Black Panther: The Revolution will never be televised(Spoiler review)

Black Panther Film...

Black Panther, the most recent entry into the Marvel cinematic universe, has been greeted with the breathless anticipation that its arrival will Change Things. The movie features the leader of a fictional African country who has enough wealth to make Warren Buffet feel like a financial piker and enough technological capacity to rival advanced alien races. The change that the movie supposedly heralds is black empowerment to effectively challenge racist narratives. This is a tall order, especially in the time of Trump, who insists that blacks live in hell and wishes that (black) sons of bitches would get fired for protesting police violence. Which makes it a real shame that Black Panther, a movie unique for its black star power and its many thoughtful portrayals of strong black women, depends on a shocking devaluation of black American men.

To explain my complaint, I need to reveal some key plot turns: spoiler alert.

Wakanda is a fictional nation in Africa, a marvel beyond all marvels. Its stupendous wealth and technological advancement reaches beyond anything the folks in MIT’s labs could dream of. The source of all this wonder is vibranium, a substance miraculous in ways that the movie does not bother to explain. But so far as we understand, it is a potent energy source as well as an unmatched raw material. A meteor rich in vibranium, which crashed ages ago into the land that would become Wakanda, made Wakanda so powerful that the terrors of colonialism and imperialism passed it by. Using technology to hide its good fortune, the country plays the part of a poor, third-world African nation. In reality, it thrives, and its isolationist policies protect it from anti-black racism. The Wakandans understand events in the outside world and know that they are spared. This triumphant lore—the vibranium and the Wakandans’ secret history and superiority—are more than imaginative window-dressing. They go to the heart of the mistaken perception that Black Panther is a movie about black liberation.

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In Black Panther, T’Challa (Chadwick Boseman) has risen to the throne of Wakanda. We know that his father, T’Chaka, the previous king, died in a bomb attack. T’Challa worships his father for being wise and good and wants to walk in his footsteps. But a heartbreaking revelation will sorely challenge T’Challa’s idealized image of his father.
The movie’s initial action sequences focus on a criminal partnership between arms dealer Ulysses Klaue (Andy Serkis) and Eric Killmonger (Michael P. Jordan). They both seek vibranium but for different reasons: Klaue is trying to profit from Wakanda’s wonder-material; Killmonger is trying to make his way to Wakanda to make a bid for the throne. He believes he is the rightful king.
Killmonger, it turns out, is T’Challa’s cousin, orphaned by T’Chaka’s murder of Killmonger’s father and T’Chaka’s younger brother, N’Jobu (Sterling Brown). Why did T’Chaka kill his brother? N’Jobu was found with stolen vibranium. The motive for the theft is where the tale begins—and where the story of black wonderment starts to degrade.
We learn that N’Jobu was sent to the United States as one of Wakanda’s War Dogs, a division of spies that the reclusive nation dispatches to keep tabs on a world it refuses to engage. This is precisely N’Jobu’s problem. In the United States, he learns of the racism black Americans face, including mass incarceration and police brutality. He soon understands that his people have the power to help all black people, and he plots to develop weapons using vibranium to even the odds for black Americans. This is radical stuff; the Black Panthers (the political party, that is) taken to a level of potentially revolutionary efficacy. T’Chaka, however, insists N’Jobu has betrayed the people of Wakanda. He has no intention of helping any black people anywhere; for him and most Wakandans, it is Wakanda First. N’Jobu threatens an aide to T’Chaka, who then kills N’Jobu. The murder leaves Killmonger orphaned. However, Killmonger has learned of Wakanda  from his father, N’Jobu. Living in poverty in Los Angeles, he grows to become a deadly soldier to make good on his father’s radical aim to use Wakanda’s power to liberate black people everywhere, by force if necessary.
By now viewers have two radical imaginings in front of them: an immensely rich and flourishing advanced African nation that is sealed off from white colonialism and supremacy; and a few black Wakandans with a vision of global black solidarity who are determined to use Wakanda’s privilege to emancipate all black people.
These imaginings could be made to reconcile, but the movie’s director and writer (with Joe Cole), Ryan Coogler, makes viewers choose. Killmonger makes his way to Wakanda and challenges T’Challa’s claim to the throne through traditional rites of combat. Killmonger decisively defeats T’Challa and moves to ship weapons globally to start the revolution. In the course of Killmonger’s swift rise to power, however, Coogler muddies his motivation. Killmonger is the revolutionary willing to take what he wants by any means necessary, but he lacks any coherent political philosophy. Rather than the enlightened radical, he comes across as the black thug from Los Angeles hell bent on killing for killing’s sake—indeed, his body is marked with a scar for every kill he has made. The abundant evidence of his efficacy does not establish Killmonger as a hero or villain so much as a receptacle for tropes of inner-city gangsterism.
In the end, all comes down to a contest between T’Challa and Killmonger that can only be read one way: in a world marked by racism, a man of African nobility must fight his own blood relative whose goal is the global liberation of blacks. In a fight that takes a shocking turn, T’Challa lands a fatal blow to Killmonger, lodging a spear in his chest. As the movie uplifts the African noble at the expense of the black American man, every crass principle of modern black respectability politics is upheld.
In 2018, a world home to both the Movement for Black Lives and a president who identifies white supremacists as fine people, we are given a movie about black empowerment where the only redeemed blacks are African nobles. They safeguard virtue and goodness against the threat not of white Americans or Europeans, but a black American man, the most dangerous person in the world.
Even in a comic-book movie, black American men are relegated to the lowest rung of political regard. So low that the sole white leading character in the movie, the CIA operative Everett Ross (Martin Freeman), gets to be a hero who helps save Wakanda. A white man who trades in secrets and deception is given a better turn than a black man whose father was murdered by his own family and who is left by family and nation to languish in poverty. That’s racist.

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Who could hope that this age of black heroes represents thoughtful commentary on U.S. racism rather than the continuation of it? Black Panther is not the first prominent attempt to diversify the cinematic white superheroics and thus not the first to disappoint. After Netflix’s Daredevil affirmed the strong television market for heroes, the media company moved to develop shows for other characters that populate the comic. Jessica Jones, about a white heroine, was a critical success. It handled its tough female protagonist intelligently. That show introduced the character of Luke Cage (Michael Colter), an indestructible black man. When Netflix announced that Cage would have his own show, the anticipation was intense: a bulletproof black man in the age of Trayvon Martin and Michael Brown? And he would wear a hoodie and fight police? Instead we got a tepid depiction Harlem poverty, partly the consequence of institutional racism but more closely tied to the greed expressed by two of its big bad black baddies, Black Mariah (Alfre Woodard) and Cottonmouth (Mahershala Ali). But that was not the worst of it. The ultimate evil in the show’s first and only season is Willis Stryker (Eric Laray Harvey), another black man whom Luke Cage must defeat. Stryker is not only a black villain, but Cage’s adopted brother. Cage must beat his brother to a pulp, just as Panther must kill his cousin.

The offenses don’t end, though. If one surveys the Marvel cinematic universe, one finds that the main villains—even those far more destructive than Killmonger—die infrequently. They are formidable enemies who live to challenge the hero again and again. A particularly poignant example is Loki, brother to Thor, the God of Thunder. Across the Thor and Avengers movies that feature him, Loki is single-handedly responsible for incalculable misery and damage; his power play leads to an alien invasion that nearly levels all of Manhattan. Yet Thor cannot seem to manage any more violence against Loki than slapping him around a bit and allowing other heroes to do the same—even as Loki tries to kill Thor. Loki even gets his turn to be a good guy in the recent Thor: Ragnarok. Loki gets multiple, unearned chances to redeem himself no matter what damage he has done. Killmonger, however, will not appear in another movie. He does not get a second chance. His black life did not matter even in a world of flying cars and miracle medicine. Why? Perhaps Killmonger’s main dream to free black people everywhere decisively earns him the fate of death. We know from previous Marvel movies that Killmonger’s desire for revenge is not the necessary condition to eliminate him; Loki’s seeming permanence is proof.

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My claim that Killmonger’s black life does not matter is not hyperbole. In a macabre scene meant to be touching, Black Panther carries Killmonger to a plateau so that he might see the sun set on Wakanda before dying. With a spear stuck in his chest, he fulfills his wish to appreciate the splendor his father described, when Wakanda seemed a fairy tale. T’Challa offers Wakanda’s technology to save Killmonger’s life—it has saved the white CIA agent earlier in the film. But Killmonger recalls his slave heritage and tells Panther he’d rather die than live in bondage. He knows the score. He knows that Panther will incarcerate him (as is disproportionately common for black American men). The silence that follows seems to last an eternity. Here is the chance for the movie to undo its racist sins: T’Challa can be the good person he desires to be. He can understand that Killmonger is in part the product of American racism and T’Chaka’s cruelty. T’Challa can realize that Wakanda has been hoarding resources and come to an understanding with Killmonger that justice may require violence, if as a last resort. After all, what else do comic-book heroes do but dispense justice with their armored fists and laser rifles? Black Panther does not flinch. There is no reconciliation. Killmonger yanks the spear out of his chest and dies. The sun sets on his body as it did on Michael Brown’s.

It is fair to wonder whether the movie merely reflects the racial politics of the comic books that serve as its inspiration. Yes and no. In the movie, Killmonger’s relationship to T’Challa is as the comic-book canon portrays it. Killmonger is a deadly killer in the comics as in the movie, but he is also extremely intelligent, studying at MIT to understand the technology he goes on to deploy. In the movie, Killmonger’s only skill is killing; if Coogler intended to make Killmonger a hood-born genius, he has failed badly.
In the comics, Killmonger also dies at Black Panther’s hands. But KIllmonger dies long after he has come to live in Wakanda, albeit under a veil of deceit, before attempting a coup. The comic thus opens (but ultimately rejects) an opportunity to save Killmonger to fight for another day, just as Loki is repeatedly saved. The movie completely forecloses this possibility, which is odd since we can all be fairly certain that there will be a sequel.

What alternative story-lines might have satisfied?
I couldn’t help think of Ulysses Klaue, a mainline villain in the comics who lives a long, infamous life. He would have been a perfectly good villain to motivate the movie’s attempt at wokeness. In the comics, there is bad blood between the Klaue clan and Wakanda’s royal lineage (Klaue’s Nazi grandfather died by the hands of Chanda, an earlier Wakandan king and Panther). In Klaue, we had a white villain whose bloodline is imbued with the sins of racism. Ramonda, played by the ever-regal Angela Bassett, is temporally misplaced in the movie. In the comics canon, T’Challa takes the mantle of the Panther while Ramonda, T’Challa’s stepmother, is being held captive by a white magistrate in apartheid South Africa. If Coogler had at all been interested in making Panther a symbol of racial reparation he could have easily placed Klaue in South Africa, even post-apartheid, and the rescue of Ramonda—with Klaue in the way—could have driven the narrative. Ramonda is prominent in the movie, but she does not animate the movie’s central drama.  Instead, Black Panther is set on a course to kill off his cousin in his first outing, suggesting yet another racist trope, the fractured black family as a microcosm of the black community’s inability to get it together.

Hero for Who...

You will have noticed I have not said much about the movie’s women. They are the film’s brightest spot: the black women of Wakandan descent are uniformly independent, strong, courageous, brilliant, inventive, resourceful, and ethically determined. I take it that a good deal of this is owed to Ta-Nehisi Coates’s success at elevating the series’ women to central characters with influence and power that turns more on their minds and integrity than their bodies. T’Challa’s sister, Shuri (Letitia Wright), is sufficiently brilliant to make the Q character from James Bond films seem a clever child with some interesting ideas, while Nakia (Lupita N’yongo) is the ethical center of the film, thoughtful and lacking any stereotypical hysterics or emotional cloudiness that so many movies use to savage the intellect of leading women. Thus the movie deserves praise for its gender politics—save in relation to the only black American woman. The character, Tilda Johnson, a.k.a. the villain Nightshade, has, by my count, less than fifteen words to say in the movie, and is unceremoniously murdered by Killmonger because Klaue is using her as a shield and Killmonger just ain’t got time for that. The lone American black woman is disposed of by black-on-black violence. She is also invisible and nearly silent. In the comic books her character is both a genius and alive and well.

Black Panther presents itself as the most radical black experience of the year. We are meant to feel emboldened by the images of T’Challa, a black man clad in a powerful combat suit tearing up the bad guys that threaten good people. But the lessons I learned were these: the bad guy is the black American who has rightly identified white supremacy as the reigning threat to black well-being; the bad guy is the one who thinks Wakanda is being selfish in its secret liberation; the bad guy is the one who will no longer stand for patience and moderation—he thinks liberation is many, many decades overdue. And the black hero snuffs him out.

When T’Challa makes his way to Los Angeles at the movie’s end, he gestures at all the buildings he has bought and promises to bring to the distressed youths the preferred solution of mega-rich neoliberals: educational programming. Don’t get me wrong, education is a powerful and liberatory tool, as Paulo Freire taught us, but is that the best we can do? Why not take the case to the United Nations and charge the United States with crimes against humanity, as some nations tried to do in the early moments of the Movement for Black Lives?

Black Panther is not the movie we deserve. My president already despises me. Why should I accept the idea of black American disposability from a man in a suit, whose name is synonymous with radical uplift but whose actions question the very notion that black lives matter?

Article by Christopher Lebron

Who killed Martin Luther King?

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Every January, we start hearing Rev. Martin Luther King, Jr’s infamous, “I Have A Dream” speech, but if you research this still very classified and mysterious murder—and even deeper, the dayz that led up to his assassination—you’ll find this dream is in fact (and continues to be) a nightmare!

This night terror became even more deceitful when white media labeled James Earl Ray the lone assassin. While most accepted, there are those that knew there was another side of the story that was being purposely suppressed.

After witnessing Master Historian, Steve Cokely’s research, we at DGT believe he was able to prove this collusion involved more than Ray. In fact, Cokely points to Jesse Jackson as a pawn used to both murder and replace MLK!

In this conspiratorial gumbo stew, we also find along with the U.S. Government, ‘Gay’ Edgar Hoover, the CIA and COINTELPRO, and countless so-called “Jewish” agents, the Boule’ (aka Sigma Pi Phi Fraternity, Inc) also had a hand in it! In particular, we find Boule’ member Jesse having something to do with the changing of King’s room (to #306) as well as putting King’s blood on his shirt once he was dead only to show up later claiming he was the anointed one to lead announcing himself as the heir apparent.

The question that’s been asked but from the wrong context is “why was King assassinated?” See, the MLK whitefolk want people to know about is that he was nonviolent and simply died at the handz of some redneck peckerwood whiteman. What they don’t want you to know is that Martin was changing.

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Having traveled the non-violent route, he realized whitefolk would still continue to be violent. And after Malcolm X was killed, I find King realized the inevitability of his fate; the mortality of his life, yet also understood the important of his last transitioning message; the immortality of self-reliance. This “new” mindset accelerated his death.

In Dr. Kings’ 1967 book, ‘Where Do We Go from Here: Chaos or Community,’ he wrote:

“Black Power, in its broad and positive meaning, is a call to Black people to amass the political and economic strength to achieve their legitimate goals. No one can deny that the Negro is in dire need of this kind of legitimate power.”

King also went on to write:

“Black Power is also a call for the pooling of Black financial resources to achieve economic security. Through the pooling of such resources and the development of habits of thrift and techniques of wise investments, the Negro will be doing his share to grapple with his problem of economic deprivation. If Black Power means the development of this kind of strength within the Negro community, then it is a quest for basic, necessary, legitimate power.”

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The ideas King had on Black politics and economics were the same as Malcolm X. This only heightened the FBIs desire to eliminate King if he were to use Black Nationalist tactics that would be enforced by their Counter Intelligence Program (COINTELPRO), a program designed to neutralize, disrupt and dismantle Black organizationz.

March 4, 1968, the FBI released a classified document that included the need to:

“Prevent the RISE OF A ‘MESSIAH’ who could unify, and electrify, the militant Black Nationalist movement. Malcolm X might have been such a ‘messiah;’ he is the martyr of the movement today. Martin Luther King, Stokely Carmichael, and [Nation of Islam leader] Elijah Muhammad all aspire to this position. Elijah Muhammad is less of a threat because of his age. King could be a real contender for this position should he abandon his supposed ‘obedience’ to ‘white, liberal doctrines’ (nonviolence) and embrace Black Nationalism.”

April 3, 1968, in Memphis, Tennessee, Rev. Dr. Martin Luther King Jr. gave the speech that is now known as “I’ve Been to the Mountain Top.” In his speech he stated:

“And our agenda calls for withdrawing economic support from [big corporations]. And so, as a result of this, we are asking you tonight to go out and tell your neighbors not to buy Coca-Cola in Memphis. Go by and tell them not to buy Sealtest milk. Tell them not to buy, what is the other bread? Wonder Bread. And what is the other bread company, Jesse? Tell them not to buy Hart’s bread. As Jesse Jackson has said, up to now, only the garbage men have been feeling pain; now we must kind of redistribute the pain. We are choosing these companies because they haven’t been fair in their hiring policies; and we are choosing them because they can begin the process of saying they are going to support the needs and the rights of these men who are on strike. And then they can move on downtown and tell Mayor Loeb to do what is right. But not only that, we’ve got to strengthen Black institutions.”

Of the blatant pro-Afrikan jeweled instruction/solutionz he courageously mentioned, these were tangible thingz that could be done non-violently. Such as:

“I call upon you to take your money out of the banks downtown and deposit your money in Tri-State Bank. We want a ‘bank-in’ movement in Memphis. So go by the savings and loan association. I’m not asking you something we don’t do ourselves at SCLC. Judge Hooks and others will tell you that we have an account here in the savings and loan association from the Southern Christian Leadership Conference. We’re just telling you to follow what we’re doing. Put your money there. You have six or seven Black insurance companies in Memphis. Take out your insurance there. We want to have an ‘insurance-in.’ Now  these are some practical things we can do. We begin the process of building a greater economic base. And at the same time, we are putting pressure where it really hurts. I ask you to follow through here.”

This speech would become King’s last public wordz. April 4, 1968, precisely one month to the day after the COINTELPRO memo was released, Dr. King became a victim of American terrorizm.

But as stated, this was orchestrated by more than just James Earl Ray, and even COINTELPRO. See, we don’t look at the direction the next so-called “leader” took.

Historian, Anthony Browder had this to say in his book, From the Browder Files:

“…[T]he memory of King’s life and struggle is slowly being diminished.

Several years ago, on Dr. King’s birthday, I was invited to discuss his life on a radio program. I arrived early and sat in the waiting room and listen as the host played a recording of Dr. King’s “I See The Promise Land” speech. This was King’s last public speech and it was recorded the evening before his assassination.

I had brought a book of King’s speeches for the interview and read along with the recording. I was shocked to discover that the most significant portion of King’s speech (over one page of text) was edited out of the recording. I noted that this speech was recorded on Motown records, with liner notes written by Mrs. King. The text omitted from the recording was of a different image of the King that we now know. This King discussed the power of the black dollar and urged the citizens of Memphis to take their money out of the white owned banks and insurance companies and put it in black owned institutions. This King called for an immediate boycott of Coca Cola, Sealtest Milk and Wonder Bread. This King never got an opportunity to implement his new strategies because he was killed the following day.

Recently I’ve learned that King and Malcolm had talked of developing joint strategies for combating racism in the north and south. But Malcolm was assassinated before they had formulated a plan of action. King later became a marked man when he spoke out against the Viet Nam war in 1967, and advanced the call for human rights just as Malcolm had done.

Since Dr. Kings assassination and the establishment of his holiday, his legacy been reduced to one speech and four simple words…”I have a dream.” Now Malcolm’s image is being watered down so that it is more palatable to America’s tastes.

If we want to know the real Malcolm or Martin, or any other African or African American hero or shero, we must be willing to dig deep into their past. We must read their writings, listen to their speeches, and not be mislead by Hollywood productions and made for TV movies of their lives. We must study the treasured lives of those near and dear to us and we should not expect their stories to be handed to us on a silver platter.”

[Excerpt from ‘Fakin’ Jack(son)‘:

August 19, 2003, The Final Call printed a piece entitled, “SCLC Returns to Memphis”. Many are not aware there are those who believe Jesse was involved in Martin Luther King’s death and that there was an investigation—even the late Corretta Scott King (later retracted by the Final Call the following week. Why really? Don’t know)!

Remember back in 1998, right before the alleged assassin, James Earl Ray, met with the King family? Many don’t know that the following year there was a conspiracy trial (King vs. Lloyd Jowers and other unknown conspiratorz) for King’s death in 1999, where a jury consisting of six Afrikanz and six whites concluded King’s death was in fact, a result of a multi-tiered government conspiracy.

At the end of the trial, good ol’ Jesse wrote an editorial that appeared in the Los Angeles Times, where he stated, “For those of us who were with Dr. King in Memphis, the ‘lone assassin’ theory always seemed suspect. James Earl Ray had neither the means nor the method nor the motive to stalk Dr. King, shoot him and arrange his own getaway. Despite these misgivings, the lone assassin theory became the near universal explanation. Deviation from it was too forbidding, for any conspiracy would point directly to government involvement, or at least acquiescence, in King’s murder.”

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A panel consisting of Cokely, Dick Gregory, Martin King III, Rev. Bernice King, attorneyz William Peper and Lewis Garrison and otherz—was put together by the SCLC (Southern Christian Leadership Conference) entitled, “Fact or Fiction: The Assassination of Martin Luther King, Jr.”, where they talked about the setup that had MLK on the second floor balcony of the Lorraine Motel (in Memphis, Tennessee) at 6pm as a sitting duck for a bullet.

It is alleged 15 minutes before King was shot, Jesse removed a community group from the hotel that was there to protect King. Why? And why hasn’t anyone questioned him about this? In addition, the evening before that fateful day (April 3rd), the night he performed his last speech, “I’ve Been to the Mountaintop”, it’s believed a ‘practice run’ was conducted where King, Jesse and party was pictured outside the motel on the second floor at 6pm on their way to dinner.

It is also believed by some that MLKs room was mysteriously changed from the ground floor to second floor that same evening. 6:01pm the following day, a .30-06 caliber rifle bullet rang out entering King’s right jaw, traveling through his neck, severing his spinal cord, stopped in his shoulder blade, and shortly thereafter, ended his life.

If you look at the pictures from the day King was killed, none have surfaced (to my knowledge) that show Jesse on the balcony with King’s right-hand man, Ralph Abernathy and Boule’ member, Andrew Young. But somehow, the picture from the day before became the ‘official’ candid moments before King died. As well, amongst the chaos, Jesse’s career just so happened to take off…

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After the ambulance took away his body, all that was left was a massive amount of King’s blood. Abernathy, in a state of shock grabbed a jar and started scraping up the blood, crying how it was King’s blood and precious, “This blood was shed for us,” he allegedly stated.

Nearly a whole half-hour after King was shot, Jesse comes on the scene, makin’ his way to the balcony—many thought he was hiding down by the pool. Young rememberz seeing Jackson dip his handz in the huge pool of blood and after raising them to the sky, wiped the blood on his shirt. Young stated, “people freaked out and did strange things… it was… it was… I mean, what do you do in a moment like that?” If you’re Jesse, you take advantage!

The majority of hedz from the SCLC quickly followed King to the hospital leaving Jesse Jackson behind. This is where Jesse seized the opportunity! He told otherz not to say anything to the Media. Once the Media arrived at the hotel, they quickly focused on Jesse, now with King’s blood all over his shirt. With the rest of the SCLC at the hospitial, Jesse pretty much anointed himself—with the sacrificial blood of King—as the media spokesman stating to the press, “The black people’s leader, our Moses, the once in a 400 or 500-year leader has been taken from us by hatred and bitterness. Even as I stand at this hour, I cannot even allow hate to enter my heart at this time, for it was sickness, not meanness, that killed him. People were, some were in pandemonium, some were in shock, some were crying, hollering, “Oh, God!” And I immediately started running upstairs to where he was and I caught his head and I tried to feel his head and I asked him, I said, “Dr. King, do you hear me? Dr. King, do you hear me?” And he didn’t say anything and I tried to hold his head.” So noble of him to come on the scene after everything went down!

(Exceprt from, ‘And the Walls Came Tumbling Down‘ by Ralph David Abernathy, “It seems that shortly after the ambulance had left, the press had converged on the place, camera crews and reporters, local staff and network, all eager to put someone on camera to tell the story. Jesse and Hosea had both agreed that until they knew what had happened, they would avoid the press and stay out of sight. At least that’s what Hosea had thought was the understanding.

So he was more than a little surprised to look out the window and see Jesse, standing in front of several cameras, speaking into a microphone that a reporter was holding in his face. Curious, Hosea slipped outside and eased up behind Jesse, though on the other side of a chain-link fence.

“Yes,” Jesse was saying, “I was the last person he spoke to as I was cradling him in my arms.”same story, or very nearly the same, that morning on The Today Show.” (end Excerpt)

While the rest of SCLC was back at the motel trying to figure out their next steps, like Bobby Brown leavin’ New Edition, after meeting with reporterz outside the motel, Jesse quickly left Memphis, makin’ his way back to Chicago where in 14, I repeat, just 14 hourz after King’s death, he appeared on the Today show with his bloody shirt while a newly hired booking agent got him spots on other TV showz. You mean to tell me in the midst of all this chaos, this cat found the time to hire a bookin’ agent?! King just died, yo!!

And the show didn’t stop there! Later that afternoon Jesse appeared before the Chicago City Council wearing a blood-stained shirt and saying that it was the same shirt he had been wearing the previous evening when he had held Martin.

Now ask yourselves, why else would he wear a shirt with blood on it from the previous day? He surely didn’t wear this shirt as he travelled back to Chicago from Tennessee! In addition, why would he tell bold-faced lies of him bein’ the last person he spoke to when he showed up 30 minutes after he was shot? As many believe (and some can prove), this wasn’t Jesse seizin’ an opportunity that just so happen to fall in his lap, this was planned! Overnight Jesse Jackson became a nationally known figure, self-appointing him as the next leader of the Civil Rights Movement!

Oh, Jesse wasn’t alone! Many hedz know he was a gangster (had affiliation, along with half-brother, Noah Robinson, with the notorious street gang the Blackstone Rangers and leader, Jeff Fort, who was later convicted of killin’ more than 200 people). So we can assume Abernathy, Young and company feared Jesse’s constituents with some not make waves; to go along to get along.

Several hedz, along with Young created the historical photo-still that fooled the whole world, they pointed in what’s believed by several hedz, in the wrong direction of where the shot came from. One other jewel is the allegationz of King tellin’ his close friend, Ralph Abernathy, not to trust Jesse, suspecting him to be an agent.

What fellow Boule’ member Andrew Young said and what we know of Jackson’s steps hourz after King was dead, it’s quite obvious a blind-eye was turned enabling the collaboratorz and possible true gunmen were able to get away. The following actionz of Jackson are what standz as a reason questionz remain:

  • Jesse had MLKs room changed from the first level to the second level floor at the Lorraine hotel, room 306.
  • Orchestrated or partook in pointing in the wrong direction the alleged shots came from.
  • Didn’t wear a tie coding him as a “friendly” as assassinatorz were told not to wear a tie (see in Cokely’s video, pt.2)
  • Rubbed his handz on King’s bloodied chest, saturates them then rubz his handz on his shirt later to show up alleging him the next anointed one.

From what we know tracking Jackson I pose this question: why didn’t this self-anointed protege of MLK carry on the new agenda King spoke of in his last dayz? We know both were in Boule’, but with MLKs certain transformation and knowing what we know of the Boule’ and how their known and written allegiance to GWS (Global White Supremacy), it’s easy to suspect why Jesse did what he did pre- (spying, not having MLKs trust), during- (pointing in wrong direction of shooter), and post- MLKs death. I can only imaging had he lived at least one more year what we would’ve learned about the U.S. government, Jesse, and the Boule’.

Despite his rep of short-lived boycotts; despite being part of the 381-day Montgomery Bus Boycott, he has yet to implement any of the clear win strategies MLK laid out in his last speech and book.

With the official record files on King and his case to be “fully” released to the public around the year 2028, I ask this last question, what kind of justice system waits 60 yearz to release publicly when at this point, the culprits and co-conspiratorz will long gone?!

As you enjoy this King Holiday, take a few moments to reflect and educate yourself on the story they don’t want you to know by watching Cokely’s lecture and learn just who actually killed MLK, or at least has blood on their shirt—I mean handz!

Know that what they want you to know is not what you should know.

Dua, MLK for your courage to accept your change and be vocal about it and Bro. Cokely for your research and courage to share!

Bless…

Article written by M’Bwebe Aja Ishangi