?

Here's why...

It's cause Abe was shot in the head, by the same elitists he worked for. He did everything in his power to save the union, but couldn't save his own life.

Dumb-ass.

So like I said in my previous post about Mo'Nique, when you get in bed, literally or figuratively, with white fascists, you need to understand that you can ONLY be successful, ON THEIR TERMS! If you challenge them, they're either gonna' kill you, or your career—and that's what Abe Lincoln and Mo'Nique have in common.

So in conclusion, if and when you ever get the notion to praise stinkin' Lincoln for the “liberation” of our people, do some research and venerate the memories of revolutionary brothas like Nat Turner and Denmark Vesey instead (and if ya' don't know who they are—google them).

And after you do, throw the memories of presidents like Abe Lincoln, George Washington and Thom Jefferson, where they rightfully belong—on the trash heaps of history.

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

Later...

MontUHURU Mimia

The 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 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