The Cult of Black and white Cinematic Symbolism (Part 25)...Sharon Tate, Bruce Lee, "Once Upon a Time in Hollywood", and Quentin Taratino's "love letter" to white females and white fascism...

To the (consistent) readers of this Blog: About a week ago, a good friend of mine called me and said they’d been given tickets to the new Quentin Tarantino film, “Once Upon a Time in Hollywood”. After telling this person I’d sworn off Quentin’s films for good, they told me this would be a grand opportunity to do some more o’ that “cinematic deciphering” I like to do wit’ my blog. Now, I understood this person didn’t like going to the movies alone—so, I told them, this would be a grand opportunity for them to get better acquainted with themselves. Then, this person confessed to “feeling funny” about rollin’ solo to the cinema.

That’s when I remembered how one of my most popular posts focused on Quentin’s films. And, in that post, I expound on the “Cinematic Symbolism(s)” interwoven into his flicks that jive wit’ the freemasonic agenda—a sec’ later, I remembered some of the stalwarts of the Black Conscious Community making it a point to see the latest and most popular films with the intentions of decoding them for the family—especially the white superhero movies. Beyond that, these tix were gratis. So, I made this person an offer they couldn’t refuse—I said I’d go on one condition—that they let me pay for the popcorn and Raisinets (and if you don’t know what those are, google them).

With that said, I thought I’d tackle this topic by splitting this post into “3” focal points—and 2 of these entail movie stars like Margot Robbie playing Sharon Tate and Mike Moh playing Bruce Lee—and I’ll break this down later on in the post.

Now, let me say straight off, I really liked this movie, and not purely for its artistic value(s), but for the message it’s ultimately sending to the Black Diaspora. So, with that said, join me in breaking this flick all the way down to its bare elements, so we can decipher what “Cinematic Symbolism(s)” LIE within this film’s frames.

—MontUHURU Mimia

Prologue:

First off, when this movie opens, it’s with the “Columbia Pictures” logo replete with the white fascist freemasonic icon, “Queen Semiramis”. Mind you, Queen Semiramis goes by other names like “Venus Columba”, which is why “Columbia” Pictures uses her likeness—also, if you look left, you’ll see how the “Statue of Liberty” was made in the image of Queen Semiramis, complete with the “torch of knowledge” which is but one of many white fascist freemasonic symbols (and you can click on this pic to enlarge it). And after seeing this, I remembered Quentin wasn’t working for the “Weinstein Company” anymore, due to Harvey’s “#MeToo” moment.

So, with that outta’ the way, let’s go in on the “3” “focal points” that speak to why I really enjoyed this film.

Point#1: Color scheme

What struck me most about this movie were certain colors permeating every frame of this flick—and those colors are “red, Black, and white”. Now, if you’re thinkin’, bruh, what the heck does that have to do wit’ anything? Well, not only are these the colors of the Nazi flag, but I curated a video called “The Art of Discernment” featuring KRS-ONE that goes into what celebrities are reppin’ when they wear clothes with these colors. And I’ll leave a link for that video at the end of this post.

Now, I think we’ve all seen the trailer for “Once Upon a Time in Hollywood” (OUTIH), enough to remember Leo DiCaprio’s character, Rick, taking a flame thrower to a room full of Nazis after yelling, “Anybody order fried sauerkraut?” Basically, right after that clip is when this flick goes full bore on displays of the aforementioned colors, in ways that are hyper-subliminal. Meaning, instead of having someone completely decked out in these colors, they’ll have them on a delivery truck in one shot, then Cliff, played by Brad Pitt, will wear a shirt with the “Champion” Auto-parts logo on it in another, and that logo’s in red, Black, and white (mind you, that shirt has a deeper significance that I’ll get into later). Also, there’s one scene where Rick is making a drink in a red and Black robe, and he puts his drink on a white napkin—they’re playin’ it that slick y’all.

Now, at this point y’all are probably thinkin’, bruh, you need a woman, a hug, or somethin’, cause now you’re really seeing too much into stuff. Aiight then, let’s get into the next points, then y’all can decide whether I’m really trippin’ or not.

Point#2: Bruce Lee

The Atlanta, Georgia born Mike Moh, is an actor with a fifth degree Black Belt in american Taekwondo. He’s most noted for his work on the web series, “Street Fighter”, and also owns and operates his own martial arts school eponymously named, “Mohs Martial Arts” in Waunakee, Wisconsin—and he’s the one playing Bruce Lee in OUTIH.

Now, when I saw this film’s trailer, and I saw Bruce Lee in all Black fighting Cliff (Brad Pitt’s character), and when I found out Bruce gets defeated by Cliff in this flick (this is one of the reasons why Cliff is wearing the red, Black, and white “Champion” logo on his shirt) , I automatically knew “Bruce” was supposed to represent Black people, and Black men more specifically.

Why?

For “3” reasons.

Reason#1. First off, Bruce, who’s real name was “Lee Jun-Fan”, was born in america, although his parents both came from Hong Kong, China. Now, the first two dynasties in ancient China were populated and ruled over by Black people. And these were the “Shang” Dynasty and the “Shang-Li” Dynasty—y’all get it? Shang-Li, as in Bruce “Lee” and Jet “Lee/Li”. So, this surname “Lee/Li” traces right back to “US”.

Reason#2. The first words out of Bruce’s mouth in this flick are about none other than “Muhammad Ali” (there goes that surname “Li” again), and Bruce talks about Muhammad Ali not only being one of the world’s best martial artists, but one of the only american pugilists that he respects cause none of his fights are pantomimed or rehearsed—this was one more clue as to who Bruce was really reppin’ in this film.

Reason#3. The most obvious clue was Bruce wearing all Black. Mind you, this is to represent “triple staged darkness” and/or the “divine darkness” that creates consciousness and the entire universe. This is the reason Bruce is pretty much humiliated in this flick, and the reason Cliff makes short work of him in this scene. Now, this also speaks directly to whitey’s feelings of physical and sexual inferiority when it comes to Black men. And one movie that comes to mind, along with its entire franchise, was based on this particular white inferiority complex as well, and those films are the “Rocky” movies created by Sylvester Stallone.

Point#3: Sharon Tate

Margot Robbie is an Australian-born actress who studied Drama at Somerset College in the Queensland area of her native country, and she’s also been in a flick with Leo DiCaprio before called, “The Wolf of Wall Street”. And she’s playing Sharon Tate.

Now, beyond the fact that everyone, myself included, was anxious to see how Quentin would handle depicting the Sharon Tate murder(s)—which he did brilliantly by the way, but I don’t wanna’ spoil this part o’ the flick for anyone wanting to see this movie, we should realize that Sharon (and white womanhood in general) are really the focal point of this film.

Now, what I will divulge about the end of this flick, is how a pregnant Sharon Tate is wearing a white t-shirt with the number “17” on it. And for all the “conscious” brothas and sistas out there, you should know in “Numerology”, we add up double digit numbers, so this was actually a number “8” she was wearing. And 8 represents “infinity”. And that means what? Well, in this flick it signifies “3” things: 1. Quentin is saying that the white woman’s place as the world’s “prettiest” female will be around forever, and 2. He’s saying, despite white birth rates falling below replacement levels, wHITE PEOPLE WILL ALWAYS BE HERE and 3. Quentin is also saying that whitey’s place as the world’s RULER(S) will ALWAYS STAY INTACT.

So, now you might be asking yourself—bruh, if those are the messages you got outta’ this flick, why do you like the movie so much? Welp, here’s why…

Now, lemme break this down using an example of someone telling you that they’re “smart”—cause when this happens, there’s really “3” things going on…

#1. 9 times outta’ 10, the person telling you they’re smart is dumber than a bag o’ hammers.

#2. This person doesn’t want you to know, you’re smarter than them.

#3. This person is tryna’ convince you, that you’re not as smart as you are.

The same holds true for this flick.

Meaning, when whitey has to send their number 1 film-making whiteboi (Quentin) out to tell the masses that mr. white folks is still holdin’ power—that means they've just about LOST IT ALL!

And to break this down further, it means that white people can no longer sustain themselves behind white folks committing suicide in droves, overdosing on drugs like crazy, and being bred outta’ existence at the same time. EVEN wHITE COPS ARE COMMITTING SUICIDE LIKE CRAZY, FAM!

To break it down even further, this film is sayin’: wHITEY’S REIGN IS OVER! THEY’RE BEING BRED OUTTA’ EXISTENCE TO THE POINT WHERE THERE’S NOTHING THEY CAN DO TO STOP IT!

IT’S A WRAP FO’ ‘EM FAMILY!

Now, I know I said there’s “3” “focal points” I wanted to speak on here—but I’m feelin’ so good, let's go for “4”…

In this flick, there’s strong pedophilic overtures when it comes to mature white men and underage girls. Meaning, there’s a scene where Leo DiCaprio is playing an outlaw in a western, and he has this precocious child actress sitting on his lap—which was unsettling. Mind you, he also throws this little girl to the ground, which is kinda’ disturbing, but that speaks to Quentin’s animosity towards women since they found him unattractive as a young man. And that’s why he damn near tortures Uma Thurman’s character in “Kill Bill”, but that’s a topic I’ll expound on in a future post. Also, there’s one other scene where Cliff gives a teen-aged girl a lift back to Charlie Manson’s cult colony, and the girl offers to perform a sexual favor on him while he drives her home.

Now, I liken this to MTV’s shows “16 and Pregnant” and “Teen Mom”—cause white fascists are tryna’ get the white populations numbers back up by coaxing white men into having sex with under-aged white girls. And this is the real reason those shows were “green-lit” in the first place.

All in all fam, not only was this a glorious night at the movies, but it’s a glorious time to be alive where I can say, AND SEE, that whitey’s on his WAY OUT!

IT’S NO LONGER A MATTER OF “IF”, BUT “WHEN”!

And that family, is a BEAUTIFUL THING!

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

Later…

—MontUHURU Mimia

And if you’re one of the few souls who hasn’t seen this flick’s trailer, take a gander at it below, fam.

The Gospel of white fascism (Part 45)...Here's what Lee Harvey Oswald, Martin Luther King Jr., Rosa Parks, Harriet Tubman, and every social order on earth have in common...

“In order to truly win a game, you have to control both teams.”
—David Icke

Lee Harvey Oswald was born in New Orleans, Louisiana on October 18^th, 1939. His father, Robert Edward Lee Oswald Sr., is noted as a distant cousin of confederate general, Robert E. Lee, and Oswald Sr. served in the Marines during “World War I”. Unfortunately, Oswald Sr. died of a heart attack 2 months before Lee was born—and behind his death, a young Lee, his mother Marguerite, and Lee’s elder half-brother, Robert Jr., lived a life of itinerant, working-class destitution, for most, if not all of Lee Oswald’s youth.

Oswald attended seventh grade in the Bronx, New York, where he was often truant—and this led to his being put into a “reformatory” school. This school’s psychiatrist, a Dr. Renatus Hartogs, diagnosed Lee as having, a “personality pattern disturbance with ‘schizoid’ features and ‘passive-aggressive’ tendencies…”

Now, Oswald was also diagnosed with a “reading disability”, but paradoxically, was known to be a voracious reader. And supposedly, what he loved reading most were tomes about “Marxism” and “Socialism”—and supposedly, at age 15, he declared himself a “Marxist”. Mind you, this is contrary to what Oswald’s close friend at the time, Edward Voebel, witnessed. When asked about Oswald’s reading habits, Ed said reports about Lee avidly reading these kinds of books were a “bunch of baloney”—Ed also stated the kinds of literature Lee was partial to was “paperback trash”.

At age 17, Oswald dropped out of school, and joined the Marines. After finishing bootcamp, Oswald was trained in “radar operations”, which required a “security clearance” he was granted in May of 1957, and like all Marines, Oswald was also trained and tested in shooting. In December of 1956, he scored a “212” for his shooting endeavors, which barely bested the title of “sharpshooter”—and, in May of 1959, Oswald scored a “191” on a shooting test, lowering his ranking to “marksman”. Anecdotally, Oswald was “court-martialed” for shooting himself in the elbow with an unauthorized .22 caliber handgun—so much for the “lone shooter” theory.

Now, while Oswald was in the Marines, he made efforts to teach himself rudimentary Russian, and was later given a “proficiency” test in the language (coincidence?). And supposedly, his ability to speak Russian was labeled as “poor”, but his abilities to read and write the language were better (despite his aforementioned reading impediment). Shortly thereafter, he was discharged from the Marine Corp on September 11^th, 1959, but remained on the u.s. Marine Corp Reserve list.

Mind you, it’s documented that Oswald “defected” to Russia on October of 1959, just before age 20—then, 3 years later, the U.S. embassy gave him a “repatriation” loan of $435.71, so he could come back to the “states” …again, coincidence? Hmmm. In August of 1963, Oswald was seen handing out leaflets titled, “Fairplay for Cuba”, in New Orleans—and I think we all know how “his-story” ends—with Oswald being blamed for the assassination of JFK, and his being murdered by Jack Ruby.

Moving On…

Martin Luther King Jr. was born on January 15^th, 1929, in Atlanta, Georgia, he was the middle child of Martin Luther King Sr. and Alberta Williams King. From his childhood, Martin saw his father’s proud and fearless protests of segregation, while noting his indignations towards white people for their belligerence and antagonism towards him and his people in general. Meaning, Martin internalized a schizophrenic mind-set from jump, ‘cause he saw firsthand how his father wanted to peacefully co-exist with people who wanted nothing to do with him.

And yes folks, I’m biased.

As a child, Martin attended the David T. Howard elementary school, before going to Booker T. Washington High—now, with his being an academically gifted student, Martin entered “Morehouse College” at the age of 15. At Morehouse, he played freshman football until the summer of 1947, when he entered the ministry at 18. In 1948, Martin attained a B.A. in philosophy, and then enrolled in Crozer Theological Seminary, in Chester, Pennsylvania, where he earned a B.Div. degree in 1951. Thereafter, Martin began doctoral studies in systematic theology at Boston University, where he received his PhD on June 5^th, 1955—and while pursuing his doctorate degree, Martin worked as an assistant minister at Boston’s historic Twelfth Baptist Church, with Rev. William Hunter Hester. And in that same year, Martin would find himself thrust into the national spotlight behind his being the face of the “Montgomery Bus Boycott”—and we’ll mos def talk about this in a hot ‘sec.

Rosa Louise McCauley Parks, better known as, Rosa Parks, was born in Tuskegee, Alabama on February 4^th, 1913 to Leona Edwards and James McCauley. And yes folks, this is the same place where the infamous “Tuskegee experiments” happened, where Black men were given “syphilis” by white scientists to see its effects on them.

Now, Rosa was in her pre-teens when her parents separated, and as a result, she and her mother moved to Pine Level, just outside the state capital, of Montgomery. Her remaining family, which consisted of Rosa’s maternal grandparents, mother, and younger brother Sylvester, lived on a farm while Rosa attended elementary school. After graduating from the “Industrial School for Girls” in Montgomery, Rosa was sent to the Alabama State Teachers College for Negroes. Yeah, they still called us negroes back then—alas, Rosa dropped out of this school due to her having to take care of her grandmother, and later her mother after she took ill.

In 1932, Rosa married Raymond Parks, a barber from Montgomery. Raymond was a member of the NAACP, who were collecting money for the legal defense of the “Scottsboro Boys” at the time—and for those who don’t know, the Scottsboro Boys were a group of young Black men falsely accused of raping two white women. And while Rosa worked various jobs, she and her husband were deeply rooted in the “Civil Rights” struggle. This was due to the harsh Jim Crow Laws and the general belligerence of southern (and northern) white folks towards our people. And it was after the killing of young Emmet Till, who was falsely accused of “flirting” with one other white woman by whistling at her, that Rosa famously took a stand by refusing to give up her seat to some white man on a Montgomery bus—and this happened on the date of December 1^st, 1955.

Now, let’s stop here…

At this point y’all are probably thinkin’, aiight—we obviously see the connection between Martin and Rosa—but Lee Harvey Oswald? How in the world do these two have anything to do wit’ each other?

Here’s how…

On September 2^nd, of 1957, Martin Luther King Jr. joined the staff and participants of a “leadership training conference” at the “Highlander Folk School” to commemorate its 25^th Anniversary. In his closing address, King praised Highlander for its, “noble purpose and creative work…” He also said that the school contributed to the South by rearing, “some of its most responsible leaders in this great period of ‘transition’”. And right now you might be thinkin’, so what? And I would too, if it weren’t for the fact that the Highlander Folk School wasn’t only a facility that trained “Civil Rights” activists, but it was also a “Communist training school”—just like the one this government put Lee Harvey in.

Now, if you check out the pic to the left, you’ll not only see a young MLK (#1), but you’ll see Rosa Parks (#2) beneath the red arrows. And below you’ll see one more pic of Martin, Rosa and Ralph Abernathy, the Christian minister and Civil Rights “activist”. And you can click both pics to enlarge them.

And, fam, let me say, straight off—I don’t care about “communism” or “capitalism”, I only care about BLACK “NATIONALISM”—PERIOD!

Meaning, I could care less if Rosa and King and Lee Harvey were communists, cause what I KNOW is, they were ALL AGENTS WORKING FOR THIS GOVERNMENT! POINT BLANK PERIOD!

Now, you want a bit more proof of these folks being fake as a $3 dollar bill? Aiight, bet. To the right is a pic of a young girl named Claudette Colvin, and why am I writing about her? Cause on the date of March 2^nd, 1955, this 15-year-old girl also refused to give up her seat to a white man on a bus—and mind you, she did this 9 months before Rosa. Now, Claudette was pregnant at the time, so organizers like MLK’s and Rosa’s “handlers” at Highlander, figured having her spearhead this “movement” wouldn’t make it attractive to Black folks, being that she was a 15-year-old expectant mother. So, their handlers “coordinated” this incident happening in Montgomery, Alabama—meaning…

ROSA PARKS NOT GIVING UP HER SEAT ON THE BUS WAS STAGED Y’ALL!

Again, it was “coordinated” so BLACK aMERICANS WOULD FALL FOR THE “TRICK” OF INTEGRATION!

And for those of you who’re new to this blog, you may be askin’, why would whitey WANNA’ PUSH INTEGRATION? Simple, to get OUR MONEY IN THEIR POCKETS, CAUSE WE WERE GETTING TOO POWERFUL UNDER SEGREGATION!

ESPECIALLY IN PLACES LIKE THE “BLACK WALL STREET” FOR INSTANCE!

Now, I liken this scenario to Lee Harvey “pretending” he was some sorta’ communist sympathizer, when in fact, he was just another stooge working for america’s white fascist social order—pity he didn’t understand that his own handlers were gonna’ have him killed.

Oh yeah, not only did Jack Ruby work for the government, but he had mafia ties too—and we all know how the mob and the CIA worked together to fly and float drugs into the Black community. But you don’t have to take my word for this—do the research and find out for yo’self.

Moving on…

Now, those of you who did read my heading and saw “Harriet Tubman” mentioned might be thinking—bruh, what’s she gotta’ do wit’ this? Well, let’s get into that right quick…

So, fam, once again, I was gonna’ follow a certain protocol to write this part of the post, but I’m gonna’ hit y’all wit’ another freestyle—so, please indulge me.

The movie “Harriet”, which is slated for theatrical release on November 1^st, of this year, is a “biopic” about the abolitionist history of Harriet Tubman—and if you’re reading this article, you probably already know this. Now, long story short, I’ll leave a link for an earlier post I wrote detailing why Harriet Tubman was a white fascist freemason—and I know you’re probably thinkin’, bruh, you say that about EEEERYBODY! Trust, I got receipts to back this up, so you should mos def check out the link I’ll leave at the end of this post ta’ read that article.

But more than anything, the elites wanna’ have Black folks obsessing on Harriet’s memory cause what she represents to them, and “Us”, is a mental focal point that keeps us thinkin’ that the “Tranatlanic Slave Trade” (TST) narrative was 100% TRUE!

And that’s just BOGUS!

Now, what do I mean when I say the TST was “bogus”? I mean this…BLACK PEOPLE DIDN’T COME TO AMERICA ON NO DAMN SLAVE SHIPS, ‘CAUSE WE WERE ALREADY HERE, AND WE WERE HERE BEFORE ANYBODY ELSE, FAM!

Mind you, in the last article I wrote about Harriet Tubman, I speak on how the illustrations of slave ships had NO BASIS IN REALITY! And I have the Moor/MUUR, Tarik Taj Bey, give reasons why this is a fact in a short video.

Now, there’s another controversy brewing behind the release of this flick, and that’s this—people are kinda’ up in arms about the fact that they got a sista from the UK, Cynthia Erivo, playin’ Harriet Tubman. Additionally, many brothas and sistas here are appalled at Cynthia’s past “tweets” that call the cadences of Black americans “ghetto”—so, wit’ that said, here’s my 2 cents ‘bout this…

Let me say, right off tha’ rip that NO BLACK PERSON SHOULD GO TO SEE THIS MOVIE! Whether they’re from Brixton or Brooklyn. Here’s why…

What Harriet Tubman really reps is a “mental trigger” that’s not only supposed to remind us of the fallacious TST, but this woman’s memory is meant to keep Black folks in every part of the diaspora feeling inferior to whites. And by this I mean, obsessing over Harriet is meant to keep us mentally bound to the stereotype of Black people’s (entire) world history being encapsulated by “2” events, those being: “slavery” and the life of “Martin Luther King”.

Now, am I sayin’ that Black people were NEVER enslaved…NO—but, I’m sayin’ that the TST narrative is 90% FICTION—AND LESS THAN 10% FACT!

So, the real moral of this movie’s story is—IF THE BLACK DIASPORA DOESN’T SEE THE TRICK wHITEY’S RUNNIN’ ON US, WITH OUR BICKERING AMONGST EACH OTHER, THEN MR. (AND MS.) WHITEFOLKS HAVE ALREADY WON THIS BATTLE!

And it shows that if we don’t see “ALL” OUR DYSFUNCTIONS IN THE CONTEXT OF THE wHITE FASCIST SOCIAL ORDERS THAT CREATED THEM, THEN WE DON’T HAVE A CHANCE OF UNITING AGAINST THIS INBRED AND WINNING OUR RIGHTFUL PLACE (BACK) ON TOP!

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

Later…

—MontUHURU Mimia

P.S.

You can read the last post I wrote on Harriet Tubman HERE.

P.P.S.

Here’s the trailer for the movie, “Harriet”, coming to theaters this November.

And fam, here’s a video I couldn’t get published on “YouTube” that I created about Spike Lee's movie, “Malcolm X”. And if you wanna’ see this vid larger, just hit the “Vimeo” logo. Enjoy, let me know what you think.