The Cult of Black and white Cinematic Symbolism (Part 16)...What do Walt Disney, Michael B. Jordan, Barack Obama, Kehinde Wiley, Stephon Clark, the Hegelian Dialect and Ryan Coogler, all have in common?

 

To the readers of this Blog: the reason this post is a bit long-winded, is over the course of the last two weeks, I debated about which subject I wanted to tackle first. It was a toss up between Vanity Fair magazine’s controversial pic of Michael B. Jordan and Ryan Coogler, or Kehinde Wiley’s portrait of Barack Obama, or the shooting of Stephon Clarke. So I decided to put all 3 topics in this post. On that note, I ask you to indulge me regarding this editorial’s length, for the simple reason that all of these topics are inter-related. Now, as always, I’m writing with the reader in mind, so I’ve made sure this post’s structure gives you a comfortably fluid read. And I dare say, that there’s no way you’ll come to the end of this, without a nugget of knowledge you didn’t have before. So once again, I thank my audience for your kind indulgences.

--MontUHURU Mimia

Walter Elias Disney was born on December 5^th, 1901, in Chicago, Illinois, and was the fourth son of Elias Disney and Flora Call. In 1911, the Disney family moved to Kansas City, Missouri, and it was while attending “Benton Grammar School”, that a young Walter developed a love for drawing cartoons. 

Walter attended Saturday courses at the Kansas City Art Institute, and took a correspondence course in cartooning, with monies he earned from a paper route. In 1917, Walter’s father bought stock in Chicago’s “O-Zell” jello company, and moved the family back to the city as a result. And it was back in Chi-town, that Walter became the cartoonist for McKinley High School’s newspaper, while also taking courses at the Chicago Academy of Fine Arts.  

In 1918, Walt faked his birth certificate’s date, so he could join the Army. After successfully fooling armed forces personnel, Walt became a Red Cross ambulance driver. Shortly afterwards, he was shipped to France, and began drawing cartoons on the side of his ambulance for decoration. Recognizing his exceptional talent, Army administrators featured Walt’s work in the army newspaper “Stars and Stripes”. Returning to Kansas City in 1919, Walt worked as an apprentice at the Pesman-Rubin Commercial Art Studio. There, he drew commercial illustrations for advertising, theater programs, and catalogs. And there, he befriended his future business partner, Ubbe Iwerks.

In 1920, the Pesman-Rubin Art Studio laid off Walt and Ubbe. In response, they started their own business—the short-lived Iwerks-Disney Commercial Artists Studio. Unable to attract customers, Walt and Ubbe both joined the Kansas City Film Ad company. And this company produced commercials using the “cutout animation” technique. But after doing some research on other methods of animating, Walt saw that “cell animation” would be the most promising way to make his animated features. With this method in mind, he created a company with a friend he’d made in Kansas City, that went by the name, “Newman’s Laugh-O-grams”. And the earliest Laugh-O-grams, were adaptations of Paul Terry’s, “Aesops Fables”. And for the sake of brevity, you can google Aesops Fables, if you don’t know what they are.

In 1921, the success of “Laugh-O-grams”, led to the creation of the “Laugh-O-gram” studios. Additionally, it led Walt to hire employees he could delegate some of his work to. Unfortunately, the company still couldn’t turn a profit. As a result, Walt moved to Hollywood in 1923.

In Hollywood, Walt continued to struggle behind plying his trade, until he got a call from a New York film distributor, who was interested in his work. As a result, Walt and his brother Roy, formed the “Disney Brothers Studio” behind their success. Later, this venture would become the “Walt Disney Company”, to produce animated feature films.

In 1927, Walt grew tired of the work he was doing for the New York distributors. Thus, he and his company began to work on a character and a cartoon series called, “Oswald the Lucky Rabbit” for Universal Pictures. In 1928, Walt wanted to renegotiate his contract with Universal. What he soon learned was, not only were some of the top brass at Universal unwilling to pay him and his company higher wages, but they actually wanted to decrease their pay. And, Universal’s administrators threatened to produce the Oswald cartoon themselves, if Walt wouldn’t heed their demands. Also, the fact that Universal owned the rights to Oswald, didn’t help any. 

Desperate to find a character that could replace “Oswald”, Ubbe and Walt thought about a pet they’d adopted while they were in “Laugh-O-Gram” studios. This was a pet mouse. Now, originally Walt wanted to call this cartoon mouse, “Mortimer”—but thinking that was too pretentious, Walt’s wife Lillian, suggested the name “Mickey”. Thus, in 1928, the cartoon character, “Mickey Mouse”, made his first appearance in a cartoon short called, “Plane Crazy”. But it wasn’t until Walt and his company created the animated short, “Steamboat Willie”, featuring Mickey Mouse, that the character developed a successful following. Thereafter, Disney Studios signed a contract with Columbia Pictures for more of “Mickey’s” cartoons.

A few decades later, under Walt’s tutelage, Disney Studios would go on to create such notable animated features like Snow White and the Seven Dwarves (1937), Dumbo (1940), Fantasia (1940), Pinocchio (1940), and many other “classic” hits. In the 1950’s, Disney Studios would expand their brand by opening “Disneyland” and creating the successful TV show, “The Mickey Mouse Club”. And in 1965, the Disney Corporation started the development of the “Experimental Prototype Community of Tommorrow”, or “EPCOT” Center for short.Sadly, on December 15^th, 1966, Walt Disney died of lung cancer, at the age of 65. And after Walt’s death, an enduring legacy of animated films was left by him for you, me, and future generations to enjoy. Now, this is what white fascists want you to think—but let’s get to the straight dope of who this man really was…

Walt Disney was a 33^rd degree freemason. And to commemorate this, at Disneyland, there’s an establishment called the “33” Club. Additionally, he was a charter member of a freemasonic fraternity called the “Ordo DeMolay”—and coincidentally, two other members of this frat, just happen to be american president, Bill Clinton, and the movie actor, John Wayne. To top that off, Walt was a notorious pedophile, and his company had decades long ties with the american mafia, and the CIA. Lastly, it’s on record that the Disney Corporation has the largest homosexual employees organization in the entertainment industry. And mind you, this man’s company, is the same one that put out Marvel’s “Black Panther”.

Now, early last month, Vanity Fair, put out this pic of Black Panther Director Ryan Coogler, and his muse, Michael B. Jordan (right). And as a result, “Black Twitter” (whatever that is), was peeved about this photo, saying it was too homoerotic. Now, if you wanna’ know my thoughts on whether or not this pic is emasculating, especially to Ryan, here’s my answer…

HELL YEAH IT IS!!

No straight brotha would let another man “palm” his head, in this suggestive a manner. Here, it looks like Ryan’s being guided downward to fellate his friend. And that’s what it’s meant to look like. Also, as par for the course, whitey’s media is obsessing on what’s being called Black men’s "collective homophobia", in regards to this pic.

Now, I wasn’t planning on this, but regarding this pic and whitey’s media, I gotta’ list 3 points I need to make about the role white gays play in furthering the agenda of white fascism…

Point#3: If you’re a Black person who’s offended by this pic, then you’re missing it’s true agenda…

And that means what? It means that we should expect this kinda’ sexually-conflicted crap from artists associated with ‘Disney Studios”. Cause knowing Walt belonged to white fascist freemasonry, we should understand that he was tasked with mainstreaming homosexuality—especially to children. And with that end in mind, Disneyland annually sponsors a “Gay Day”, for its amusement park. And on this day, Mickey Mouse and Donald Duck peruse the park, passing themselves off as gay lovers. So please don’t think this company is gonna’ invest hundreds of millions of dollars on Marvel’s Black Panther, without pushing that part of the white fascist agenda through this film. And even though there’s a lot of subversive symbolism in the actual movie, I knew that was just the tip of the iceberg. Thus, the gay pic featuring Mike and Ryan.

Point#2: What white fascists will never talk about, is how gays reproduce themselves…

Now, you might be thinkin’, bruh—this point don’t make no sense. First off, why would anyone broach this question in any form of media, since we know gays can’t have children. At least not naturally. And I totally get that. But the reason I'm bringing this up is, whitey knows once this conversation gets started, they’re gonna' have to talk about the childhood traumas that go into making someone gay.

See, whitey will talk about accusations of “Black male homophobia” from here to Gibraltar, but if they ever get around to how queers create other queers, they’d have to talk about the rampant amount(s) of sexual molestations and abuses that inevitably precede someone calling themselves a homosexual.

And this fact leads us to…

Point#1: Whitey won’t talk about traumas preceding homosexuality, cause then they’d have to admit that homosexuality is UNNATURAL.

Now, I don’t want anyone reading this post to take my word for this, so do your own research into the childhoods of any homosexual. Cause when you do, you’ll find the trauma that made them sexually-conflicted. And if this fact becomes mainstreamed, then the gay lifestyle couldn’t be sold as effectively to the proletariat, and whitey couldn’t try to shame Black people, and Black men specifically, into thinking that queers were born with specific genes, that make them that way. 

And speaking of queers, I’ll remind everyone that on February 12^th, of this year, the painter Kehinde Wiley unveiled his portrait of this country’s 44^th President, Barack Obama. (*Note: Obama was not america’s first Black president. Look up the name “John Hanson” sometimes. He was a Black man and this country’s first president, under the “Articles of Confederation” which preceded the Constitution. And he’s portrayed on the back of america’s $2 dollar bill—which is probably why they took it out of circulation.)

Now, as you can see, President Obama is seated in what looks like a garden (And Barack’s “hand-over-hand” gesture is freemasonic, by the way. Just like the pic next to it of Nava “Barak”, wife of Ehud “Barak”, former Prime Minister of Isreal. And we not only see Nava’s hand-over-hand sign, but her earring has the emblem of the Masonic “Double-headed Eagle”. And you can always click on my pics to make them larger). With that said, let’s further break down the symbolism embedded in this painting…

First off, the color “green” is used to represent “melanin”.

And I can almost hear people thinkin’—bruh, that don’t make no kinda’ sense. Well, it does when you consider that chlorophyll is what gives plants their green color, just like melanin is what makes our skin Black. Additionally, the ancient kemetic Netcher Ausar (left), was depicted on pyramid walls with “green” skin. At the same time, Ausar also went by another name—and that was: “LORD OF THE ‘PERFECT’ BLACK” (which is DOPE by the way). 

Additionally, the Marvel superhero, “The Hulk”, represents the Black phallus. Now, I can hear all the boos and hisses behind this theory. But ask yourself, what color is the Hulk's skin? Exactly. And when Bruce Banner's aroused or enraged, he grows to three times his size until he transforms into this character. But another clue as to who this character's supposed to represent, is the Hulk wearing “purple” pants. Now, every Black person has heard someone say that a heavily melanated brotha or sista is, “blue, Black, purple”, well that's the reason Marvel’s comic book creators, chose that pants color for this superhero (Alice Walker’s, “The Color Purple”). Cause again, he represents the white man’s fear of a Black phallus.

But the garden scene, is ultimately meant to effeminize Barack, and that's also why he's “seated” in the painting. Cause what this painting's really showing, is how whitey has a problem with “erect” Black men.

Meaning, white fascists know that a Black man’s erection, especially in sexual terms, has the power to breed them and their kind out of existence. Additionally, a mentally and spiritually erect Black man, has the most power to lead himself and others away from internalizing the tenets of white fascism (i.e. J. Edgar Hoover’s threatening “Black Messiah”).

Now recently, I also read about Tamar Braxton (left), Toni Braxton’s sister, cutting off all her hair. And at first, I was like—nah, that’s just a rumor. Cause I knew how infatuated she was with blonde weaves and wigs. Then I saw the above picture. But instead of being shocked, her actions actually made sense. Here's why—whitey knows that since the Black Panther movie came out, more and more Black women are doting on the “Dora Milaje” (DM). And when you think of them, what’s the first mental image you see?

A bald Black woman.

Now, here’s how this fits into the white fascist narrative. whitey understands that for Black women to remain in 3 states of being: well-paid, oversexed and alone, it’s best to have them looking like hypermasculine “she-males”. Thus, the bald heads.

And mind you, I understand Black women see the DM as strong, smart and fiercely independent, but what Black women really need to understand is, the world’s men see the DM as the exact type of women they’d never marry or be in a long-term relationship with. Cause they look too much like men themselves.

And, if you look at the Marvel comic series, “World of Wakanda” (right), there’s a running theme of homosexuality throughout its pages.

So ultimately, this is another way whitey intends to promote the gay lifestyle to Black men and women. Cause again, we have the most genetic power to breed them out of existence. So the last person white fascists want Black women dating, marrying, and having children with, is a Black man. And vice-versa.

Now, onto the “Stephon Clark” shooting…

So, I’m guessing if you’re a Black man or woman reading this, then you know about what happened to Stephon Clark. And if you’re not a Black man or woman, you shouldn’t be reading this Blog anyway, cause this message isn’t for you. And if you don’t like me saying that, please stop reading this and go find another Blog to amuse yourself with. Now, for the rest of us who’ve heard of Stephon, I’m not gonna’ go into the gory details of what happened to him on the night of March 18^th, of this year, in Sacramento, CA. But I will tell you how this fits within the white fascist narrative of the “Hegelian Dialect” (HD).

Now, conspiracy theorist and CIA agent, David Icke, calls the HD a white fascist methodology consisting of 3 parts, and those are: problem, reaction, and solution.

And I’ll tell you—the main reason this story is getting so much publicity, is because of Marvel’s Black Panther movie. And again, Marvel Studios is owned by Disney.

Now, you might be sayin’, wait a sec’ bruh—that sounds like some hair-brained theory you came up wit’ last night. Well if you think that, let me list you reasons why Stephon’s life was cut short, and why whitey specifically chose his story to put out to the public, using the HD.

Part#1: Problem

Love it or hate it, Marvel’s Black Panther movie is expelling so much positive energy for Black people, and Black americans especially, that whitey knows, if this movie’s effects on us go unabated, we’ll continue to harness that energy. And that could potentially keep us out of the self-hating mind-state they’ve fought so hard to keep us in. See, any time we feel proud about ourselves, that pride has the potential to unify us. And whitey knows that’s the only virtue that will help us defeat them.   

Part#2: Reaction

To diffuse the Black Panther’s positive influence on Black americans, once Stephon Clark is shot multiple times, whitey's media quickly makes it front page news. And within hours, Stephon Clark becomes a household name. So with this action, white fascists have effectively swapped the positive energy and pride we felt over the Black Panther movie, with fear and self-loathing.

Part#3: Solution

And it gets worst—cause whitey’s gotta’ make sure our self-hating "spell" isn’t broken over time. See, they know that any group of people will forget an incident that doesn’t directly affect them, in a matter of days or weeks. So the real reason they’re throwing so much publicity at this story, is cause white fascists understand the divisive value of Stephon’s “tweets” that castigate Black women (and if you haven’t read these tweets, just google them). And their plan worked. Cause as I’m writing this, Black men and women are too busy “gender-warring” to realize the game that’s being played on them. And in more layman’s terms, Black men and women are at each other’s throats again, which is right where whitey wants us. Proof, that the good ol’ DIVIDE AND CONQUER technique still works.

So I’ve said all that to say this: NOTHING, and I mean NOTHING is gonna’ help us defeat white fascism except UNITY!

PERIOD.

And our battle with white fascism is one we can’t buy or educate our way out of, cause those are resources they control. Meaning, whatever currency we have an abundance of, or whatever kind of degree we get, whitey can devalue. Now, I’m not knockin’ money or education, but the only way these things are gonna’ work towards our collective benefit, is though UNITY.

Now, I’m not only a Black Nationalist, but I’m a realist also. And I know good and well, that anyone over 30 ain’t really trying to hear any talks about changing themselves, so our people can be more unified. So what I propose, like I’ve done several times in the past, is that we turn the focus of these kinds of initiatives towards our children, in the form of homeschooling, or truly independent schooling. Meaning, we should pull our children out of public and charter schools (which are still state-owned schools anyway), and give them learning environments where they won’t be poisoined with the same self-hating cirriculums that I, or we got, going to P.S. whatever-number school, where we live. And I will dedicate a series of posts to homeschooling in the near future. Promise.

So in conclusion, and as always, I’ll tell you that the proposition of Black unity is simple, but it’s not easy. Cause the social orders we currently live in are engineered towards keeping us apart and hating ourselves. But embracing the hardest initiatives, is what yields the best rewards. So by any and all means necessary, let’s get to work. NOW!

Later…

MontUHURU Mimia

*Addendum: 4/13/18--In regards to the cartoon superhero, “The Hulk”, and how he truly represents the “Black phallus”, the NEGUS/scholar/YouTuber “LLO525STAR” curated the video below. And this clip delves much more deeply into where The Hulk's mythological origins really come from. Enjoy.

And if you'd like to see a larger version of this vid, you can do that HERE.

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.