The cult of Black and white cinematic symbolism (Part 4.5)...white fascist charades and Spike Lee's 'Chiraq'...

The parents of Michael Brown, the young Black man shot dead on August 9^th, 2014 in Ferguson, Missouri, testified before the United Nations Committee Against Torture on November 11^th of that same year.

Lesley McSpadden and Michael Brown Sr. both stated that, “We need the world to know what's going on in Ferguson and we need justice.” Lesley also said, “We need answers and we need action. And we have to bring it to the U.N. so they can expose it to the rest of the world, what's going on in small town Ferguson.”

Now, if you're a Black man or woman reading this, you need to know that the thrill-kill white police force of Ferguson, Missouri, and the rest of america, didn't think Black people had the intellect or temerity to take the matter that far. After the top brass of Ferguson police found out another young Black man had been killed by them, they thought, well, maybe the certified pre-owned negroes will march and hold up picket signs, but beyond that, the matter will blow over in a week or two.

But the strong-minded, completely self-possessed young Black men and women of Ferguson we're like, to hell with this...we're gonna' burn this damn town down!

And for nearly an entire month, that's exactly what they did.

Now, there's always gonna' be some uncle Remus type of Black person who'll say how stupid our young people are for revolting, and they'll continue to ask the question: Why do they burn down their own neighborhoods? But what these head-scratchin', shoe shinin' types don't realize is our young people didn't burn down the homes, apartments, or residences they lived in; they burned down the retail stores neither they nor their parents owned. And some of these same shufflin' negroes will say how disgraceful it was for our young people to loot those stores; but what they don't realize is our young people weren't looting. What they were engaging in is what one Black Nationalist leader calls, 'self-accommodating reparations'.

Now, if you're a young Black man or woman reading this, I'm NOT encouraging you to take things from stores, what I'm attempting to do is show middle-aged Black folks, like myself, how you've struck the single greatest blow to white fascism I've seen in my life with the Ferguson revolution.

So behind this and Michael Brown's parents speaking at the U.N., the whole of white american cop culture was put on blast to the entire world. And they had a problem. Seeing as how they were being globally vilified and watched, they feared not being able to kill us as indiscriminately as they'd been doing. Cause again, their dirty laundry was being aired out.

What they needed was a public relations 'fixer' to run some 'damage control' so they could cast the trigger-happy, white american cop in a better light. But what they needed more, was a complicitous negro who could show the world how intrinsically savage and better armed these young Black men were, so white cops could justify shooting us down like dogs.

Enter Spike Lee's latest 'joint', 'Chiraq'.

Now, this movie is based on a comedy titled, 'Lysistrata', penned by the greek author Aristophanes. This story tells the tale of how greek women went on a 'sex strike' in order to end the Peloponnesian War (which was fought from 431–404 B.C.). 

So essentially, this movie was gonna' be the satirical way that Spike drew attention to the unprecedented gun violence of Chicago's poor and working class Black communities. Thus the name 'Chiraq', a Hip-Hop euphemism combining the names of the asian country 'Iraq' and the american city of 'Chicago'. But right off the rip, I saw this flick for what it really was, a piece of dumb-founded propaganda.

First off, one of the strongest messages Spike's sending with this film is that young Black men are such knuckle-dragging neanderthals, that the only way they'll stop shooting and killing each other is if Black women cut off their sex supply. Cause ya' know, every Black man is oversexed, right?

Now, I haven't seen this film...and I WON'T!

I'm not gonna' spend a bad penny seeing this crap movie. 'Cause to keep it real with y'all, the reason this movie was put out, was to portray Black men as gun-toting sociopaths to mainstream (i.e. white) america, so in their eyes, white cops will be justified when they shoot us down or chock us out. All this movie is doing is scapegoating young Black men so white cops can have an easier time, than they already do, killing us in droves.

So one question I'd ask Spike is this: Why didn't you make a documentary about creating better gun laws, or enforcing better restrictions on gun manufacturers. Cause I guarantee you, if every 'illegal' gun used in a crime came with the consequence of fining the gun manufacturer, you'd see half these pistols disappear overnight.

Another question I'd ask Spike is: If no Black man or woman owns a gun manufacturing company, then how do these guns get to our communities? 

Let me give you an example of what I'm talking about: The 'Glock' gun manufacturing company is located in Vienna, Austria. 

Now, Glocks have become part of the popular vernacular of rap music. And being that this flick is taking a look at the problem of Chicago's gun violence from the perspective of a young, thuggish rapper (Nick Cannon?), I'd like to know how these pistols are able to travel from Austria, all the way to america, and how they then find their way from the shores of this country to the poor and working class Black neighborhoods of the u.s.

And of course, someone's gonna' come back at me saying that Glock has opened a manufacturing plant in america. Smyrna, Georgia to be exact. To that I'll say, approximately 65% of police guns are Glocks. So when these guns leave the Georgia warehouse, at least half of them are gonna' wind up being shipped to police precincts. So again, how do these guns get to poor and working class Black neighborhoods? Wouldn't guns designated for cop use, have tighter restrictions on them? And if not, why not?

Now you're probably thinking, just cause a lot of guns show up in our neighborhoods, don't mean we have to use them. And that's true. But here's my question regarding that statement: How come huge amounts of guns and drugs find their way to poor Black communities, even though we don't grow or manufacture them, but huge amounts of resources like jobs never do. And if you flood guns and drugs into an already impoverished community, what do you think is gonna' happen?

I liken this scenario to what happens in the american educational system, especially in our communities; in so much as, not only do they give us the most conditioning to hate ourselves, but white fascists know that if they overcrowd and under-fund any organization, it's doomed to fail.

Now this movie also speaks to how despicable it is for our communities to engage in so much 'Black-on-Black' crime...with or without guns. So with that said, let's see how white people fair in terms of violent crimes compared to our communities. Now, according to the FBI's most recent homicide numbers available from 2011, a staggering 83% of whites were killed by...wait for it...other white people. So here's my question: How come we never hear about these alarming incidences of 'white-on-white' crime?

Now behind filming this crap flick, I'm hoping our people know that Spike is a white fascist freemason. And I can hear what you're probably thinkin', you're like bruh, you say that about everyone. By now I'm pretty sure that the Black Diaspora is savvy enough to realize that almost every single celebrity, Black or white, is one. Like I said previously, 'celebrity' is a white fascist construct used as a means of population control...period. One of the only exceptions might have been Dave Chappelle, and they finally got to him too...which is one of the reasons he's in this flick. 

Now being a Black freemason, means at some point the white fascists are gonna' call on you to perform some kinda' buck-dancing soft shoe; which is what's happening here. And if you notice lately, Spike has taken

to wearing a solid red tie (as pictured above). This is one of the identifiers of a freemason. A solid blue tie marks a freemason with 'higher' blood connections to these fraternities...this essentially means that this person's down with the 'blue bloods'. 

Now, Jay-Z doesn't come from one of these families, but he pays homage to them in his song, 'Empire State of mind', when he says, “You should know I bleed blue, but I ain't a crip though.” This is also why he named his child, 'Blue Ivy'.

So I've said all that to say this, every Black man and woman reading this should BOYCOTT THIS CRAP FILM!!

If you wanna' spend twenty and thirty dollars on something, give that money to a Black home-schooling co-operative that needs it. 

And let me also say this...I DON'T EXPECT SPIKE TO BE PERFECT!

If you're a Black man or woman living in america, not one of us has escaped being affected by this white fascist social order. Myself included. So I can forgive Spike for making a bad movie (Da' sweet Blood of jesus). What I can't forgive is Spike purposely throwing his people under the bus, in service to some damn white freemasons and their hired killers we call cops. One of my all-time favorite films is Spike Lee's 'Malcolm X'; and for that he'll always have a special place in my heart; but with the release of this flick, I don't ever wanna' hear him utter another derogatory word about Tyler Perry EVER AGAIN!

Matter of fact, Spike and Tyler should DEFINITELY work together after this. 'Cause with the release of 'Chiraq', Spike's saying to the world that he's got nothing to lose, 'cause he has NO STANDARDS WHATSOEVER!

And like Sam Jackson said in Spike's film, 'Do The Right Thing': “That's the triple truth, Ruth.”

Later...

MontUHURU Mimia

What's with white poeple's obsession with zombies and vampires?

Dawn of the Dead (1978/2004)

Return of the Living Dead (1985) 

Day of the Dead (1985)

Bram Stoker's Dracula (1992)

Interview With A Vampire (1994)

Buffy the Vampire Slayer (1997) 

28 Days Later (2002) 

True Blood (2008)

Zombie Land (2009)

The Walking Dead (2010)

And you know I could keep going...

Recently, I was in the library once again, and while I was between book racks, I overheard two white guys conversing.

I was poring over Randall Robinson's book 'Quitting america': A Black man's departure from his native land; and for the uninitiated, Randall founded the TransAfrica forum, which exposes the dastardly foreign political deeds of the western powers regarding their African agenda. He's also a Harvard Law graduate on top of his being a fine political activist and author.

I shamefully admit, I still haven't read Randall's classic book, 'The Debt': What america owes to Blacks, about mandating reparations for the diaspora; but I definitely will soon. 

Anyway, one of these guys was saying, "...yeah, we were working on the project later than usual and decided to order in some pizza; we cut on the tube, and me, Bob and my friends wanted to watch 'The Walking Dead'. But all the Black guys wanted to watch the 'All Star Game'; and some how, we got outvoted. So we watched that insipid game all night."

Insipid game? Compared to what? An even more insipid fictional drama about some damn zombies?

I then thought about the proliferation of zombie and vampire flicks I've seen come to movie theaters, TV and even live theater in some cases.

It made me pose the question, why do white people obsess so much over zombies and vampires?

Do we really need a new zombie or vampire movie every year to keep these people's appetites sated?

Then it hit me...you know how whites always steal everything from Black people culturally? Like how we dance, sing, dress and talk. The reason they're so prone to doing that is, they don't have any kind of spiritual foundation to create anything cooler themselves. 

This reminds me of Oprah's 'Legend's Ball' back in 2005; where she held a celebration of celebrity Black women and invited a gospel choir for the entertainment. Now, there were some white folks in the audience, as is mandatory for any Oprah gathering, but when BeBe Winans went into the audience and passed the mic to the likes of Shirley Cesar and Patti Labelle, they started taking the audience spiritually higher; and white folks were wondering what was going on. 'Cause their pale skin is not only devoid of melanin, but it causes them to only reach the very lowest of spiritual levels. 

Whitey got shook, 'cause we were taking them places they couldn't go. 

This also reminds me of a white guy I know who swears up and down that Eddie Van Halen is the greatest guitarist who ever lived (If you don't know who he is, google him). Now, I know Eddie's no slouch, but when I mention Jimi Hendrix to this guy, he automatically says, "...oh yeah, well, he was very innovative, but I think Eddie had more technique...and he outlived Jimi by decades."

Firstly, Eddie is a virtuoso guitar player, and his techniques are and were very revolutionary; but anyone studying guitar over the course of years could very well pick up his techniques if they really tried. 

Jimi's techniques for his creative use of the guitar's 'feedback', has everyone to this day shaking their heads, like, how'd he get those sounds out of the guitar? And what white people can't fathom, is Jimi was infusing his 'spirituality' into his guitar playing; i.e. his intrinsic knowledge of our people's Black spiritual sciences...and that's something you can't teach. 

"Well I stand up next to a mountain, and chop it down with the edge of my hand...'cause I'm a VOODOO CHILD..."
--Jimi Hendrix

As for Eddie outliving Jimi, the white guy probably doesn't know, or wouldn't believe, that Jimi Hendrix was murdered. 

Moreover, Jimi's white manager had a hand in his murder. 

So, it's now crystal clear to me why whites love zombies and vampires so much; its 'cause these lukewarm-fleshed, spiritually vacant and highly homicidal creatures, remind them of themselves.

And we as Black people need to remind ourselves that this is who they truly are; and this is why they're incapable of doing anything but causing destruction wherever they go. 

And for the people saying not ALL whites are like that...I didn't say ALL OF THEM WERE.

I'm just relating to you how 99.9% of them are.

And if you don't believe me, hang around them for a couple of days, months or years...eventually, they'll show you their real selves. 

And no Black person should be shocked by what they find. 

Later, 

MontUHURU Mimia

P.S.

For those of you who thought I forgot to mention Wesley Snipes in the movie 'Blade'; I haven't. I didn't include that here because after 'Blade' was successful, white executives sabotaged the film by giving more face time to Wesley's white co-stars in the sequels. So much so, he sued them for that and for wages he was owed and never received. 

If you'd like to read more about that, you can see this Blog's short bio on Wesley Snipes here.

P.P.S.

Here's the vid for the Oprah's Legends Ball 2005, where she had whitey shook over where our melanated minds could take us spiritually. 

Note how Maria Shriver (white woman at the beginning of the video with her daughters), says when the singers started passing the mic around, "I hope they don't come near us." 

This is nothing less than our people's 'spiritual ingenuity' at work...

Enjoy!

The legend of Wesley Snipes...

This is the second part of an e-book I'll be offering for free on Black revolutionaries and their contributions to the diaspora. 

The first part of this e-book is a short bio on Dave Chappelle and his refusal to follow the dictates of emasculating white supremacists. I'll leave a link for that post at the end of this one. 

And if you're wondering why I'm calling brotha Wesley a revolutionary, especially in light of his recent problems with the IRS, I'm about to tell ya'...

So without further ado...here's Part 2:

Recently, I watched Spike Lee's documentary on the 25th anniversary of Michael Jackson's 'Bad' album. 

About a third of the way through, Spike showed behind the scenes footage of the 'Bad' video, that aired in 1987. 

And in one scene, Martin Scorsese, who I can't stand by the way, told the story of how Wesley was the clear choice for playing Michael's nemesis in the short film. Now, I'm sure Wesley's acting was clearly up to par, but after viewing the video again, I saw that Scorsese gave the part to Wesley because of his darker skin tone.

Remember, the white elite always wants to keep a Black face on crime; and the darker, the better. But if you watch that video, Wesley gives a stellar performance despite Scorsese's ulterior motives. 

With this video, in one fatal swoop, Scorsese wanted to portray all of darker-skinned Black men as 'nightmares to humanity' (shout out to Tupac for this term...look this up in his poem 'And Tommorrow'), but what Wesley went on to do was give darker-skinned Black men a sexier image than they'd had in years; and his acting career went much farther than Scorsese, or any of Wesley's peers potentially thought it ever would.  

With that said, let's take a look back at Wesley's beginnings...

Wesley Trent Snipes was born on July 31st, 1962 in Orlando, Florida; his father Wesley R. Snipes Sr. was an aircraft engineer and his mother Marian Snipes was a teacher's assistant. 

Shortly after his birth, he and his parents moved to the Bronx, New York where Wesley was raised. 

Showing an early aptitude for acting, Wesley eventually was accepted into New York's Fiorello H. Laguardia's School for the performing arts...better known as the 'Fame' school, for the movie that was eventually made about it. 

After graduating high school, Wesley attended college in Florida; he then moved back to NYC and studied acting at the State University of New York's (SUNY) Purchase College. Shortly thereafter, he also attended classes at Southwest College in L.A.

At 23 he acquired an agent and was cast in his film debut 'Wildcats' with Goldie Hawn. This was a very forgettable film, but it got Wesley's foot in the door. 

After appearing in an episode of Miami Vice, Wesley was cast in Michael Jackson's 'Bad' video. And this is where Spike Lee first saw him. 

Spike offered Wesley a small part in 'Do The Right Thing', but he declined; choosing instead to play 'Willie Mays Hayes' in the film 'Major League'. 

Major League was a hit and went on to spawn a sequel; and this was the first in a succession of mainstream films Wesley was in, like Spike Lee's 'Mo' Better Blues' and 'Jungle Fever'. But it was his next film that cemented his legendary status as a full-fledged star. 

New Jack City was the directorial debut of Mario Van Peebles. Mario's father Melvin, gave us cinematic gems like 'Sweet Sweetback's Badassss song' and 'Watermelon Man'; both classics. And his son Mario, hit a home run his first time out with this flick. 

Released in 1991, the film got it's name from the screenwriter Barry Michael Cooper, who is a New York based journalist. Barry conceived this script from his front page article in NYC's Village Voice newspaper; it's title being: 'Kid's killing kids: New Jack City eats its young'.

Barry says he thought about the 'new jack' gangsters who replaced the likes of Frank Lucas and Nicky Barnes in Harlem. He also thought of Teddy Riley's popular music called the 'new jack swing' at the time; hence how he arrived at the term 'New Jack City'. 

Coincidentally, Barry also scripted the films 'Above the rim' and 'Sugar Hill'; he's also credited as the first Black scriptwriter in history to have two films produced in one year; those being the ones mentioned above which were both completed in 1994.

New Jack City was the highest grossing independent film of 1991. It was made for approximately 8 million dollars and it grossed nearly 47 million domestically. 

I always wondered why Mario Van Peeble's was never able to recreate the magic he'd made with 'New Jack'; I didn't realize at the time that the most important element of movie making, is the writing of the script. I remember Keanu Reeves didn't take the easy payday of 'Speed 2' because he emphatically said that the script was subpar. But back to Wesley... 

In 1991, Black moviegoers had basically two choices when it came to cinema fare. These were the stories of self-destructive, gun-wielding, miserably poor and under-privileged tenement dwelling Black people ala 'Boyz in the hood' and 'Straight outta' Brooklyn'; or movies about white male action heros ala 'Terminator 2', Jean-Claude Van Damme's 'Double Impact' or Steven Seagal's 'Out for justice'. 

Even the films oriented towards more of a 'mainstream' Black audience like 'House Party 2' and 'Strictly Business', which are good movies by the way, especially Strictly Business...who could forget Wayman Tisdale? These films seemed to have effeminate or emasculated Black men as protagonists.

Wesley's portrayal of 'Nino Brown', while incredibly notorious, was the first time since the halcyon days of 'Black exploitation' films, that we'd seen a mentally strong and powerful Black man at the helm of any organization. 

Now, understand, I'm not praising Nino's character being a drug dealer, but it was the first time in a long while that we'd seen a darker-skinned Black man who was hyper-fit, fearless and forward thinking.   

And combined with Wesley's acting prowess and charisma, it made Nino's character nothing short of mesmerizing. 

Shortly after 'New Jack' became a classic, Wesley's on-screen presence was slowly turning him into a major action star. This was a title usually reserved for white men. And for anyone over 30, you should remember that back in the late 80's and 90's, a Black man had to be lighter-skinned and very european looking to be considered attractive.

Wesley broke down this barrier, the same way Sidney Portier had done decades before. Black people were finally seeing their darker skin as an asset instead of a liability. 

Moreover, with movies like 'White men can't jump', 'Rising Sun', 'Demolition Man' and 'Passenger 57', Wesley was becoming a bonafide sex symbol. 

I have to include this side note...I remember the scene in 'White men can't jump' when Woody Harrelson's character uttered the phrase, "You'd rather look good and lose, than look bad and win..." pertaining to Black people; and it adversely affected me. 

At the time I was an anglophile, so that really reinforced the white supremacist, school system induced self-hatred that our people are kept in. 

Fast forward decades later, and I see how white elites have shut down this government because Obama's health care initiatives have become law. 

So that says what? 

It says that whites would rather lose with a white man (Bush Jr.'s health care system and how it was bankrupting white americans), than win with a Black man (Obama's health care initiatives which would help the majority of poor and working class whites). But I digress...

In 1998 Wesley starred in the movie 'Blade'; and this film showed Wesley at the peak of his powers.

It was his largest success grossing $150 million worldwide, and behind this Wesley received a star on the Hollywood 'Walk of fame' and an honorary doctorate from his alma mater SUNY Purchase college.  

Blade combined Wesley's athleticism with his strong acting skills and his martial arts training. This is why his fight scenes looked so believable, even though he was playing a superhero (or super'Heru'...again, Heru was one of our ancient ancestor's deities, and this is where we get the word 'hero' from).

Black people had never had a film's superhero they could relate to, or who our young people thought was genuinely 'cool'; Wesley's Blade changed that. 

And speaking of Wesley's martial arts training, I never knew how extensive it was until I did the research for this post. His martial arts pedigree looks like this: Beyond Wesley being trained in the martial arts since the age of 12, he holds a fifth degree Black belt in Shotokan Karate and a second degree Black belt in the martial discipline of Hapkido. His other training includes, belts in Kung Fu, his membership with the u.s. branch of the Shaolin Temple and training in Brazilian Jiu-Jitsu. 

*One more side note: The origins of 'martial arts' are African. The word 'martial' comes from the ancient African word 'Montu', as in the 'Montu' arts; and this is where I got the first part of my pseudonym (or pseudo-name) from. 

The word 'Uhuru' is a Swahili word meaning freedom.

So the first part of my name (MontUHURU) literally means 'fight for freedom'...if anyone wanted to know. 

Back to Wesley in 'Blade'...the reason the sequels never lived up to the first movie, is 'cause the white elites didn't want a darker-skinned, hyper-masculine Black man to be that attractive to the youth. We have to be kept loving whites...so the Blade sequels included Wesley joining with white groups in order to fight off vampire plaques.  

So much so, that Wesley sued New Line Cinema in 2005 for not receiving his full salary, being kept out of important casting decisions and for the studio's cutting his screen time in favor of his white co-stars Ryan Reynolds and Jessica Biel. 

Okay, now let's discuss what everyone's really wanting to read about...Wesley's travails with the IRS. 

Firstly, let's start with this preamble: In the 1990's Wesley and his brother started a security firm called 'The Royal Guard of Amen-Ra' which provided VIP bodyguards trained in law enforcement. Mind you, 'Ra' is our ancient ancestor's name for the sun or the Sun-God; so Wesley is very knowledgeable about his/our ancestors.  

Amen-Ra was also the name of Wesley's film company, which produced a great documentary about the Black nationalist elder Dr. John Henry Clarke called 'A great and mighty walk'. This doc is on YouTube and is definitely worth a viewing. 

The Amen-Ra company has offices in Florida, Antiqua and Africa. 

Now, Wesley, along with his tax advisers, were invoking what's known as the '861 Position' as defined by america's Federal Tax Code. 

Adherents say this provision, does not list wages as taxable. So Wesley was essentially making a case against having his company's wages taxed.

Now, what he was doing WAS legal; and he had very good advisers processing his paperwork to have this done correctly. 

Problem is, no matter how right Wesley and his team were, this government was going to make an example of him, for fear of other people following his lead. 

This is why I call Wesley a revolutionary, because he was seeking sovereignty over himself and his wages that people are being unfairly taxed with everyday. 

*Side Note: Wesley also bought property in Atlanta, Georgia for the expressed purpose of building a facility where he could specially train security personnel for 'The Royal Guard of Amen-Ra'. After he did this, this government definitely had him under a microscope; 'cause that kind of 'security personnel' sounds too much like an army. 

Wesley not only purchased the Atlanta, GA property, but he opened one of his company's offices in Africa (his return to Africa, just like Dave Chappelle). 

Wesley did all this to further liberate himself from the government sham of his corporate 'strawman'; and I'll explain what that is in a second. 

Now, let's discuss what Wesley was and was not convicted of. 

The felony charges of conspiracy to commit tax fraud and failure to file a tax return were dropped in court. Also, three of the six tax fraud misdemeanors he was charged with were dropped. 

He was convicted however of three misdemeanors, and he received a years sentence for each one. Mind you, misdemeanor charges don't usually require you to do time, especially if you can post bail. But again, they had to make an example of brotha Wesley, so that's what they did. 

Now, in my past posts I've said Black people have lost more to self-hatred than anything else, and Wesley's case is a prime example of that; 'cause it was one person's self-hatred that put this whole witch-hunt in motion. And let me tell you how.

Now, after Wesley's tax advisory team devised a strategy to legally shelter his company from being taxed, Wesley flew the whole staff of his company, Amen-Ra, to the west coast for a meeting. 

At this meeting he detailed to his staff how he wasn't going to take taxes out of their paychecks anymore, and  his tax advisers listed case study after case study of how and why this was legal. 

But there was one anglophilic black person who insisted they wanted to pay taxes. So this person stayed with Amen-Ra, hired a C.P.A. and told that person they wanted to start the process of having their wages taxed. They also mentioned that they worked for the actor Wesley Snipes and he and his company didn't intend to pay taxes. So, this white C.P.A. called the IRS, indictments came down and the rest is history. 

Mind you, if this person was so scared of getting in trouble, why didn't they leave the company?

But this person was very vocal about wanting to pay their taxes, so Wesley should have found a constructive way to get them the hell out of his organization. I think this was Wesley's biggest mistake.   

Now, I commented on Wesley wanting to gain sovereignty from his 'strawman' earlier. So let me explain what that is. 

Ever wonder why your name appears in all capital letters on your social security number, or your birth certificate?

It's because that's NOT you...this is the corporate fiction the white elite have set up that's known to the sovereign community as the 'strawman'. 

When you're born, you're a free, sentient being that is not under the elites control. So in order for the elites to be able to levy assorted taxes and fees on your 'freeman', or your free and unbound human body, they've set up this corporate fictionalized version of you, so you in effect can pay this corporation's debts and be under the control of whatever elitest construct your born into; whether it be europrean, asian, american, etc. 

This is your 'strawman'. 

Remember the whole debacle some time ago about corporations being given the same rights as people...that's what this basically is. 

And how do they get you to comply with this elitist sham? Your parents comply as soon as they sign your birth certificate. Which really isn't giving you a choice at all. And, without knowing it, what your parents are doing is signing you, their child, away as a ward of the state. Meaning you really belong to them. 

Whenever you register something, your basically transferring ownership of that property over to the government. That's what the word 'registration' really means; and this goes for your house, your car, your child, etc. 

And if you remember the 'Wizard of Oz', the scarecrow, or the 'strawman'...had NO BRAIN. This is what white supremacists/elitist governments think of any working class person. 

But the real triumph of Wesley Snipes...besides the fact that he was released from prison recently; is that he's heeding the call of our ancestors and showing us the initiatives we need to take to get free from whatever oppressive corporation/country we find ourselves tethered to. 

Black men being the most reviled persons in this world have the most to lose when it comes to railing against this white supremacist system. And it's Black men like Wesley, Dave Chappelle and Kat Williams who are the ones defying the elitist status quo. 

That's gansta.

Wesley not only took the steps to get himself, his company and a lot of his people free, but he's showing us that with careful measures, it's worth doing.  Actually, it's IMPERATIVE that we get it done.

Now, I know what you're saying, you're thinking...this guy went to jail, how's he suppose to be an inspiration to any Black person? 

And I'm saying the reason he went to jail is because, he's found a way to actually use this government's tax codes against them, to benefit us. 

He was incarcerated, because what he did WORKED; and the white elites don't want anyone else to follow his lead. 

So it's up to Black people to take up the challenge of owning as much of themselves as possible. To REALLY GET FREE. 

Not free to choose between prada and gucci, but free to dig into the guts of this government's laws and really make them work for us.

'Cause if anyone is owed reparations in america, or owed an across the board tax exemption, it's Black people. 

And Wesley's actions are reminding us that sheltering our taxes and/or pursuing financial and mental freedom, is something we should be doing everyday. 

So let's get to work. 

HOTEP and KEM WESIR to the NETJER/NAGA/NEGUS/GOD, and legend, Wesley Snipes!

P.S.

If you'd like to read the first part of this e-book, which is a short bio on Dave Chappelle, you can find it here.

The white elites aren't just doing this to Black men, they're actually going after sistas too. Read my post on what sista Lauryn Hill is being put through here.