The legend of Sophia Stewart...

In 1979, Sophia Stewart attended the City University of New York and earned a Bachelor's Degree in Journalism, she then went to the University of Southern California and studied cinema at the USC Film school. While at USC, she got a job with Columbia film studios working in the vice president's office, and in her time away from work, she wrote scripts and movie treatments. In 1981, one of these found it's way to a vice president of Twentieth Century Fox (TCF). One of TCF's vice presidents asked her if she'd written anything else. After Sophia sent a six page movie treatment to the VP, she was commissioned to write for movies and television. 

Throughout this time Sophia had been working on and completed a script titled, 'The third eye'. She proceeded to shop it around to various Hollywood producers and movie studios, but was never contacted about any offers to purchase her work. 

In 1986, she saw an ad in a national magazine that was looking for a science fiction manuscript that could be turned into a comic book. So Sophia sent her script. And this is how the 'Wachowski brothers' got a hold of her work.  

Larry (now Lana) and Andy Wachowski were born and raised in Chicago. Both were college drop-outs who ran a carpentry business while creating comic books. The Wachowski's wrote for Marvel Comic's 'Razorline' imprint before branching out to film making. They created a script titled 'Assassins' that was eventually acquired by Warner Brothers, who gave them the rights to do two more films in a three picture deal. Now, the script for 'Assassins' was completely rewritten by the author Brian Helglend, and it's said that the Wachowski's tried to take their names off the writing credits, but couldn't. (Yeah right...you'll see why that's probably a lie later). 

The Wachowski's moved on to their next film project, this time making their debut as film directors with a homoerotic 'techno' thriller called 'Bound'. Mind you, the brothers were not only giving the public hints about their sexual orientation, but with the fake writing credits for 'Assassins', they were showing their penchant for underhanded behavior. And after this is when they acquired the script by sista Sophia Stewart...and it would change all of their lives forever. 

In 1999, Sophia went to see the movie 'The Matrix' with a friend. After watching several minutes of the film, she turned to her friend saying, "I wrote this..." She in effect realized that someone at Warner Brothers, namely the Wachowski's, had stolen her script.

Now, in case you were wondering, that wasn't a typo when I wrote about Larry Wachowski turning into Lana. This guy is so mentally unstable he actually got a sex change. Pictured to the left is a photo of the Wachowski brothers while they were still writing comics. 
Then, after they came into some money behind their plagiarized 'Matrix' success, Larry got surgery to become Lana, as pictured to the right. The person that says success makes you who you really are, wasn't lying.  

In 1994, Sophia filed a lawsuit against Warner Brothers films and the Wachowski brothers for copyright infringement and racketeering. 

After a decade of litigation, Sophia finally won her lawsuit presided over in the Central District of California; and she will recover damages from all the Matrix movies, as well as 'The Terminator' movie franchise. 

But what does 'The Matrix' have to do with 'The Terminator'? As Sophia states, these two movies are one in the same. Sophia's book 'The third eye' chronicles how The story portrayed in 'The Terminator' is in essence the 'pre-quel' to 'The Matrix'. 

Sophia says she was blown away when she saw George Lucas' 'Star Wars' movie. And it gave her the idea to write a story about the second coming of christ, and how he'd have to battle machines, or cyborgs that would essentially try to control humanity in the future. 

Sophia also says, "Sarah Connor is 'Neo's' mother..." And she explains how in her script and book John Connor was an adolescent Neo who at thirty is found by rebel factions (Morpheus--played by Lawrence Fishburn and his crew) and taught how to fight the 'machines' (Agent Smith and his factions) to save humanity. Sophia also says the 'JC' in John Connor's name stands for jesus christ. She also explains that 'The Terminator' movie(s) are the 'machines' attempt to kill off John Connor (Neo) by sending a cyborg from the future to kill Sarah and John, her unborn child in the present/past. 

In 2007 Sophia was awarded 150 million dollars in damages for this case; and after winning a second bout of litigation recently, its said Sophia will win upwards of 10 billion dollars for all the years of red tape she's suffered at the hands of the american movie industry and judicial system. 

Now, I told you how Sophia said George Lucas' movie Star Wars was her inspiration for writing what essentially became 'The Matrix' and 'The Terminator' movies...by the way, Sophia also said she wrote herself into The Matrix as 'The Oracle'; but what Sophia didn't know was that George was copying from the ingenuity of her ancestors. Here's how...

To the left is a picture of an ancient Kemetic/African 'Djed Pillar'; it's a symbol representing strength and power. Now, doesn't this look almost exactly like the handle of a 'Light-Saber'? Not only that, but the 'Djed Pillar' is where George Lucas got the term 'Jedi' from. 

See, Sophia was recognizing the ingenuity of her ancestors and didn't even know it. 

Ya' want a little more proof of George's cultural theft...bet; check out this pic of Darth Vader and King 'Tut'. 

Note the similar shape of the 'head-dresses'! Or as KRS-ONE would say, "...ya' want a little clarity, check tha' similarity."

So, I've said all that to say this, BLACK MAN AND WOMAN, YOU ARE THE ORIGINATORS OF EVERY CULTURE AND SCIENCE! THERE IS NOTHING BEYOND OR ABOVE YOU!

So let's get back to our rightful place of sovereignty and be the Kings and Queens our birthrights have destined us to be. 

ALSO...Kem Wesir to the Netcher/NAGA/QUEEN/GODDESS SOPHIA STEWART!

Enjoy your reward(s) Queen...you earned them.

Later...

MontUHURU Mimia

P.S.

To all of you who downloaded a copy of 'Revering Revolutionaries', I'd like to thank you, the e-book has over 100 downloads and counting. I only thought I'd get 20 at most. 

Also, I'd like to apologize about not posting this on the weekend; I had a little more research to do on Sophia's story, so this post took a bit longer than usual to write. 

And...if you'd like to see the court documents of Sophia's case, you can check them out HERE.  

*Addendum: — 4/12/19: Fam, it’s one thing to read about Sophia's prophetic and ingenious works, but it’s another to hear how she came up with these masterworks in her own words. So, here’s Parts 1 and 2 of an appearance she made at a “closed event” in Los Angeles, California’s, “Studio Center”. Mind you, some of the things Sophia says are gonna’ sound quite fantastic, but keep in mind, that this woman’s script not only revolutionized cinema, but it also gave us a peek at what the elitist construct of “reality” really is. So, here’s an appearance this Queen made in 2017, after she won the rights back to her script, along with her “Oracle-like” insights for the future. Enjoy!

                                                                          

The ballad of Radio Raheem...

The other week, I watched Oprah's interview with film director Spike Lee. 

And during the course of the interview Spike announced that 2014 would mark the 25th anniversary of the film 'Do The Right Thing'. 

Now to me and a lot of others, this movie is something beyond an ordinary film, it not only represents an important documenting of ethnic strife in New York during the late 80's, but it also shows Spike defining himself as one of my generations greatest auteurs. 

Unfortunately, I'm one of the few people who didn't see this movie in theaters. 

I could only imagine the visceral impact this flick made in cinema auditoriums. 

I remember a white woman I knew who saw the film, said she felt like she was gonna' die behind an ethnic riot that would erupt in the theater. 

Seeing whitey that uncomfortable would have been worth the ticket price alone.

I remember how white critics said this film was going to start revolts throughout this country; like all the hell Black folks were catching at the time wasn't enough for us to shut this country down. 

But one thing more than any other stuck with me about this film...and let me explain what that was. 

About a year ago, Spike was on one of New York's 'urban' radio statons; either Hot 97, or one that plays predominately Hip Hop music.

But before I touch on that, let me say something about the co-opting of the word 'urban'.

Now, the white elite have turned the word 'urban' into a euphemism for 'Black'. And mind you, they've only done this recently.

I was reminiscing about the 1980's movie 'Urban Cowboy'; and how John Travolta starred in this film. And I was thinking, had this film been made today, it would almost have to be some comedy about a senseless brotha who sang country music or something.

But this is how recently the word 'urban' got tethered to Black people via the white elites and their american social order. 

But back to Spike and his film...Spike was on a 'Hip-Hop' radio station talking to one of the white bois who was a program director and who claimed to be 'down' with the culture. 

You know the type, white guy wearing a backwards baseball cap, some Sean John jeans and the new 'Jordans'. 

Spike was speaking about his 'kickstarter' fund-raising campaign when he and this white guy started talking about 'Do The Right Thing'. 

Spike was reminiscing about how white people always asked him the same question about the film; and that question was: why did Mookie throw the garbage can through the window of Sal's famous pizzeria?

To which the 'down' white boi replied, "Yeah...I was wondering about that myself."

I just shook my head. 

That's when Spike held a clinic showing the white boi how Mookie's garbage can throw came behind the death of his friend Radio Raheem; who he'd just seen get choked to death by the gestapo-like cops of the NYPD.  

To which the white boi uttered, "Okay...now I get it."

This speaks directly to the indifference of Black suffering in the eyes of white people. And even the 'down-ass' white boi, was saying to himself...okay Radio Raheem died, but why are you bothering Sal's store? (Sal, played by Danny Aiello)

And to break it down even further, what white people are really saying when they ask about Mookie's garbage can throw is, it's just another nig@er dead...so what's the problem?

That's why one motto I always keep with me is, never overestimate white people...or underestimate their capacity to hate Blacks.

What really irks me is when you're the only Black person around a bunch of whites and they're mad at you.

They've committed the greatest atrocities to our people, and yet they're still mad at us. 

Wanna' know why?

'Cause our existence in this country is a prime example of their capacity for inhuman wickedness.

Besides the fact that Black people, and Black men especially, are able to literally breed them out of existence, our presence is a constant reminder of how they treated us in the antebellum south and how intrinsically dastardly, under-handed and morally repugnant they really are. 

They don't have an ethical highground on anything; and we're living proof of that. 

The scene in this movie that touches me the most, or for me, this movie's most woeful scene is when Smiley, the character who's a bit slow and sold pictures of Martin King and Malcolm X, is holding his head and crying out in pain after seeing Radio Raheem murdered.

Even though he was slow, he understood the gravity of what he saw.

And who could ever forget Radio Raheem's 'love vs. hate' soliloquy with those dope four finger rings...brilliant. 

And the story of Radio Raheem's killing struck such a chord with residents in Black neighborhoods, that even though he was a fictional character 'bombers' or graph artists erected 'burners' or murals to his memory. That spoke to how common an occurrence young Black men dying in our neighborhoods at the hands of police was and is. 

So, what I'll do to commemorate 'Do The Right Thing's'

anniversary is get the 'Criterion Collections' edition of this flick. 

Now, there is a DVD by Spike Lee called the 'Spike Lee Joint collection' that includes 'Do The Right Thing'; and I'd buy that, but I'm afraid it wouldn't have the 'special features' on the movie that I'm looking for.  

But what it does have is four more of Spike's films that include: Clockers, Mo' Better Blues, Jungle Fever and Crooklyn. 

I'll have to do more research and see which I'll buy; or, I might get 'em both.

But whichever DVD I purchase, I'll do what I usually do; pop the DVD in it's player and go straight to the 'special and bonus features' sections. 

So, I've said all that to say this, Spike deserves all the praise he gets not only for his films, but for having the courage enough to show his manhood through his films.

In the age of Tyler Perry's tranny minstrel shows, it's refreshing to see a Black man who's uncompromising in his approach and unwilling to settle for the white supremacist status quo, which is giving us movies like 'The Butler' and 'The Help'.

So Hotep and Kem Wesir to the Netjer/Neter/God Spike Lee!

Keep makin' your 'joints' Spike, 'cause your people appreciate you...ya' dig, sho 'nuff. 

Kem Wesir,

MontUHURU Mimia

P.S.

REMIX!

This is one of my favorite YouTube vids of Spike reaching the monetary goal for his 'Kickstarter' campaign.

Here, Spike shows how personal this journey was and how determined he is to overcome any of the film industry's obstacles.

Kudos Spike on your diligence, perseverance and mental fortitude. 

Warning: this video contains profanity. Viewer discretion is advised.