The cult of Black and white Cinematic Symbolism (Part 12)...What do social engineering, sexual harassment charges and superhero movies have in common?

William Moulton Marston was born on May 9^th of 1893, in the town of Saugus, Massachusetts. He was a psychologist, inventor, comic book writer, and the creator of the comic book super-heroine, “Wonder Woman”.

He was educated at Harvard University, graduated “Phi Beta Kappa” and received his B.A. in 1915, an L.L.B. (undergrad law degree) in 1918, and a PhD in psychology in 1921. After teaching at “American University” in Washington, D.C., and “Tufts University” in Medford, Massachusetts, he worked at Universal Studios, California in 1929, as the Director of Public Services.

Now, for all intents and purposes, Marston was a conservative sort of fellow—outwardly—but for the 1930's, he was a bit of an iconoclast, being that he not only had a wife, Elizabeth Holloway Marston, with whom he had two children, but he also had a “live-in” mistress by the name of Olive Byrne. And let me just say, “officially”, Olive was playing the role of “nanny” to Marston's children—“unofficially”, she was accompanying Marston and his wife in various acts of “intimate play”. But I'll give you a bit more details about that later...

Max Gaines, a comic book publisher who hired Marston as an “educational consultant” for “National Periodicals” and “All-American Publications”, the two companies that became “DC Comics”, first heard of Marston through an article appearing in “Family Circle”. And in that magazine Marston said there was “great educational potential” in comics. Mind you, this was the late 1940's were talking about—so almost from the comic book's inception, they weren't meant to merely entertain children, but to “educate” and “influence” them. Coincidentally, the first comic book published in america was called, “Famous Funnies”, and it was released in 1933. And if you've followed this Blog at all, you'll understand how white fascist freemasons revere the number “33” cause it relates to the 33 vertebrate in the spinal cord, leading up to an organ called the “Pineal Gland”. And according to them, this is where a person's “consciousness” is kept.

Now, at the time, the DC Comics roster was fronted exclusively by male super-heros like “Batman” and “Superman”, but Marston came up with an idea to create a superhero who could conquer with their minds, instead of their fists. When Marston told his wife, Elizabeth this, she said: “Fine—but make her a woman.”

And after Marston got the “green-light” from Max Gaines, he was tasked with saying he based Wonder Woman (WW) on the newly liberated, unconventional and powerful females of his day. Meaning, it was that generation of white women, who would be the ones spear-heading what we now know as “feminism”. In accordance with this, Marston wrote in a 1943 issue of “American Scholar” that: “Not even girls want to be girls, so long as our feminine archetypes lack force, strength and power...”

Now, I know I've said this ad nauseum, but “feminism” was nothing but a trick played on women, just like integration was a trick played on Black people to get our money into the pockets of white fascists (Mind you, I'm in no way equating feminism, with Black liberation struggles. You can't have the white privilege and call yourself an “oppressed minority” at the same time—sorry feminists).

So, I think it's fitting that I retell the reason(s) why white fascists thought up feminism—and it goes a little sumthin' like this: A mature white male aristocrat, on a Public Broadcasting Station (PBS), channel thirteen in New York, confessed to being in a conversation with a Rockefeller at some upper-scale party. The aristocrat, who bore a striking resemblance to George Soros, said the Rockefeller asked him: "What do you think of the “Women's Lib” movement (*Note:Women's Lib was the 1970's moniker for feminism). The mature aristocrat said, he thought it was positive for women to demand equal pay for equal work. The Rockefeller then explained how they “funded” Women's Lib—before he confessed this: “We couldn't tax half the population, if women were staying home, being housewives...we had to get them into the workforce to be able to tax that revenue." The Rockefeller then went on to explain, "Also, we knew with both parents out of the house, what would essentially be raising their kids would be the TV, so that generation and the following ones, would be more easily programmable than this one."

Now, let me tell ya' why this “trick” also fits the narrative of Marston and the creation of WW: it's noted that in many of the WW comics, WW is bound, gagged, and usually put in some sort of restraints—as is evident in the illustration above. Also note that in the comic book illustration besides the one where WW is tied and helpless, she ponders on being happily dominated by a mistress (You can click onto this pic to enlarge it). Mind you, this is the kind of “intimate play” that Martson would engage his “women” in behind closed doors. Now, the message WW's brand of implicit S&M sends is this: contextually, a woman's liberation is best tempered by some kind of social boundaries, or obedience to a higher authority.

So what does this mean for the modern day woman?

It means , the reason white fascists want today's women watching “Sex and the City” and “Scandal”, which glorifies the oversexed female, is these women are being made to think their hyper-sexuality is actually liberating them, when it's really doing two things: one, it's keeping these women out of long-term relationships and marriages, and two: because these women are being kept out of relationships and marriages, it keeps them more corruptible than not.

How, you ask?

Well, white fascists know that women who are oversexed are looked upon as less “marriage-worthy”, than a chaste woman would be. And when I use the word “chaste”, I don't mean virginal. I'm using chaste in the context of women who don't have dozens of sex partners. And if women are told that they should embrace promiscuity (Amber Rose's “Slutwalk”), then more and more of them will wind up creating single-parent households. So not only is the mother of this household gonna' have less inhibitions when it comes to sleeping around, but the children she bares, will more than likely be very promiscuous as well, and they'll most likely have less resources at their disposal, being that there's no father in the home. Also, especially in the case of young girls, there won't be a father in the home to give them the moral guidance to make better life choices, especially when it comes to choosing men. So more than likely, these young girls will grow up doing things they might not, if they had a stable, two-parent home to grow up in. So ironically enough, this woman, more than most, will always be looking for some kind of stability/security, and doing whatever's necessary to get it—thus, the “SlutWalk” lifestyle ultimately keeps women more complicit with america's status quo, not less.

Prove it, you say?

That's easy. I distinctly remember about a decade ago, on a TV news show, a journalist asked a white woman, if she thought there'd ever be a Black president in america. Unhesitatingly, this white woman said: “I think they'll be a woman president, before there's a Black one.” Fast forward to the 2016 presidential campaign of Hillary Clinton .

Now, after eight years of a “Black president” (Barack Obama), Hillary threw her hat in the political ring to be “executive-in-chief”. And it seemed that women, white women especially, had their moment to vote one of their own kind into office. Additionally, they had the numbers to do it—cause women make up more than half of america's population.

But overwhelmingly, white women voted for Donald Trump.

Why, you ask?

Here's the answer: what a woman desires most is SECURITY—period. Women feel they're at a physical disadvantage compared to men, so it makes them fiends for safety—whether it be physical, financial, or both. And, it's the reason why young women will always pick the “playa” over the nerd, who'll treat them like gold. Meaning, white women (and whites collectively) were scared to death when Obama took office, cause they felt we would finally treat them, like they've treated us historically. So when these same women had a choice of Hillary or Trump to vote for, they chose Trump—cause they felt he'd keep them physically safer, than Hillary could.

Got it now?

Moreover, they figured Trump would be better able to protect the sanctity of white womanhood. Meaning, they sensed Trump would use every resource at his disposal to uphold the white woman's status, as the world's prettiest and most exquisitely feminine female.

And how is this sentiment evidenced in WW's narrative?

That's easy too. It's most apparent in the utility of WW's “golden lasso of truth”. Meaning, this illuminated rope is supposed to force people who are bound in it, to confess their true feelings. And what truth does it ultimately want people telling? Especially men? Simple, WW's lasso is supposed to make men unable to help themselves in revealing the perceived truth that the white woman (WW) is the world's prettiest female. And this speaks directly to a woman's want for emotional security—especially when it comes to feeling attractive.

Don't believe me?

Then check out this poster to the left. Now if you look closely, you'll notice that the sword placed in front of Gal Godot as WW, doesn't reveal it's curved tip. You only see the sword's “mid-section”. Now, for those who can't read subtext, the sword is supposed to represent a fully erect phallus, that's why we don't see it's top. So this pic is depicting WW cozying up to a hard phallus, to perform some sort of oral act (Note how WW's lips are slightly separated).

Now, you're probably thinking, bruh—get your mind outta' the gutter. This is a movie poster for pre and post-adolescent fans. Actually no. Stats prove that the average comic book reader is a male, in his mid-30's. Additionally, if you look at this second graphic above, you'll see I turned the pic onto itself, thus, revealing more of this poster's sexual nature. When I “flipped” this poster and joined the two pics together, you'll see the two swords now look like palatial “pillars”. And between these pillars is “Paradise Island”, where WW comes from. So ultimately, what this pic says is the surest way to “paradise” lies between the pillars (or legs) of a white woman—WW. (Note how the curved outline encompassing this view of paradise island is shaped like a vagina. And if you wanna' know how these pillars relate to “freemasonry”, look up the term “Jachin and Boaz” sometimes).

(*Note: you can click onto any of these pics to enlarge them)

So now you may be asking, well, what the hell does this have to do with the recent deluge of “sexual harassment charges” against powerful men?

Okay—let's get into that right quick...

In the last couple of years, cinemas have been overrun by what I call, “comic book movies”. Meaning, these movies feature our favorite superheros, some of which I've mentioned here. Now, I've already told you the average comic book reader is a middle-aged man, and when these comic book movies roll out in theaters, they're usually accompanied by video games featuring these heros. And in terms of the “Star Wars” franchise, when 2015's, “The Force Awakens” movie came out, there was an accompanying video game (Star Wars Battlefront) and graphic novel (Star Wars: Darth Vader: Vol. 1) that were rolled out with it. So, it was essentially a three-pronged campaign.

Now, let me just cut to the chase to keep this post from being too long-winded (one commenter called my posts, “long-azz articles”—and they didn't use a “z”). So I'll say that white fascists have mainstreamed comic book movies to make and keep men, collectively immature.

And their doing this with the concurrent campaign of mainstreaming homosexuality, especially to Black men (that's why so much money is being spent on the Marvel comic book movie, “Black Panther”—but I'll comment on that in another post). And the bottom-lined reason to all this is, white fascists know that a man who's an immature homosexual, will be less likely to revolt against whatever social order he's currently living in.

And this feeds into the “sexual harassment” campaigns that are removing so many powerful men (Harvey Weinstein, Charlie Rose, Russell Simmons) from their positions. Ultimately, white fascists want men to choose femininity which they're gonna' condition us to believe is more powerful than our masculinity. Thus, men, like women, will be more complicit with their demands. So if they can pluck out the masculinity of most men, they can have generations of males who'll do as they're told. And with these sexual harassment campaigns, they're also getting men used to women being in charge, and having power over them.

Funny enough, when I saw the latest “Blade Runner” movie (Blade Runner 2049), I noticed how the commander of the film's protagonist, “Officer K” played by Ryan Gosling, was a woman—and her boss was another woman.

And you maybe thinking: so why do you think this campaign is aimed primarily towards Black men?

Simple. Cause we have the most genetic power to breed whites out of existence. So if more of us embrace homosexuality, they'll be less “pure-bred” Black men, with our genetic power in this world.

Additionally, if you notice, the white men who've been taken out of power by these sexual harassment claims, aren't fighting them. But Black men, namely Tavis Smiley and Russell Simmons are. And the reason that's happening is, whitey needs to keep a Black face on crime in order to be able to kill off huge swaths of Black men indiscriminately. So Tavis and Russ, who are themselves white fascist freemasons, have been tasked with showing women, that they are unrepentant in their alleged abuses of women—thus maintaining our status as “public enemy # 1”.

So I've said all that to say this: Black men, put down the darn comics and stop watching these dumb-founded super hero movies. Cause they're conditioning you to believe in “negro nerdom” (i.e. being an immature and emasculated Black male). And they're doing this with the promise that this type of Black male, will be less threatening and more socially acceptable than a strong Black man would.

But as long as you have the most genetic power to breed these inbreds out of existence, nothing will change the fact that one of us existing anywhere, is a threat to them everywhere.

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

Later...

MontUHURU Mimia

P.S.

Here's the trailer for the movie, "Professor Marston and the wonder women", that speaks to the "intimate play" these three engaged in, and the sexual origins and inspiration for WW.

The gospel of white fascism (Part 8)...3 reasons why Jesse Williams gave his Humanitarian Award speech on BET...(Special Fourth of July Edition)

Jesse Wesley Williams was born on August 5^th, 1981 in Chicago, Illinois. His parents, Johanna Chase and Reginald Williams, were professional educators, and dedicated the majority of their lives to teaching in america’s public schools.

Jesse attended Temple University after graduating high school, and during his collegiate career, he modeled to pay for his schooling. He appeared in ads for Kenneth Cole, L.L. Bean and Tommy Hilfiger. He also appeared in music videos. He can be seen as Rihanna’s love interest in the music video for her song, ‘Russian Roulette’, and he appears alongside the singer Estelle in her music video, ‘Fall in love’. After Jesse graduated from Temple University, he followed in his parent’s footsteps and began teaching. Over the course of six years he taught american studies, African studies and English in the public educational system.

In 2005 Williams began to study acting, and over the course of the next decade, he appeared in several movies and TV shows, some of which include: The Hunger Games: Catching Fire, Law and Order, Greek, Beyond the Break, and most notably, on Grey’s Anatomy.

In 2009 Jesse began appearing in Grey’s Anatomy (GA) on a regular basis, but it wasn’t until 2010 that he became a full-time regular member of the series. In GA, Jesse appeared as Jackson Avery, and after several episodes he was lauded with being number six on Buddy TV’s ‘100 most sexiest men alive’ list.

In between being voted one of the sexiest men alive and starring in an assortment of theater and film projects, Jesse participated in what could be called ‘activist’ initiatives. One of these included being voted the youngest member on the board of directors for a Civil Rights think tank called, ‘The Advancement Project’. In addition, Williams is also the executive producer of an advocacy group called ‘Question Bridge: Black Males’. This is a multimedia project focusing on the Black male identity and promoting ‘diversity’ amongst us.  

Also, in October 2014, Jesse joined millions in the Ferguson, Missouri protests of the police murder of brotha Michael Brown. And in May 2016, Jesse released a documentary called, ‘Stay Woke: The Black Lives Matter Movement’. *Side Note: For those who don’t know, the ‘Black Lives Matter’ movement is a government funded initiative serving two purposes: The first, is to get the Black Diaspora involved in a more passively resistant movement and away from more aggressive means of protests like we saw in Ferguson, Missouri. And two: founders of this movement are Black people belonging to the LGBTQ community. Which is another avenue white fascists are using to mainstream homosexuality in the Black Diaspora. At the same time, white fascists are also using this organization to link Black Civil Rights struggles with white gay ones.

Now, any Black person reading this is probably familiar with the speech Jesse gave on BET after winning that show’s ‘Humanitarian Award’. He spoke eloquently and very poetically about the tyrannies of white fascism, and how the Black Diaspora should go about dismantling them.

Many said that night, he struck an awesome blow for the Civil Rights movement…but in regards to that, let’s go straight away into the 3 reasons why Jesse Williams gave his Humanitarian Awards speech at BET…

Reason#3: white fascists are scrambling to replace their elderly Black ‘Civil Rights’ stalwarts, Jesse Jackson and Al Sharpton.

Dr. Umar Johnson, who was slated to be the next in line as far as freemasonic Civil Rights leaders go, has already been attached to a scandal, and his message is a bit too radical for mainstream consumption. So white fascists are looking for a more ‘mainstream- able’ Civil Rights leader that’s already been bought and sold. And they’ve decided that man for this generation, is going to be Jesse Williams.

He will essentially fill the void left when either Al Sharpton, or that other ‘Jesse’ associated with Civil Rights, passes away.

Reason#2: Jesse Williams keeps the ‘white savior/Jesus Christ’ paradigm intact.

Now, you’re probably saying: “Wait a minute—Jesse’s not white.” And you’re right. But he’s HALF-white. See, we all need to understand, white fascists know they have to put a new spin on their gaming methodologies, especially in the face of america becoming ‘browner’. Bill Clinton as the first Black president won’t suffice any longer post-Obama. And with Jesse’s exceptionally good looks (by european standards) and his bi-ethnic background, he’s pretty much been tailor-made for the continuance of the white fascist agenda.

In addition, Jesse keeps the minds of church-going and/or church-raised Black population(s) anchored in the Jesus Christ/white savior narrative. This is done so they’ll always think the answer to defeating white fascism comes from a fair-skinned face without, instead of a melanated Black spirituality within.

Reason#1: And the number one reason why Jesse Williams gave his Humanitarian Award speech on BET is…Jesse Williams has been tasked to connect Black power to ‘bi-ethnicity’.

Before Jesse began his BET speech, he thanked his parents. A second later, BET cameras focused on his father Reginald, a Black man, and his mother Johanna, a white woman. A couple of seconds after, BET cameras focused on Sam L. Jackson with some short white woman. And the message white fascists were sending is, the truest way for a Black person to attain power, is by marrying and/or mating with a white person. Point blank, period.

Now, I have no problems with what Jesse said about dismantling the white fascist power structure, but in the context of his bi-ethnicity, it’s actually meant to reinforce reasons why 'pure bred' Black people should not only devalue themselves, but why they should devalue any kind of long-term relationship(s) or marriage(s) with a pure-bred Black person.

Now, a fellow blogging friend of mine sent me a vid where (Uncle) Tommy Sotomayor is making the same points I’m making here. And, the Black man who inspired me to write this Blog, also created a video where he made these same points about the bi-ethnic ‘pretty-boy’, Jesse Williams.

Difference between my message and theirs is, at the nucleus of these two (pseudo) Black men’s talking points is their discourse on the Black Diaspora not being smart enough to see through the white fascist ruse of the Jesse Williams speech. And nothing could be further from the truth.

But, these two serve to show us how Black self-hatred is perpetual. Meaning, in the cycle of Black self-hatred, no matter what the circumstance, you always have to place the blame on Blacks and never acknowledge the white fascist maneuverings in anything. So in keeping with the tenets of white fascism, these two will be kept hating themselves and everyone who looks like them ‘til the day they die. And the saddest part is, they wouldn’t have it any other way.

So, if you’re a Black man or woman reading this, put this message in the context of your ‘Independence Day’ celebration. And remind yourself that what we need a true ‘independence’ from, is the white supremacist conditioning we’ve all been privy to, regardless of whichever social order we're living in.

Later…

MontUHURU Mimia

Forgiveness and the Black Diaspora (Part 2) Boycotting 'Belle'...

Firstly, for all those who frequent this Blog and downloaded my e-book 'Revering Revolutionaires'; I'd like to apologize about that book's formatting. I didn't know the first chapter, 'The legend of Wesley Snipes', would have so many gaps in the text, and I intended to have the book's 'table of contents' directly linked to each of the book's chapters.

I'm still getting acquainted with the software I'm using to publish e-books, so hang in there with me; 'cause I promise the next book will be formatted better.

For those of you wondering what the book's about, it's basically chronicling the trials and travails of Wesley Snipes, Kat Williams, Dave Chappelle and Robert Mugabe in their pursuits to break the binds of white western fascism. Also, this book is an anthology of sorts; in that, it's comprised of four of my past Blog posts on these celebrities. And even though the book's formatting is not the best, I think it's definitely still worth a read.

Also, I'd love to hear some feedback on whether or not you think my book's a good read; so, feel free to make some comments on this Blog, or on the 'Smashwords' website where this book is published; thanks!

Now, let's get into this post...

Just when I thought I'd seen the last of the cavalcade of stars minstrel show/slave movies like: 'The Help', 'The Butler', '12 years a slave', etc.; I saw a trailer for the latest, and what seems to be the most upper-scale of these films, 'Belle'.

Belle is loosely based on the life of Dido Elizabeth Belle; she was the offspring of English Navy Admiral Sir John Lindsay and his slave mistress. And out of the kindness of his benevolent white heart, after abandoning her, he finds her and takes Belle to his palatial/ancestral home were she's raised by her great-uncle, Lord Mansfield.  

Belle is basically tolerated in the upper-scale Mansfield household and is afforded certain privileges because the family begrudgingly, acknowledges her as some sort of blood relation. 

While Belle's cousin Elizabeth considers male suitors for marriage, she's cast out of aristocratic love connections and wonders if she'll ever find a husband; and sure enough, a vicar's son who's a bit more liberal than the anglophiles in his social circles, courts Belle and they attempt, probably unsuccessfully, to help Lord Mansfield attain the position of Lord Chief Justice to help end slavery in England.

Now that you've got the gist of this story; let me break down what this nonsensical flick really is...

This is basically the Sally Hemings story on steriods (google Sally Hemmings if you don't know who she is). 

The difference is Sally was
Thom Jefferson's secret bed maiden; while Belle is actually acknowledged by the white slave owner's family; again, begrudgingly. 

This story and Sally's is screwed up on so many levels, I can't begin to fathom them all, but let's start with this fact: no matter how you spin Sally's story, the bottom line is, she was raped repeatedly by Thom Jefferson; and as much as people wanna' believe they carried on some blissful love affair, people don't know Sally was in her mid-teens at the time. 

Also, people don't know that Jefferson's trysts with Sally weren't consensual; that's why Sally Hemings got the nick-name 'dashing' Sally Hemings; she was running from Thom's pedophilic advances.  

And, the movie Belle is yet another attempt by whites to show how humane they were to Black slaves. Like I've said in the past, whites don't want to think of themselves as the wicked, cold-hearted, torturing beasts they were to our people. And Black people's very presence in america is a constant reminder to whites of how insidiously cruel they were to us when they brought us here; that's why whites cop an attitude whenever there's a lot of them and there's only one or two Black people.

This movie is also another mental trigger for Black people to remind us we're descendents of slaves, and with that understanding, we should know our place and not aspire to too much of what white people have. 'Cause in an age where we have a Black president, they don't want us thinking that we're equal to them in any way.   

Another message conveyed by this movie is, Black people should always seek the closest proximity to whites as possible. Because we have to be kept thinking the closer we are physically to whites, the safer and more opulent our lifestyles will be; even when whites are torturing and murdering us and our children.

There was a book that came out in 2009 called 'The Hemingses of Monticello: An American Family'; it won a National Book Award and a Pulitzer Prize in History for chronicling the story of Sally Hemings and her siblings.

Now, this was another attempt by an anglophilic Black person, in this case, a woman named Annette Gordon-Reed, to make the slave trade of Black people in this country more palatable to a mainstream (i.e. white) audience.

But there was a problem; a lot of whites say they couldn't finish this book because as much as she wanted to, Annette couldn't help but chronicle and channel some of the anger she felt, and other Black people feel towards white people, for putting us through this. See, with this book, white people wanted and were suppose to be given a pass for their horrid treatment of us, but sistah Annette couldn't let our ancestor's suffer in silence; and kudos to her for not holding her tongue. 

Now recently, I wrote a post titled 'The cult of the curly-haired, light-skinned, bi-ethnic looking Black girl', where I elucidate how I only see this kind of girl representing Black women in the diaspora. And guess who's playing Dido Belle? You got it...a curly-haired, light-skinned, bi-ethnic looking Black girl (Gugu Mbatha-Raw). 

And in the comments of the aforementioned post, a Black woman bought up Lupita Nyongo's oscar win for playing a slave in the movie '12 years a slave'. 

This Black woman said she was proud of Lupita for getting the oscar; and when I disagreed with Lupita playing a slave to get that oscar, this woman was adamant about how I was in the wrong for not seeing how progressive Lupita's win was. 

I then thought about how long it took for me personally, to get out of an anglophilic mindset enough to recognize the insult(s) inherent in Blacks having to be in self-debasing movie roles to win oscars. 

So I was like, maybe it'll take the sista some time, but hopefully, this cover will be the catalyst for her to look outside of her white supremacist mind state and not seek the further approval of white elites. 

But when our people are in these roles OVER AND OVER AGAIN, I can't turn a blind eye to the Black Diaspora needing to not only boycott '12 years a slave' but 'Belle' too. 

Ultimately, what I'm saying is this; if you're of the opinion that Lupita's oscar win is somehow positive for the Black Diaspora, or Belle is something that Black people should run out and see, this Blog isn't for you. 

Please find another, more ethnically-neutral Blog to visit that will cater to your delicate anglophilic sensibilities, as I don't have time to debate you and yours on the finer points of being an admirer of white people.  

Again, my message isn't for everyone; it's for Black people who really want to be about the work of ridding the Black Diaspora of our self-hatred; consciously and subconsciously. 

And since every second of our lives is precious, let's spend them pursuing how we can heal the rifts in our community and how we can value and love ourselves again...without having to play a butler or a slave. 

Kem Wesir!

MontUHURU Mimia

P.S.

Addendum: Just when I thought I couldn't get any more offended by this film, I viewed this long trailer for 'Belle'. And if this doesn't explain why the Black Diaspora should boycott this film, I don't know what will!

What a piece of trash!