Bold-faced lies about Black men (Part 7)...

 Bold-faced lies about Black men (Part 7)…The propulsive rise of Black American men, the precipitous fall of white fascism, the passing of Kevin Samuels, and what Dave Chappelle, Will Smith, and Chris Rock have in common… 

“I never lose. I either win or learn.”

--Nelson Mandela

"Artists are the gatekeepers of truth."

--Harry Belafonte

"Chickens coming home to roost never did make me sad. They've only made me glad."

--Malcolm X

"Take care of the king...everything else follows."

--actor Dennis Haysbert, from the movie, "Life of a King"

"Was that Will Smith?"

--Chris Rock's comment after Dave Chappelle was tackled at the Hollywood Bowl

To the consistent and patient readers of this Blog: Fam’…seeing as how we’re betwixt the Spring Equinox and the Summer Solstice, white fascists have gone into overdrive regarding the roll-outs of socially-engineered “psy-ops” designed to control the masses. ‘Cause according to them, this is when spiritual forces are most favorable to their initiatives--especially when it comes to celebrity "sacrifices". So, we’re in a “psy-op” season (read, killing season) of sorts y'all. Case in point, as I'm writing this, the relationship "guru" Kevin Samuels has passed away under rather unusual circumstances--and I'll speak about this later on. Hence, his untimely passing is in keeping with the profile of Spring Equinox deaths which happen ritualistically. 

Additionally, I'm sure you've heard about the Supreme Court legislation which could potentially repeal the Roe vs. Wade law. Now, I find it funny how these same white women who're protesting so feverishly against this, are the same ones who voted for Donald Trump TWICE. Meaning, white women wanna' keep Trump's brand of conservative white fascism intact, until it infringes on their reproductive "liberties". Mind you, while Trump was in office, he brought in all his stiff-hipped, right-winged friends to dictate ordinances, codes, and laws to fit their agenda--but white women didn't have a problem with it then, like they do now. To which I say, welp, these Karens wanted a more conservative American government--now they got one. I liken this to Malcom X's "chickens coming home to roost" speech, which is why I included it beneath this post's header. See, this is why I laugh when white women try to pass themselves off as an oppressed minority--'cause while they're doing this, they also wanna' keep their white "privileges". Hence, reconciling these kinds of paradoxes and exposing the truth, is what I'm gonna' go about doing by splitting this post into “3” parts. This said, lemme now jump into the DEEP END o' these murky waters before I breast and backstroke my way to shore with a bevy of doused and deciphered explanations, which’ll cleanse your mind of any delusional residue whitey might presently be throwin' at you. In other words, let’s GO ALL THE WAY IN fam'…

--MontUHURU Mimia

Part 1.

Attack of the Clones

On Tuesday May 3^rd, Dave Chappelle was performing at the Hollywood Bowl, when towards the end of his set, a 23 year-old man named Isaiah Lee (pictured right), jumped on stage and tackled Dave to the ground. After Dave’s security made short work of Isaiah, he was loaded into an ambulance before being arrested on charges of battery, possession of a weapon with intent to assault, unauthorized access to a stage area during a performance, and commission of an act that delays an event or interferes with a performer. Now, if you’re reading this, I’m sure you’ve heard about it over the last few weeks. Hence, I'll cut to the chase and roll out “3” reasons why I know Isaiah was a “plant” tasked with attacking Dave. 

Reason#1. There's no way Isaiah could've gotten into the Hollywood Bowl with a knife encased in what looked like a handgun. Tariq Nasheed went to one of Dave's concerts at this venue, and even he confirmed how tight security was. Meaning, not only did patrons have to go through metal detectors before taking their seats, but everyone's phone was taken from them so they couldn't film the show. 

Reason#2. Now, media reports have confirmed Isaiah is currently living in a homeless shelter—and the cheapest tickets for Dave’s concert were listed at $300 a piece. So question, how could homeless Isaiah afford “front row” seats at the Hollywood Bowl? Conversely, even if Isaiah was in the back rows of the venue, how was he able to mosey on up to the side of the stage, and hop on it before he attacked Dave? Answer: Isaiah was let in by either the Netflix staff who filmed Dave's performance for one of their specials, or he was let in by the venue's staff members. Either way it was an inside job.

Reason#3. Now fam', if you look at Isaiah's above pic, do you notice anything about his clothing and the photo's color scheme? Notice the repetition of the colors red, Black, and white? This speaks to the white fascist factions he's working for. Meaning, these colors are used to identify white fascist freemasons and their minions. Now, you might be thinking, c'mon bruh--you're reachin' now, don'tcha' think. Welp fam', I'll show you why this is important in my next few paragraphs dealing with...

The Frank James "psy-op"

On April 12th of this year, Frank R. James (pictured right), who's 62, committed what's being called a "terrorist" act in New York City's subway system when he left off a smoke bomb in a subway car and shot several commuters on the same train. Now, according to media reports, Frank drove from Philadelphia, where he rented a "U-Haul" van, and parked it right outside the New York subway station he supposedly "terrorized". Several hours after cops found this van, they caught Frank and arrested him. 

So, first off fam', I don't want to sound indifferent to the "victims" who were hurt, but I think anybody with half a brain can see how Franky was working with government forces who helped him pull this off. So, you may be thinkin', aiiiight bruh, you've made your allegations--now prove 'em. Bet. Mind you, this'll be light work compared to some other freemasonic foibles I've had to decipher. So, I'll break this down wit' "3" signs of who's really pulling Franky's strings, starting with...

Sign#1. The first thing you should notice about Frank is what he's wearing. Now, compare and contrast what Frank's wearing with Isaiah, who attacked Dave Chappelle, and you should immediately notice how they're both decked out in the colors red, Black, and white (hint, hint). Franky takes it a step further, with the skull design on his shirt. This is usually indicative of someone belonging to the "Skull and Bones" fraternity--and if you've never heard of this organization, just google them. 

Sign#2. Not only did Frank conveniently leave his "credit card" at the crime scene, but he called the "Crime Stoppers" 800 number on himself. Moreover, when the cops "found" him, media reports say, Frank told them, "I've been waiting for you." Now, topping this off fam', on the way to NYC from Philly, Frank stopped in Moon Township, Pennsylvania--so you might be thinking, yeah, okay, and? Welp, Moon Township not only has a high concentration of military bases in it, but this area just happens to be where intelligence agencies run mock reenactment simulations for "disaster scenarios". Meaning, organizations like the FBI, CIA, ATF, and DEA will stage things like hostage negotiations, mock bombings, and floods in this area--and ol' Franky boy just happened to make a pit stop there before coming to NYC. Coincidence? Hmmm... Mind you, if this ain't enough evidence, then let's look at...

Sign#3. Now fam', Frank just happens to be homeless--like Isaiah Lee. This said, I need you to understand what I'm NOT SAYING--I'm not blaming Frank and Isaiah's moral obtuseness on their homelessness, but when it comes to government agencies, homeless shelters and mental institutions are the first place they'll go to look for "expendable" agents. Now lemme break this down even further, the reason I named this section "Attack of the Clones" is, Frank and Isaiah are prime examples of MK Ultra mind control victims who were probably given several "treatments" and monetary "treats" as incentives to go out and commit these crimes. 

This said, I remember when there were rumors of Kanye West being a clone--and he is--psychologically. Meaning, when secret societies "clone" humans, they're not necessarily talking about cloning their physical bodies, they're talking about hacking and cloning their psychological profiles. Which is the reason why they've put Kanye on a cocktail of "prescription" drugs, 'cause according to Kanye's "handlers", he'd be crazy if he failed to take them. This was the first step in destabilizing Kanye's mind, so they could "reprogram" him to function on command. Meaning, they're only keeping Kanye mentally stable enough to create and perform music. The rest of the time, they're going to keep him so mentally disoriented, he'll barely know his own name. 

Part 2.

The precipitous fall of white fascism

Recently, a Black YouTuber asked me this question: when will karma ever visit crooked white cops and their institutions? To which I replied, first off, as I’m writing this, there’s a war going on in Russia and the Ukraine where you have hundreds of white people, killing off hundreds of other white people. Second, white birth rates have fallen below replacement levels for the last several decades, which is why the Supreme Court is looking to overturn Roe vs. Wade, in efforts to stop abortions, third, white men are overdosing on drugs in droves, and fourth, white men are committing suicide like crazy. Now, this ain’t even counting how white people in this country stormed D.C.’s Capitol building ‘cause they’re dissatisfied with America’s government, which works for them more than anyone else—meaning, white culture is cannibalizing itself.

Then, I said to this person, if this ain’t a karmic “a$$kicking”, I don’t know what is. Hence, this is what I mean when I call the fall of white fascism “precipitous”, ‘cause it’s so steep, it can’t be stopped. Which is exactly why we’re seeing white fascism’s voracious attack on Black masculinity—and speaking of this fam’, let's delve deeper into the next subject. Which is…

Part 3.

The passing of Kevin Samuels

Now fam’, if you’re reading this, I’m sure you know of the “relationship guru” Kevin Samuels, and I’m also sure you know he’s made his transition recently—under some very unusual circumstances might I add. This said, I’m not gonna’ expound on this brotha’s passing too much here, ‘cause I’m gonna’ dedicate an entire post to his memory--but what I will say about him is this: Kevin and his forum symbolized the propulsive rise of the modern day Black man in America, due to his hitting on “3” points primarily—and they are…

Point#1. Kevin let the world know how the stereotypical narratives attributed to Black men have been completely false. For example, stats say, Black men collectively earn more than Black women, 55% of Black men are childless and in the middle class, and according to the Centers for Disease Control and Prevention, Black men make the best fathers.

Point#2. Unlike Tommy Sotomayor and the late David Carroll, Kevin wasn’t a self-hating Black man speaking on relationships between Black men and women. Now, I’ve seen a Black blogger who I’ve followed for years talk about how Black men didn’t make this much of a fuss over Dave Carroll’s death—this is because Black men collectively knew Dave not only hated Black people, but he hated himself for being Black--just like Tommy Sotomayor.

Point#3. Kevin had style for days. Meaning, not only did Kevin exemplify what a Black “high-value man” looked like, but stylistically, he had more grace and poise than we’ve seen Black men have in years. Which is exactly why people like Will Smith, Chris Rock, and Dave Chappelle are being tasked with denigrating the image of Black men by staging these assaults in globally recognized venues like the Oscars and the Hollywood Bowl. ‘Cause we gottta’ remember fam', white fascism is a “zero-sum” game, meaning, if Black men are winning, in ANY capacity, then whitey’s losing—and they’ve been takin’ “L’s” left and right-and the hits will just keep on coming, whether they like it or not...

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

Later…

MontUHURU Mimia

 Now fam’, here’s a video showing the infamous tackling of Dave Chappelle by Isaiah Lee. Notice the stage is bathed in a red light, and if you look at the pic below, you’ll see Dave’s wearing Black and white. There go the colors red, Black, and white again. Meaning, this was a freemasonic ritual performed right before our eyes y'all.

The Gospel of white fascism (Part 64)...

The Gospel of white fascism (Part 64)…What do Tiffany Haddish, Jada Pinkett, Will Smith, Chris Rock, AMC’s “Atlanta”, and Chevy car commercials all have in common?

 

“Maybe the world may have not liked how it went down, but for me, it was the most beautiful thing I’ve ever seen, because it made me believe there are still men out there that love and care about their women, their wives.”

--Tiffany Haddish, commenting on the Will Smith and Chris Rock “incident” at The Oscars 2022

“Team reflects leadership.”

--The Black Authority, Black Nationalist and YouTuber

Fam’…I realized I may not have hit on the nucleus of white fascism’s agenda with the “staged” Will Smith and Chris Rock imbroglio at this year’s Oscar ceremony. So, I wanna’ make this point emphatically clear with this post, which’ll also finalize the trilogy of videos I’ve curated around this topic. So enjoy, and lemme know whatcha’ think fam’.

Later… 

--MontUHURU Mimia

The Gospel of white fascism (Part 63)...

 The Gospel of white fascism (Part 63)…Will Smith, Chris Rock, #Slapgate, The Oscars, and the white fascist art of DISTRACTING “misdirections”…

“white racism (fascism) is a ‘zero-sum’ game—if Black people are winning in ANY capacity, they’re (white folks) losing.”

--Dame Dash, Co-founder of Rocafella Records and serial entrepreneur

 Fam’…remember when I said we gotta’ whole lot to talk about in regards to Will Smith, Chris Rock, and the Oscars? Welp, here’s the conversation. Lemme know what you think y’all.

Later…

--MontUHURU Mimia

The Gospel of white fascism (Part 60)...

 The Gospel of white fascism (Part 60)…Melvin Van Peebles: memorializing an American Icon, debunking Jada Pinkett’s case of the "Ayesha Curry blues", and decoding Lizzo's lascivious "Ted" twerk lecture…

“I wanted (my) people to leave the theater with their heads up.”

—Melvin Van Peebles, In an interview explaining his inspiration for creating the movie, “Sweet Sweetback’s Badass Song”

“Self-sabotage is like a game of mental tug-of-war. It is the conscious mind vs. the subconscious mind where the subconscious always eventually wins.”

—Bo Bennett, Social Psychologist

“I really wanna’ learn how to love…I know what it isn’t.”

—Jada Pinkett, "B-list" actress and host of "Red Table Talk"

“...my ass is my greatest asset."

—Lizzo, Ted Talk

To the consistent (and patient) readers of this blog: Family, once again, being back-logged with content, I’ve run into the dilemma of needing to tackle several subjects at once. Meaning, one mo’ time, I’m gonna’ ask for your kind indulgences as I wax philosophic on timely topics and endeavor to decode a coupla’ issues which have made news as of late. Mind you, the common thread tying all these “stories” together is one unifying principle—and what’s this you ask? Welp, before answering this question, lemme acknowledge an ancestor and then I’ll deep dive into deciphering the aforementioned query with a “3” part expose which’ll make the latest bout of political theater (TV news) a bit more transparent. This said, lemme start by giving props to the iconic Renaissance man…

Melvin Van Peebles

Melvin Van Peebles was born in Chicago, Illinois on August 13th, 1932. He was the son of Edwin Griffin, who was a professional tailor, and Marion Peebles. Melvin graduated with a B.A. in Literature from Ohio Wesleyan University, and shortly thereafter enlisted in the Air Force, where he ended his service after three and a half years—also, he added the “Van” to his name while living in the Netherlands in his late 20’s.

After leaving the Netherlands, Melvin worked as a Cable Car Driver in San Francisco, California. There, he wrote about his on-the-job experiences and put them into a book titled, “The Big Heart”, credited to “Melvin Van”. While on the job, a passenger suggested Melvin try his hand at being a filmmaker. Hence, with no experience at all, Melvin went about the task of teaching himself the art of filmmaking.

In the midst of making himself an auteur, Melvin was given an opportunity to continue his academic studies in the Netherlands. So, while in the process of moving back to Europe, he ran into Amos Mogul, who founded the avant-garde, “Cinema 16” film company, and after a long talk, Amos agreed to put Melvin’s short films into his company’s rental catalogue. After Amos screened one of Melvin’s films at a festival in the spring of 1960, he took Melvin’s short movies to Paris where he showed them to a couple of executives at the Cinematheque Francaise Theater. Shortly thereafter, Melvin was invited to Paris by the founders of this theater, and it was in France where Melvin not only made another short film, “500 Francs”, but he started to build himself a reputation as a noteworthy writer.

Now, not only did Melvin begin to write for the investigative journalist magazine “France Observateur” from 1963 to 1964, but he also wrote for a politically satirical magazine called, “Hari Kari”, and eventually, Melvin was elected to this mag’s editorial board. In keeping with his prolific literary bent, Melvin published four novels, a short story, and a play titled, “La Fete a Harlem”, which would later become the musical, “Don’t Play Us Cheap”—this was before he would make his first feature-length film, “The Story of a Three-Day Pass” (La Permission) in 1968, which he adapted from his novel of the same name. This film caught the attention of Hollywood producers who mistook Melvin for a white French movie director, after it won the top prize at the San Francisco International Film Festival as the “French” entry. Even after finding out Melvin was of a darker persuasion, Hollywood’s execs were so impressed with the film, Columbia Pictures gave Melvin the financing to do his first American feature film, “Watermelon Man” in 1970.

Now, Melvin’s “Watermelon Man” is a story about a bigoted white guy (played by Godfrey Cambridge in white makeup) who one day wakes up Black. Moreover, if this ain’t funny enough fam, Columbia execs wanted Melvin to turn Godfrey’s character back into a white man at the end of the film—but Melvin refused to do it saying, he didn’t want audiences to think of being Black as a curse. So, when he screened this movie for the Columbia brass, and they asked why he didn’t turn the character white again, Melvin feigning ignorance said, “Oh wow, you know, I forgots (to shoot) that.” Fortunately, Melvin kept his ending.

After Watermelon Man, Melvin was determined to have complete control over his next project, which was to be his magnum opus, in my opinion, titled, “Sweet Sweetback’s Baadasssss Song” in 1971. With his own money, and a $50,000 loan from none other than Bill Cosby—yeah, the same “Pill” Cosby who just got outta’ jail y’all, Melvin financed this film. Mind you, He also wrote, directed, edited, starred in, and co-arranged the film’s score with a (then) up and coming R&B group named “Earth, Wind, and Fire” (Oh boy!)

Now, I wanna’ stop here to reflect on the first time I saw this film.

When I was 19, an older co-worker mentioned this film to me, and when I heard the title I was like, what the hell is a Sweet Sweetback? 5 years later, is when I’d actually sit down and give this film a viewing. Now, for those who haven’t seen this movie and are thinking about watching it in the future, I must tell you, this is the quintessential “art-house” film. Meaning, beyond its unpolished look, there are several montages which conventional films don’t follow—which according to your tastes, can endear or annoy the person watching. This said, I wanna’ go over “3” of my favorite parts of this film which, in my opinion, make it a classic.

1. Fam, this image opens the film with a police siren playing in the background. Mind you, the caption says: “This film is dedicated to all the brothas and sistas who have had enough of “the man”. Now, when I saw this, I immediately snuggled back into my seat and grabbed my popcorn ‘cause I knew this was gonna’ be my kinda’ movie. So straight away, this clip sets the precedence of keeping in the tradition of “Black Nationalism” and “Black POWER”, ya’ dig. 

2. This scene (right) is where Melvin chokes out one o’ tha’ crooked cops who were beatin’ up on a brotha. So after this is when Sweetback is “on the run” from the police—which is what sets the movie in motion. By the way fam, you can click on any of these pics to make them larger.

3. This scene is one where the Black community, knowing what happened to Sweetback, help him out by getting him outta’ the cop car so he can keep runnin’.

 Now understand, this movie has several more “controversial” scenes, one in particular being the film’s opening, where an older sista christens “Sweetback” with his name, and another where Sweetback is having an outdoor tryst with a white woman, while a group of white men watch. All and all, this movie, along with “The Spook Who Sat By the Door”, hold a special place in my heart ‘cause these films bought the collective consciousness of Black people out of a defeatist “integrationist” mind-set and into one of Black power and self-determination. 

So, to the ancestor we knew as MELVIN VAN PEEBLES, I say, for a life well-lived and a battle well-fought, take your rightful place amongst the ancestors and continue to keep us in your heart from the celestial place where you now reside. ASHE AND AMEN!

This said, now I can get into decoding the debaucherous and depraved depictions of our people, which can cause us to partake in an assortment of erroneous emotions and reactions (or inactions), which'll need an expiditious resolution. In other words, let's get it crackin' wit'...

Part 1.

Jada Pinkett and the "Ayesha Curry blues"

Now fam, recently, Jada Pinkett celebrated her “50^th” birthday on her “Red Table Talk” show. In it, she had a bevy of stars give her an assortment of “shout-outs” and well wishes before she sat down with her mother and daughter to talk about her current emotional state. Now, with a newly shaved head, miss thang, I mean Jada, was asked what she wanted, before she uttered these words: “I really want to learn how to love...I know what it isn’t.” This said, lemme break down what she really meant.

What Jada was trying to say was, I want to learn to love myself, without being married, or tethered, to a white (or non-Black) man. Ya’ see, Jada’s got what I call the “Ayesha Curry blues”—meaning, because she’s been told she has fair-skinned, European-looking features, Jada always thought it would be a matter of course for her to meet the white Prince Charming, marry him, and live happily ever after. Unfortunately, her white knight never showed up. So, she felt, her next best option, or the one she had most available, was a rich Black man…Will. Problem is, Jada never got over wanting to be with a white guy, so she’s taking it out on Will by treating him like dirt. Moreover, Jada’s bald head, is saying to Will, being a Black man, you don’t deserve a feminine looking, or acting female, you only get what I decide to give you—and this is also reflected in Black women’s weight issues. They feel Black men don’t meet the criteria for them to get and stay in shape, thus, they’re telling us, you’ll only get what we feel like giving you.

Now, some of you might be saying, bruh, don’t you think you’re being a little hard on sistas? I mean, what happened to all those times when you talked about seeing our people’s dysfunction in the context of the white fascist social order which created them? Welp, I’ve been giving this some thought lately, and I was thinking maybe this was the case—until I saw what I’m gonna’ talk about in…

Part 2.

Lizzo’s Ted “Twerk”

This past October 2^nd, the illustrious platform “Ted Talks” decided to let Lizzo talk about the anthropological and cultural significance of “twerking”.  Now, the saddest part of all this is, Lizzo doesn’t understand how white fascists are using her to keep sistas “single and spending”—now lemme explain what I’m talking about.

Not only is Lizzo devaluing all the strides Black Americans have made over the last half-century, but she’s not realizing the reason white fascists have given her this platform. Which is to further denigrate the image of Black women. Mind you, white fascists are doing this by portraying Black women as the embodiment of everything men find unattractive. Lizzo is now the official poster girl for Black women being obese, loud, and oversexed. Hence, making Black women unattractive to the overall populous of men, thus, keeping them out of loving relationships--and when this happens, women naturally gravitate towards buying stuff to heal their wounds.

Part 3.

Lizzo video

Now fam, instead of showing Lizzo’s Ted Talk vid’, I’m gonna’ post a “reaction”to it. This said, I wanna’ confess how I usually can’t stand “Mediocre Tutorials and Reviews” videos ‘cause of the obnoxiously dumb faces this young brotha makes. However, this vid’ echoes how I feel about Lizzo’s Ted Talk episode almost to the letter.

Warning: This video contains adult language, viewer discretion is advised.

 

 

 Fam, speaking of the white fascist agenda to make Black women look "hyper-masculine" and unattractive, peep out this Jill Scott vid' I just discovered.