The white fascist attack on Black femininity (Part 6)...Here's what Naturi Naughton and Guardian of the Galaxy's "Gamora" (Avengers: Endgame) have in common, and just one mo' comment on the "Hegelian Dialect" and the infamous "fried chicken sandwich" wars...

                               
To the (consistent) readers of this blog: Fam, there’s a point I neglected to make on my last post regarding the infamous “fried chicken sandwich” wars—and I wanna’ make it here. Now, what I spoke about last was whitey’s media doing any and everything it can to make indigenous Black folk look like the most downtrodden and morally obtuse people in the world. Thus, the campaign to make us look like we’re fighting over, and consuming more of these chicken “sandmiches” than anyone else. But there’s another side to this story that needs to be mentioned, and that’s this—too many Black people, and americans period, are becoming vegans and vegetarians.

Now, even though only 5% of americans are vegetarians, and 3% of americans identify as vegans, the multi-billion-dollar meat industry is watching these cultures spread like wildfire. And not only are indigenous Black americans part of this movement, but there’s another facet of this equation white fascists are worried about, especially concerning us. See, whitey needs our “Black Street Cred” (BSC) to sell stuff—and that’s not hyperbole—white fascists count on our vernacular to make their products more profitable. So, if our BSC and “Black Cool Points” (BCP) are supporting the vegetarian and vegan cultures, then their products are what’s gonna’ sell through the roof. So, whitey’s gotta’ get us on board the campaign of making meat products and their industry look cooler.

But, how does whitey do that?

Welp, they employ the good ol’ “Hegelian Dialectic”, or the “Hegelian Dialect” for short. And for those who don’t know what the Hegelian Dialect is, it’s a 3-part methodology of how to control the masses, using the stratagem of “problem, reaction, solution”—but to break this all the way down, here’s the “3-part” method of how mr. and mrs. white folks endeavored to align themselves wit’ our BSC and BCP, so the meat industry can win the “Gastronomy Wars” and continue to prosper.

Method#1: Problem: whitey’s meat products ain’t sellin’ like they used to.

white executives at Chick-fil-A and Popeyes restaurants (and in the whole of the meat industry period) needed a “psy-op” (and if you don’t know what that is, google it) to win-out over the vegan and vegetarian cultures that have become so popular. So, they hatched a plan to start a “twitter beef” betwixt the two aforementioned eateries.

Now, I liken this to the FBI’s “Cointelpro” campaign(s) that had the good ol’ “divide and conquer” strategies in em, that were used to destroy the “Black Panther Party” (BPP) in the 1950’s, 60’s, and 70’s. Meaning, what whitey did, once they infiltrated this organization, was send spiteful and threatening letters from some east coast factions of the Black Panthers, to their west coast affiliates. And this worked so well in regards to having the BPP fighting amongst themselves, that the FBI called these initiatives the “East Coast, West Coast” Black Panther Wars. Decades later, we had an “East Coast, West Coast” Rap War—coincidence? Hmmm.

Anyway, executives from the two franchise restaurants I mentioned earlier, decide they’re gonna’ create two factions of Black people. The first faction will be the negroes who love Popeyes chicken sandwich, and the other “experimental” group will be the buck-dancin’, bojanglers who love Chick-Fil-A’s sandwich. And once they did this, they’d form a fake battle between the two. So, these pale-skinned degenerates started this “twitter battle” using the tagline: “You good?” And this is yet another example of how our BSC and BCP can turn into white profitability.

Method#2: Reaction: “Black twitter” and the “tech-savvy” negro

Now, supposedly when the head-scratchin’, techy negro-nerds who frequent the “twittersphere” see this battle raging on social media fronts, they holla to themselves and their friends, “Good lawd, I gotta’ git me one o’ dem chicken sandmiches, they’s on sale fir’ $3.99!”

Method#3: Solution: The (alleged) suicide and salvation of negro consumers

After the first two initiatives, Popeyes allegedly sells out of its “fried chicken sandwiches” cause negroes are hypmo’tized by the fact that the chicken gods answered their prayers before Christmas.

Now, the reason I used the words “supposedly” and “allegedly” while writing this part of the post, is cause while doing research on this topic what I kept seeing was Popeyes stating in press releases that the franchise “expects” to run out of this sandwich, before they “announced” running out of these sandwiches days later. Mind you, Black folks I spoke to said not only weren’t their lines for this new chicken sandwich, but no one saw any of their local Popeyes stores “sell out” of them.

So, this proves to me beyond a shadow of a doubt that this chicken sandwich war was not only staged, but it was enacted to get white and non-Black people to buy these “ghetto burgers”, since Popeyes has been given our (fake) seal of approval, meaning they supposedly got our BSC and BCP.

So, in more layman’s terms—THIS WAS A FRAUD Y’ALL!

And might I add, any Black person who still takes the word of the white media as the gospel truth, especially when it comes to us, DESERVES TO HATE THEMSELVES FOR BEING BLACK!

Now, with that outta’ the way, let me show y’all how whitey DEVALUES BLACK FEMININITY in its media, so we can not only recognize these slights, but we can counter them so they don’t turn into an everlasting blight for not only Black women, but for the Black diaspora in general.

—MontUHURU Mimia

This is the part of the post you can just sit back and watch y’all—Enjoy! *Note: In my next post, I’ll address the white fascist overtures regarding Gamora’s relationship with Thanos. So stay tuned. Also, if you’d like to see this vid in a larger format, click on the title and it’ll take you to my YouTube page.

Later…

     —MontUHURU Mimia            

                       

The white fascist attack on Black femininity (Part 5)...J. Prince, Suge Knight, and Irv Gotti's thwarted "power moves", marginalized "Little Mermaids", "Yemaya" the Orisha, and answers to the age-old question of why Black folks don't stick together...

To the (consistent) readers of this blog: Fam, as of late, I’ve been focused on following through with the mission statement of this forum, especially in terms of honoring this site’s name—that being, “The ‘CINEMATIC SYMBOLISM’ Blog”. Meaning, I felt the need to explore other mediums that spoke in more of a “visual” language, than a “literal” one. Thus, I’ve been obsessing over my video editing, being that I went through the trouble of swapping out my older software for a newer program—but, I must confess that over the last few weeks, I’ve really missed the tactile sensations of typing out my feelings on a keyboard. So much so, that when I read about the topics of the “live-action”, “Little Mermaid” movie backlash, and the dismantled music distribution company J. Prince, Irv, and Suge attempted creating, I eventually decided, I need to get back to my writing.

Mind you, in keeping with the template of my last few “written” posts, this one’s gonna’ stick wit’ tha’ “mash-up” style I’ve recently adopted. Reason being, both these topics kinda’ hit me at once—so what I’ll write about here is how I was repulsed, but not surprised, by chez whitey’s negative reaction to a young sista playing the lead character in Disney’s, ”The Little Mermaid”, and how the thwarted corporate troika of Irv Gotti, Suge Knight, and J. Prince can answer the age ol’ question of why Black folks can’t seem to stick together. Now, since this post is gonna’ be bifurcated, for the most part, I thought I’d compartmentalize these goings-on by splitting this editorial into a “Part 1” and “Part 2”. So, with that said—let’s get into the first deciphering(s) of how these seemingly disparate subjects, actually fit together under the umbrella’d tyrannies of america’s white fascist social order.

Now family, last week, a young brotha from Africa, who I’d acquainted myself with, out of the clear blue, asked me this question: why haven’t Black men (Black american men especially) created organized crime networks, like the italian “mafia”?

Now, what the young brotha was really saying (or telling me) was “3” distinct things about himself. And those are: #1. He was saying, Black (american) men (especially) aren’t as smart as white men—and when I say white, I mean italians, irish, jew-“ish” men, etc. #2. He was telling me, he didn’t realize he’s Black himself, thus, he’s indirectly calling himself stupid, and #3. He let me know by asking this question, that he’d received the same kinda’ education I did to “subconsciously” make me hate myself and everyone who looks like me.

So, after I gave him a talking to in private, I told him the true story I’m about to tell you brothas, sistas—and the assortment of other ethnic enemies who’re reading this post. And when I use the term “enemies”, that’s NOT hyperbole. If you’re not one of us, then I really don’t want or need you to read this post, or blog, for that matter—cause now, more than ever, we’re seeing that there is not (and never will be) a “Black-brown” alliance, or any kind of other “alliances” forged between “US” and other people—and I’ll expound more on that in my next post.

So, with that said, let’s go in on this true story of what happened behind the attempted alliance forged between Suge Knight, Irv Gotti, and J.Prince, and the “Black power” move they initiated.

—MontUHURU Mimia

Part 1.

Marion Hugh “Suge” Knight Jr., was born in Compton, California on April 19^th, 1965. He’s the son of Maxine Dikemen and Marion Knight Sr.—and mind you, the nick-name “Suge” came from his parents who nick-named him “sugarbear” when he was young, cause of his sweet demeanor.

Suge attended Lynwood High School in California, where he was a football and track star. He graduated from Lynwood in 1983. And after high school, Suge attended El Camino College, and later transferred to UNLV (University of Las Vegas) where he played collegiate football. Now, at UNLV Suge not only made the “Dean’s List”, but he was such an outstanding athlete that he wasn’t only voted UNLV’s “Rookie of the Year”, but he was made a “defensive captain”, and won “first team ‘all conference’ honors” in UNLV’s football program. And what Harvey Hyde, who became UNLV’s football coach said about Suge was this: “Knight played his butt off…He was a ‘yes sir, no sir’ guy…the type of player any coach would want for his team.”

After graduating from UNLV, Suge played briefly on the Los Angeles Rams football team during the 1987 NFL strike. After the NFL, Suge found work as a concert promoter and a bodyguard for celebrities such as Bobby Brown, before he opened his own music publishing and management companies. And behind these, one of the first moments when he saw any real profits of his labor, was when Robert Van Winkle, a.k.a. “Vanilla Ice”, agreed to sign over royalties to Suge for his hit, “Ice Ice Baby”. Mind you, the person who wrote the song was a brotha named Mario Johnson, a.k.a. “Chocolate”. Now, I can’t very well write about Suge’s first monetary windfall without addressing the rumor that Suge robbed Vanilla Ice for these royalties, by holding mr. Ice Ice Baby over a balcony by his ankles, until the white rapper forked over the publishing rights to that song. So, the truth is, after this alleged incident, Suge had to sue both the music company “EMI” and Vanilla Ice to reclaim those monies—and it wasn’t until a couple of months to a year later, that Suge and “Chocolate” were paid for those songs.

And thereafter, Suge’s management company signed the artists “DJ Quik” and “The D.O.C.”—and it was the D.O.C. who introduced Suge to Dr. Dre. And when Dre talked to Suge about his being robbed for royalties at “Ruthless Records” behind Jerry Heller’s chicanery, they both decided to form “Death Row Records”.

Irving Domingo Lorenzo Jr., a.k.a. “Irv Gotti”, was born in Hollis, Queens, New York City on June 26^th, of 1970. In his teenage years, he was known as “DJ Irv”, and became one of the most revered “turntablists” in his neighborhood, especially after garnering the coveted honor of being the official DJ for block parties in “Jamaica Park”, which was the nucleus for the burgeoning Hip-Hop culture in Queens. Once Irv got his first taste of being a “local celebrity”, his music career evolved to the point of him beginning to DJ for mainstream Hip-Hop artists like a young “Jay-Z” (and we’ll talk more about ‘Jay’ later), and this predated Irv’s producing records for artists and beginning to think about forming a management company of his own.

Irv’s music industry cred, and his seeing how he could affect more change in the industry from the “inside out”, got him an “A&R” executive position at “Def Jam” records where he was responsible for signing and producing songs for DMX, and Jay-Z. Now, once Irv felt he’d developed a “formula” for making mainstreamed (or at least “cross-over” eligible) hits, he created his own record company, “Murder Inc.” in 1988 with his brother Chris, and the first artist he signed was a young, up and coming rapper from the “Woodhull projects” in Hollis, Queens named, “Ja Rule”.

James Prince, also known as “J. Prince”, was born in Houston, Texas on October 31^st, of 1964. Now, James started out being a “used-car” salesman as a young man, and years later, he became the owner of a “car-lot” himself. And while James was busy running his business, he saw how much trouble his younger brother was getting into on the means streets of Houston’s “fifth ward”. And what James also recognized, was his brother’s passion for rap music. Now, James’ brother went by the emcee name, “Sir Rap-a-Lot”, thus, James founded the music company, “Rap-a-Lot Records”.

Now, I’ve detailed all that to say this, between the years of 2001 and ’02, Suge, Irv, and J. Prince spoke of creating a Black music distribution company. Reason being was, at some point they realized our people were the ones providing not only the majority of the best talent in the industry, but we were also setting the musical trends nationally, and globally. Moreover, their artists were the ones doing the marketing and promoting of their products—thus, the only service(s) white execs could offer these brothas was distribution, and even that perceived fact was now (complete) fiction with the advent of the internet (and we can thank brotha Dr. Phil Emeagwali for that invention, and I’ll leave a link for my post about him). So, it was between the above mentioned years that these brothas had a meeting, where they drew up plans and put up monies to make this company happen.

But there’s even more to this story—turns out, these “3” Black men not only wanted to create a music distribution company, they were gonna’ create a full-fledged “union” for Black music artists, regardless of genre. Or as Irv Gotti stated in Rob Markman’s article titled, “Irv Gotti and Suge Knight planned to unionize artists”, for “MTV News”: “It wasn’t a ‘distribution’, it was a union. In the music business, the artists, we have no union. There’s no health care, it’s nothing like that. It should be done…” said Gotti, crediting Suge with devising the plan.

Now, here’s where the wild card comes in folks…

Dame Dash of Rockefeller Records was rumored to also be at this meeting (and if you don’t know who he is, I’ll leave a link for a post I wrote on him). And supposedly, he had Shawn Carter, a.k.a. “Jay-Z” with ‘em. Now, once again, rumor has it that Jay-Z decided to tell his white fascist buddy, Lyor Cohen (he’s a high-ranking music exec. working for “YouTube” y’all) what the brothas were up to—and long story short, “3” things happened…

#1. In late 2002, the L.A. Police Department raided Suge Knight’s offices in Las Vegas and L.A. Mind you, they said they weren’t directly targeting Knight, but someone associated with him.

#2. In 2003, the Feds raided Murder Inc.’s offices in New York City, and arrested Irv Gotti. Federal investigators alleged that Irv’s seed money for Murder Inc. came from Kenneth “Supreme” McGriff, and his criminal enterprise—a few years later, Irv was acquitted of these charges.

#3. J.Prince talked about how the Feds seemed to be stalking him, and how they pulled him over in Dallas, Texas. He hired a private investigator and found out that one of the federal agents assigned to him had killed 8 people previously—so this man was essentially an assassin for the federal gov’t. Thereafter, J. Prince took it upon himself to go to Washington D.C. and tell authorities that this “hitman” wasn’t gonna’ get a chance to murder him without him hiring security in his own defense.

Now, I’ve said all that to say this, when people—especially (indigenous) Black people, ask the question: How come Black folks don’t stick together? The answer is, when we do, THIS is what happens. Meaning…WE WILL ALWAYS COME UP AGAINST MORE OPPOSITION THAN ANYONE ELSE WHEN IT COMES TO THE TOPIC OF OUR UNITY!

AND I SAY AGAIN, WE’LL COME UP AGAINST MORE OPPOSITON THAN “ANY” OTHER KIND OF PERSON!

For “3” reasons—and those are…

#1. We have the most genetic power(s) to breed these inbreds outta’ existence, #2. white birth rates have fallen below replacement levels, and #3. whitey’s committing suicide and overdosing on drugs in droves, thus, now more than ever, they’ve literally got more bullseyes on our backs ‘cause of reason #1.

Now, for the indigenous Black persons reading this, not only don’t you ever have to ask yourselves this question again, but you can tell other folks, especially other Black folks, who ask you this question, to STOP ASKING STUPID QUESTIONS!

Part 2.

Now fam, I was gonna’ use more of a formulaic approach to writing this part of the post, but I have to say what’s on my heart, so I’ma just freestyle in this section y’all. With that said, lemme speak on Halle Bailey, and the backlash surrounding her playing the lead role in Disney’s remake of “The Little Mermaid”, with a little primer on one of the deities of the Black Spiritual Sciences—the “ORISHA”, “YEMAYA”.

Now, I can already hear people saying, “Yema—who?” And behind that, I'll say this, to the right are 2 displays of the deity Yemaya, who's said to be the “mother” of ALL “The Orishas”, and this energy was depicted as a Black female “MERMAID”. And Yemaya predates both the author, Hans Christian Anderson’s tale of the ”Little Mermaid” and the 1989 Disney flick of the same name. *Note: On the left of the above pic, is a modern depiction of this deity and on the right is a photo that's reppin’ for the ancients, and you can click on this pic to make it larger.

Moreover, as depicted (right) you can see that Yemaya was the inspiration for the “Starbucks” logo—who’d a thunk it? And again, you can click on the pic to enlarge it.

So, here’s what I wanna’ really say directly to tha’ sistas reading this post—you NEED to understand that a white woman’s MOST valuable asset, when it’s all said and done, is her STATUS AS THE WORLD’S PRETTIEST WOMAN! And mind you, she’s called that behind “european” standards of beauty.

And that means what? It means that while trailer trash Tina (3T) is selling sistas on “feminism”, she’s liable to get spittin’ mad whenever she feels you’re takin’ this title from her. Or, let me say this another way—3T feels that the tale of “The Little Mermaid” speaks to the kind of exquisite femininity, that’s ONLY RESERVED FOR HER—and that’s why she’s showin’ her true colors (pun intended) when it comes to this Disney flick. But, like I’ve showed you with YEMAYA, EEERRRYTHANG—AND I MEAN EVERYTHING, IN THIS WORLD BEGINS WIT’ US! And like I’ve said in the past—ultimately YOUR “FEMININITY” IS WHAT’S GONNA’ SAVE YOU SISTA—NOT FEMINISM!

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

Later…

—MontUHURU Mimia

P.S.

Here’s a video detailing the controversy over Halle and her lead role in Disney’s, “The Little Mermaid”

   P.P.S.

Now, I was tryna’ find a longer video to explain what happened to the triumvirate of Suge, Irv, and J. Prince—but this short clip from a J. Prince radio interview just says it all.

 

 *Addendum: 7/25/2019—Family, the link I promised to post about Damon Dash you can read HERE. 

*Addendum: 7/25/2019—Also, you can check out the post I wrote on the ingenious brotha who created the internet, Dr. Phil Emeagwali, HERE.

The white fascist attack on Black femininity (Part 4)...Jill Scott's oral fixation, unresolved subconscious traumas, whitey's "3-staged" plan for Black women, and the "closure" of a celebrity crush...

To the readers of this Blog: Beyond apologizing for missing my deadline scheduling of this forum’s posts, I have to say, that I not only wasn’t gonna’ write another posting for this series (any time soon), but I’d made a conscious effort to stay (far) away from this kind of subject matter dealing with “The white fascist attack on Black women”—lest I come off like some super-jaded Black man who’s just hatin’ on sistas. Understand, I truly try to strike a balance when it comes to writing about the specific dysfunctions plaquing Black men and women. Reason is, it’s too easy to get caught up in the whole “gender-warring” paradigm when you’re an (indigenous) Black person, writing about our state(s) of grace or disgrace.

So, whenever I write about a wide-spread dysfunction amongst Black women, I always attempt to counter it with a similar one in Black men, and vice-versa.

With that said, I’m sure everyone reading this has seen the Jill Scott video where she’s pretending to fellate her microphone. And if you haven’t, it’s all over YouTube, so you don’t have to take my word for it. Now, even though I was set to write about another topic, this vid went viral, and being that I once had a crush on Jill, I felt duty-bound to comment on not only what her actions are really saying, but why we, more than anyone else, should view her actions in the context of the white fascism that created them.

Now, I can hear people saying—bruh, can you come up off that whole white fascism deal when it comes to us? Some people are just naturally screwed up and destined to stay that way—live wit’ it.

Well, I CAN’T!

AND, I WON’T!

Reason being is, if I, for one moment, indulge in the thought(s) that the dysfunctions displayed by our people are NATURAL TO US, then I’m doomed to hate myself and everyone else who looks like me, for being Black.

And I’ve spent the majority of my life feeling this way, so I’ll be damned if I go back.

Moreover, I’ve done the work to know that because we have the most genetic power(s) to breed whitey out of existence, that we have a larger bullseye on our backs than any other kind of person, when it comes to initiatives meant to destroy the Black man, woman, and family. So, I hope you understand that this ain’t an indictment of Jill, it’s an attempt to understand why this beautiful and rich sista is having such a hard time finding “Mr. Right”, when she has all the tools to do so (Halle Berry). 

So, I’d like you to keep this in mind while you read this post, and as always, I welcome your feedback, ‘cause more than anything, I created this space to be a sounding board for not only what ails us, but how we can resolve it. And that manifesto is one I’ll follow til’ this blog’s end.

—MontUHURU Mimia

Jillian “Jill” Scott was born on April 4^th, 1972 in Philadelphia, Pennsylvania, and grew up in North Philly being raised by her mother, Joyce Scott, and her grandmother. During her youth, she recalled being “very much a loved child”, while learning the “three ‘r’s’” at the Philadelphia School for Girls.

She attended Temple University thereafter, where she studied “secondary education”, in hopes of becoming a school teacher, but was dissuaded from doing so, after getting a job as a teacher’s aide. Thus, she dropped out of Temple U., in pursuit of her dream as a singer.

Not too long after her trials at Temple, did she land an apprenticeship with a theater company. And after that, she was hired as a cast member for a touring Canadian production of the play, “Rent”. Then, Jill hit her stride as a “spoken word” artist in the Philadelphia area, where she was one of the many promising poets who recited poetry, hummed songs and rapped at various gatherings around Philly. While making her rounds as a poet, she went on to record seven songs with DJ Jazzy Jeff. Yep, the same one who was wit’ the “Fresh Prince”, Will Smith. In the midst of this and appearing on various Philly stages, she caught the eye of “The Roots” Questlove, and got her chance to co-write the song, “You Got Me”. This song was not only recorded by The Roots and Erykah Badu, but the single earned a Grammy Award. Once this created a buzz around her, Jill was signed to “Hidden Beach Recordings” and put out the album, “Who is Jill Scott?” (Words and Sounds Volume 1) in 2000. And the album went on to score Jill 3 Grammy Awards of her own.

Now, let’s stop here a sec’.

Shortly after this, is when I developed a crush on Jill, cause of her bohemian/“earth-mortherly” vibe. She wore her hair in a long natural, was fond of wearing dashikis, and had the outward appearance of being peaceful and non-judgmental, which is what every brotha’s looking for in a Black woman. And mind you, this was despite the fact that Jill was “big-boned”—and plenty of other brothas will vouch for this. So no, it’s not all about a bangin’ booty ladies.

Now, fast forward to 2013—I remember hearing that Jill was gonna’ be on the Aresnio Hall show, and naturally, I wanted to watch, but when I tuned in, Jill came out in a weave and a shirt that had her cleavage spilling out of it—and I was like, Jill? And mind you, this is about the time that the movie, “Baggage Claim” was released in theaters. And in this flick, Jill plays some over-sexed harlot of an airline stewardess—and this is when I knew she was headed down a wrong path. And mind you, this was after the birth of her son, and her first divorce.

But let’s cut to the chase, and talk about Jill’s viral vid…

This past Tuesday, on November 13^th, a video surfaced of Jill, where she, shall we say, orally stimulates her stage mic—and afterwards, in her defense, she sent out a “tweet” saying: “I sing/act out all kinds of stories. You should “cum” to my shows. After a Jill Scott show, most people get splendidly laid by whoever they came with…”

Now, I’m not one to get worked up over the salacious scandal(s) of Jill’s career, but in so many words, let me tell you 3 things that Jilly was really saying when she did, what she did…

#1. Jill’s simulated sex act was a loud cry for help.

Jill Scott is in a lotta’ pain, y’all. And the source of said pain is her quandary over not knowing why she can’t find “Mr. Right”. And this might sound particularly melodramatic, but I can almost see her staring out of a wide window most evenings and thinking, okay, I’m obviously talented and rich, and I bump into men who tell me I’m beautiful all the time—so, where’s my man? And Jill’s display of oral gymnastics was a public attempt at finding him.

#2. Jill’s simulated sex act, unbeknownst to her, makes her look more masculine than feminine.

Now, originally this series focused on the “Dora Milaje-like” “buzz-cutted” hairstyles that Marvel’s Black Panther movie glorified. And the last post in this series had me writing specifically about Sanaa Lathan’s Netflix movie, “Nappily Ever After”. But my diatribes about sistas with short hair cuts wasn’t just about hairstyles, but the connotations that go along with them. Now, I noticed as of late, Jill has also started donning a short hair style (upper left), and once again I must say, this will dissuade the majority of men from looking at her in the context of a woman they wanna’ be in a long-term relationship with or being someone they wanna’ be married to. Now ladies, am I saying that I wanna’ see more Black women wearing weaves?

HELL NO!

I’m saying that long locks, or a long “natural” will make you look more feminine, and will make you more appealing to men in general, than a short, buzz-cut-of-a-hairdo, that makes you look like you don’t have any hair to style AT ALL.

#3. Here’s why feminists will encourage Jill’s behavior.

white feminists especially will laud and applaud Jill for what she did for not one, but 3 reasons, and they are: 1.) white women know that Black women making themselves look over-sexed, makes them look more masculine, while making white women look more feminine. 2.) white women know the cultural currency associated with femininity, and they at all costs wanna’ keep that for themselves, while telling Black women that they’re “sisters in the struggle”. 3.) the modern-day white women knows what kind of disadvantage she’s at with Black female curves becoming the norm (that’s why they’re injecting silicone into their lips and butts). So, whitey’s being portrayed as the archetypal/stereotypical, demure, fragile flower-of-a-woman, is one way, they can maintain their coveted status as the world’s prettiest (and most feminine) female.

Now, I said I’d list “3” things Jill was saying when she performed that simulated sex act, but there’s one mo’ thing I’d be remiss for not sayin’, so let’s go for 4…

#4. Jill’s simulated sex act said that she can’t find a “good” Black man to date or marry.

Now, there’s a large contingency of (swirling) sistas who’re thinkin’, welp, if Jill really wants to find “Mr. Right”, she needs to stop dating/marrying brothas. And to that I’ll say this: once I dated a sista who showed me that she really wanted to be in a relationship—and this woman even pointed out an older Black couple, and said she fancied that for herself. A couple of weeks later, we had a disagreement about which movie we’d see, and behind that, this woman let loose a tirade of every negative Black male stereotype you could think of, towards me. Mind you, not only did she have this kinda’ pernicious stockpile deeply embedded in her subconscious, but as a result, she felt she should be the head of a household, over a man. Needless to say, I moved on.

Now, a lot of Black women are probably reading this and thinking, well, just ‘cause Jill might be that way around Black men, don’t mean she’s gonna’ comport herself like that around white, and non-Black men. Now, if you’ve read my previous editorials about this subject, I say several times that at least half of Black women are so subconsciously hard-wired to act this way around Black men, they can’t help but act the same way around white or non-Black ones. And you shouldn’t take my word for this, just ask Halle Berry.

And let me also say, that this is one of the dysfunctions I talked about, that have been bred into us. Meaning, you can’t talk about this state-of-mind in some Black women, without talking about the white fascist machinations in america, that created this. Again, NONE OF OUR DYSFUNCTIONS ARE NATURAL TO US—THEY’VE ALL BEEN CONDITIONED INTO US BY aMERICA’S SOCIAL ORDER!

Still, I can hear some sistas saying, bruh—you don’t know that this is what Jill’s suffering from—she might be the sweetest, most complicit domestic partner a Black man could want. And her failed relationships could all be the fault of these low-life brothas. And to that I say, Jill never saw her mother in a successful relationship with a Black man, so she has no real point of reference for maintaining one. Mind you, I believe in my heart of hearts, that Jill desperately wants a successful relationship with a Black man, but the household she grew up in, not only taught her how to work against that, but it taught her that any man she’s married to (a Black man especially) should be subservient to her in a household. And no real man is gonna’ agree with this.

And what makes this malady even more insidious, is the fact that this is all embedded in Jill’s subconscious—thus, she’ll probably never recognize the problem on that level, and she’ll never do the work to resolve it.

Now, with all that said, I’m still hoping one day Jill meets that “Mr. Right” Black man—but until she does the subconscious work to resolve the issues she has with us, her relationships with Black men, will never work. Moreover, because she’s so successful in other areas of her life, I doubt that she’ll ever feel a need to change much of anything about herself—especially on any kind of mental level(s).

Thus, even with a sliver of hope for Jill finding Mr. Right, I’m kinda’ closing my file on the crush I once had on her. Cause not only is she portraying herself as damaged goods, but she’s role-modeling this type of behavior for younger Black women.

And that’s something none of us should support.

Later…

—MontUHURU Mimia

P.S.

Now, the vid clip of Jill giving her mic a simulated “job”, is too debauched for me to post here, but the vid I will post, is one of her being inebriated while documenting the moment on social media.  And I’m not trying to promote the YouTuber, “Just Shenanigans”, but this is the best vid (and commentary) I found, dealing wit’ Jill’s fiascoes. And one last thing I’d like to say about Jill and the modern-day, strong, independent, “I don’t need no man”, type of sista, is that Jill’s dysfunctional state, is where the embrace of white fascist mores about Black men (i.e. white feminism) will lead you. And this involves keeping you in 3 states of being, and those are (again): 1. well-paid, 2. over-sexed, and 3. alone.

P.P.S.

*Addendum — 11/29/18: Family, once again, I’d be remiss, if I didn't show y’all this: Here's the official trailer for the movie “Baggage Claim”, where, as I wrote earlier, Jill plays some tramped-out, harlot-of-an-airline-stewardess. Now, I want you to pay particularly close attention to the opening of this clip, more specifically, the parts starting @ 0:19 til' 0:29. This is the part where Jill, as the trampy stewardess says: “If you need a man honey, I can get you one of those...” She then beckons the male bar attendant, and right afterwards, the white guy in the bunch says, “Why don't you marry Gayle? If she goes a week without waxing her mustache, they’ll think it’s Steve Harvey.”

Now, here’s what the white guy (who represents white men in general) is really saying about Gayle/Jill—he’s stating that in a man's mind, an over-sexed woman, equates to a hyper-masculine woman. And that’s cause no man wants to think that the female he’s dating, has had more sex partners than he’s had. And mind you, Paula Patton’s character states emphatically that it’s not a man she needs, it’s a husband. This is making a clear distinction between a woman who men deem worthy of marriage, and a woman who's strictly relegated to the “one-night stand”, or jump-off status quo.  

The white fascist attack on Black femininity (Part 3)...Netflix's "Nappily Ever After", #teamnatural, Instagram, Sanaa Lathan, and Sinead O'Connor's traumatic childhood...

Sinead Marie Bernadette O’Connor (left) was born on December 8^th, 1966 in Glenageary, Ireland, and was named after Sinead de Valera, wife of Irish President, Eamon de Valera. Sinead’s parents are Sean O’Connor, who was a structural engineer, later turned barrister, and Marie O’Connor.

A few years after Sinead was born, Sean separated from Marie, and they both agreed to leave the children in care of their mother. Now, Sinead in her later years, would go on to describe the horrific and torturous living conditions enforced by Marie. In fact, the abuse exacted on Sinead was so extreme, that at age 15, she left her mother’s home to live with her father. Unfortunately, the dysfunctional nature of Sean’s home combined with the damage that was done by Marie, resulted in Sinead turning to a life of school truancy and shoplifting, that resulted in her being committed to an institution called the “Magdalene Asylum”. And mind you, the Magdalene Asylum was notorious for its abuses towards their patients—and this is most notably documented in the movie “The Magdalene Sisters”.

Fortunately, this facility provided Sinead with a stable enough environment to pursue her musical endeavors. An example of this, was a female volunteer of the Magdalene Asylum hearing Sinead sing a cover of the Barbara Streisand song, “Evergreen”, who would later introduce Sinead to her brother, and this volunteer’s brother, just happened to be in a band called “Tua Nua”. Sinead recorded her first song with them, but ultimately, wasn't allowed to joint the group ‘cause she was just 15. Regardless, it was this experience that led her to put an ad in the “Hot Press” musicians’ magazine, which turned into a meeting with Colm Farrelly—and with him, Sinead created another group called, “Ton Ton McCoute”. Now, with this band, audiences got to see how talented a singer Sinead really was.

Sinead’s time with Ton Ton McCoute got her noticed by music industry executives. One of which, got her a deal with “Ensign Records”. There, she got a manager who had her sing the lead vocal for a song called “Heroine”, on the soundtrack of the film, “Captive”. This led to Sinead recording her first album, “The Lion and the Cobra”, which was called a “sensation” by the music press, after its release in 1987. The album reached gold status and earned her a “Best Female Rock Vocal Performance” Grammy nomination. Beyond that, the album’s single “Mandika”, was a hit on college radio stations in america (and this is when I first became aware of her), and another of her songs, “Troy”, became a hit in europe, where it reached no. 5 on the Dutch Top 40 music charts.  

Mind you, what made Sinead stand out, just as much as her talent, was her close cropped, shaved hairdo.

Now, let’s stop here a sec’, ‘cause I’m guessing people are saying to themselves, bruh—what the heck does this have to do wit’ any white fascist attack on Black femininity? And I’ll answer that in a minute, but before I do, let’s get into this…

On September of last year, Sanaa Lathan released an Instagram post, after shaving her head, for the lead role in the Netflix movie, “Nappily Ever After” (left). And in 2018, this movie came out—I guess—and I say that, cause I’ve neither seen this movie, nor do I plan to. And it’s not because I disagree wit’ the hairstyle, it’s ‘cause I see the white fascist agenda behind it.

Now, fast forward to January of this year, and the release of Marvel’s “Black Panther” movie. This film’s portrayal of the “Dora Milaje” (the female warriors guarding King T’Challa), wearing this hair style is being aggrandized to influence more Black women to accept and adopt it. And without further ado, let me tell you why, if you’re a Black woman reading this, you should think twice and three times before you make the “Big Chop”, as they say.

Now, the reason why Black women should give pause to wearing any kinda’ “crew-cut” of a hairdo, comes down to this: one of the physical features that makes women feel innately feminine, is long hair. And that’s true whether a woman realizes it or not. Meaning what? It means, the overwhelming majority of women, will find that cutting your hair off like this, can be traumatizing.

And let me break this down even further….

The first thing both men and women think, when they see a female with extremely short, closed cropped hair is, this woman is afflicted with some sort of physical or mental illness.

PERIOD.

And in the wake of the Black Panther movie, whitey’s workin’ overtime to sell this bogus narrative of empowerment through cuttin’ off all your hair, to Black women. Now, if you’re a Black woman reading this, you might be thinkin’, bruh, this is just your opinion—besides, I see plenty of white women rockin’ this hair style. Well, here’s the difference between you and them—the white woman has the white privilege. Meaning, she’s been given the stereotype of being the world’s prettiest female—and Black women don't have this kind of luxury.

Now, I want every Black woman reading this to understand what I’m NOT saying.

I am not saying that Black women aren’t as attractive as white women—and if you as a Black woman, can’t see how this white woman is trying to look more and more like you (lip and butt injections, hello…) then you’re just not paying attention. I’m saying that by european standards of beauty (i.e. whitey’s own measure of beauty), white women are supposed to be the world’s prettiest females.

Now, what whitey’s doing, is trying to co-opt the pride that Black women are feeling behind wearing their natural hair (ala Instagram pages like “#teamnatural”), to say, the act of cutting off all your hair, equates to some measure of female empowerment. But you should note which hairstyle’s whitey’s not endorsing. Meaning, you don’t see Netflix executives, or any white TV or film execs for that matter, saying that Black women should have their hair in “locks”, or a “long natural”, that brothas and sistas used to call “afros”. No, he wants you to cut all your hair off!

Why?

So sistas can look hypermasculine.

And the more hypermasculine sistas look, the more whitey can keep ‘em in 3 states of being—which are: 1. well-paid, 2. oversexed, and 3. alone. And to break this further down, whitey knows that if they can keep Black women in the stereotype(s) of being abrasive, combative, and argumentative, he can keep them consuming more than any other kind of person on the planet.

Now, you may be thinkin’, I don’t see the connection—how would a Black woman’s being kept in these 3 states, make her the world’s greatest consumer? Simple: if Black women are kept outside the confines of long-term relationships, they’ll compensate for that lack of love by spending on various items—shoes, cars, cloths, food, travel, etc.

Now, you might be a Black woman that’s still thinking, bruh, your argument is bogus—besides, there’s no way you can prove a point this nebulous.

So, you want some proof?

Bet. 

To the left is a picture I took with my camera phone, when I visited my old college recently (and if you wanna' see this pic more clearly, you can click on it). Now, right off the bat, let me apologize for this pic’s lack of clarity and the reflections of light coming off it as well—and let me also say, one of the reasons for this photo’s blurred appearance, is the fact that these pics are behind a glass encasing. With that said, these are ads for the “Phi Theta Kappa” sorority, and the “Phi Beta Alpha” fraternity. And this photo’s oozing wit’ symbolism—so let’s go in on it’s decoding...

Now, for starters, I want you to check out how they’ve depicted the sista in this photo. And what’s the first thing you notice about her—besides her bitter countenance? Exactly, it’s her “armed forces” uniform. So, question: behind this Black woman wearing what looks like a military uniform, what conclusions are you gonna’ draw about her?

Answer: you’re gonna’ think, and mind you, whitey did this by design, that she’s combative, abrasive, aggressive, and hyper-masculine—in other words, what’s being said here is…

Black women, especially in the case of them being with white men, shouldn’t be considered for long-term relationships or marriage, they should only be thought of as sexual conquests.

Now conversely, look at the white guy in this photo. Notice he’s portrayed as some kinda’ smiling construction worker—meaning, he’s a happy, “working-class” caucasian—the kind no sista with a college degree should bother dating. But to all the Black women reading this, ESPECIALLY THE “SWIRLERS”, understand that this ad is saying 3 specific things to you directly—and they are…

#1. If you join this sorority, you have a better chance of gettin’ wit’ a white man—that’s the bait being offered here sistas.

#2. But if you choose to be with a white man, you shouldn’t expect to do any better than a “working-class” white guy.

#3. Regardless of how educated you as a Black woman are, the overwhelming majority of white men in this fraternity (and elsewhere) still think of you as being abrasive, argumentative, oversexed, and hypermasculine.

So, I’ve said all that to say this: if you’re a Black woman, don’t let whitey trick you into giving yourself one of these trauma-inducing, ultra-short hair cuts. Now, if you’re a Black woman who’s just looking to get noticed, so she can get more attention from men—then do whatcha’ feel. But, if you’re looking for a commitment from a man, in any kind of real relationship, understand, the average man is not after a masculine looking woman. Moreover, coupled with the stereotype of the “Angry Black Woman Syndrome”, this hairstyle is more likely to keep men avoiding, rather than approaching you.

Now, am I saying I’d rather see a sista in a weave?

HELL NO!

I’m saying, Black women need to use some discernment, when they see trends like the one to cut off all their hair. And if you put these messages, especially the one in the collegiate photo, into its proper context, you can see that whitey’s fascist agenda is meant to do one thing—hurt you, instead of help you.

Later…

—MontUHURU Mimia

P.S.

Now, this is the trailer for the Netflix movie, “Nappily Ever After”. And more than anything, I want you to notice the traumatized look on Sanaa’s face while she’s cutting off all her hair. And, when she sees herself in the mirror the next day, she screams, while a song lyric plays in the background saying, “I almost lost my mind…” Also, notice in one of the following scenes after “The Big Chop”, Sanaa is drinking beer with her woman friends in a bar—this is yet another attempt to make Black women look hyper-masculine, and to keep them in that stereotype.

P.P.S.

For all the Black women thinking that I’m just talking disparagingly about sistas with short hair, I want you to take a look at this vid of Grace Jones performing the song, “La Vie en Rose”. Now, even though Grace is supposed to be the poster woman for the hyper-masculine sista, here, her exquisite femininity is on full display. Meaning, regardless of her physical features not conforming to the white fascist status quo, the feminine wiles she uses to perform this song, make her nothing short of mesmerizing to watch—so hopefully, everyone can see that beautifully feminine energy is SPIRITUAL, NOT (NECESSARILY) PHYSICAL!

P.P.P.S.

Lastly, here’s Sinead O’Connor performing her song “Troy” live—and in it, you can see the rageful angst and previous traumas she was subjected to, in her performance, lyrics, and singing style. And once again, the trauma(s) she suffered, are the reasons she choose her “buzz-cutted” hairdo.

And family, if you'd like to see the first 2 posts that inspired this new “series”, you can do that HERE and HERE.