Black Storytellers: Should they have a Black spouse?

I saw this trailer about a month ago.   It’s for a six-part mini-series called Guerrilla on Showtime.  It’s about an interracial couple who are activists in London during the 1970’s.  It kind of  reminds me of the Black Panthers or Black Liberation Army movements.  It stars actor Babou Ceesay and actress Freida Pinto. Actor Idris Elba also is in the series. But I thought it was strange that the film had Indian actress Freida Pinto has the lead actress.  And I saw virtually no black women in the trailer.  Black women have been fighting against racism and sexism since forever.  Is this the erasure of black women? And even if there are some black women in it…why is the lead female an Indian?  I guess some will say that it’s to show that Indian people struggle with racism as well.  But why can’t we ever show black men and women working together against their oppression?  Why can’t we see many more films of black men and women loving each other? What are we  supposed to take from films like this?  That it’s better to fight racism and oppression if you’re having sex with a  non-black person.  This is utter nonsense! And we can no longer fall for this trap. Black unity and black love  is the answer.

Freida Pinto...

Who needs Assata Shakur? Yaa Asantewaa is not needed either.  Freida Pinto will lead black people to freedom!  She is the savior for black people! This would be funny if it wasn’t so sad.

John Ridley....

So after seeing the trailer I wanted to see who was the creator of this series.  I found out that the executive producer is John Ridley. Ridley is a screenwriter,novelist and director. He won an Academy award for his screenplay of 12 Years a Slave. He also is the producer of the show American Crime.  The picture(above) is of Ridley and his Asian wife Gayle.  His wife isn’t black so is this why he didn’t cast a black woman as the lead in his new series?  And why are all these men without black wives telling black stories?  And he’s not the only one. I have noticed black actors,directors and producers telling black stories without black wives.

Steve McQueen.....

This is director Steve McQueen.  McQueen grew up in London. He’s good friends with John Ridley because he directed 12 Years a Slave.  This picture(above) is McQueen and his Dutch wife Bianca.

David Oyelowo...

Actor David Oyelowo is another black British man.  He has been in films like The Butler,The Help,A United Kingdom and Jack Reacher. He even played Martin Luther King in the film Selma. Should this man be playing black historical figures?  This is a picture of him and his white wife Jessica.

Get Out poster....

Jordan Peele....

Actor/filmmaker Jordan Peele got a lot of praise for his horror film Get Out.  It broke box office records making over $160 million.  Some say it was a great horror film.  Some say it was a film that had a much more deep psychological meaning to it.  It definitely had a lot of subliminal messages regarding racsim,occultism and organ harvesting.  But some may not know that he’s biracial.  Peele has a white mother.  And his wife Chelsea is a Zionist Jew.  So even though he told some truths in the film Get Out..will expose it all? Will he tell black people everything that racists whites are doing in Hollywood?  Is wife is a Jew so I know he has some insider information.  But the question is…who is he loyal to?

Underground...

John Legend...

The television drama Underground takes place during slavery.  It has been getting good reviews from critics.  One of the executive producers is singer/songwriter John Legend. He will even play Frederick Douglass in an upcoming episode. His wife is model Chrissy  Teigen.  Her mother is Thai and father is white.  That makes her a hapa. If you don’t know what that is go look it up.

Nate Parker....

Of course we can’t forget actor/director Nate Parker. Parker directed the controversial slave rebellion film The Birth of a Nation.  The film had some good elements and some truth in it.  But it was mostly controversial because back when he was in college Parker was accused of raping a white woman. He claims he was innocent and that people should support the film.  I’ve seen him in interviews and he seems intelligent and articulate. But he can’t be too smart because if that white woman caused him so much grief why did he go and marry a white woman.  What sense does that make??? Some negroes never learn. Anyway this is a picture of him and his ugly ass wife Sarah.Sunken Place....

I bring up this issue because I wonder can they be trusted. Can they accurately tell the black experience?  Can they express our pain and struggle?  Can they express the truth about our oppressors if they’re married to them?  Can they be about black love but not married to black women?  These are the questions that come to my mind. But I think they hire these type of men because they know they’re not about black empowerment. They will always be intellectually dishonest about the black experience.  They know that since they have non-black wives they have already been compromised. The interracial element just adds more confusion to the black psyche. We must be careful watching anything by these men. These films have a way of  distorting black consciousness. And keeping us stuck in the “sunken place”.

The Purge films aren’t Fiction!

The Purge....

Racist Hollywood always has a way of telling you the truth through their films.  They want you to think it’s all fiction..when many times it is TRUTH.

Walt Disney: Who was Walt? (Part 1 of 2)

Walt Disney1....

A cherished American icon, Disney has become much more than a corporation, or a collection of cartoons, theme parks, and childhood memories–Disney has become (and really always has been) a carefully orchestrated web of archetypal symbolism derived from the Ancient Mystery traditions of Egypt, and stimulated by the elitist mentality of the American Surveillance State.

Since Marc Eliot’s research novel, Walt Disney: Hollywood’s Dark Prince came out in the late ’90’s (without the authorization of the Disney family or corporation) conspiracy theories about Walt Disney have ranged from his documented relationship with J. Edgar Hoover and the Communist “Witch hunt” of the Cold War era; his relationship to both Freemasonry and Rosicrucianism; the incredible amount of esoteric symbolism that was put into Disney’s media that persists now more than ever; his neurotic, obsessive-compulsive tendencies that he reportedly self medicated with narcotics and alcohol; and, his known sympathies with the Nazi regime, his anti-semitism, and a reported sexism in the workplace. Some of these claims even reach into more speculative grounds, such as Disney’s ties to pedophilia, and even the mafia. This article will serve as a brief, open-source investigation into the claims of the man behind the facade of the Disney Public-Relations funds–the true face of the “imagineer,” the man seeking to capture the imaginations of America’s youth, Walter Elias Disney.

Walt himself had a lonely upbringing, lacking what he felt to be a meaningful relationship with his parents. His mother reportedly was quite cold to him, and Walt’s self-proclaimed love for animals over humans was said to have stemmed from this sense of isolation as a child. Presumably because of this type of upbringing, as a child Walt excelled in the Freemason-affiliated “Order of the DeMolay” which is an international masonic organization for young men at the ages of 12 to 21. The title “DeMolay” is derived from the last Grand Master of the Knights Templar, Jacques DeMolay.

As an adult, Walt joined the “Ancient Mystical Order of Rosae Crucis” (AMORC) which is the largest known organization of Rosicrucianism, and also boasts the membership of people like Star Trek creator, Gene Roddenberry–among so many other noteworthy names. For those unaware, Rosicrucianism is a surviving occult school of thought that primarily studies the Ancient Mystery teachings promoted by Egypt (dating much earlier than the Egyptians, however) through the lens of more traditional Western symbolism. Generally, it is considered a form of esoteric Christian mysticism. While this may paint a certain measure of nobility around Walt Disney, there is a great deal of evidence to show that he was a deeply troubled individual that suffered a degree of gender-identity confusion which resulted in ambiguous attractions that caused troubles in his marriage. There are also reports of Walt Disney cross-dressing, which raises the question of whether he and J Edgar Hoover ever had any fully “dressed” classified meetings.

Disney4....png

In regards to this esoteric symbolism, anyone readily attempting to dispute Disney’s occult symbolism is either in denial, or hasn’t actually seen any Disney cartoons: from Bambi, Dumbo, and Pinocchio, to more overt occult references like Sword in the Stone, Alice in Wonderland, Sleeping Beauty, Snow White, The Little Mermaid, Aladdin, even Fantasia–the list goes on and on. Witches, wizards, genies, alchemy and magical spells galore, Disney was not coy at all when using his inspiration from the ancient Mystery teachings. This not only survives to this day, but has become even more blatant with the purchasing of both LucasFilms and Marvel Comics, and now Disney is creating science-fiction wars with extra-dimensional entities and uniting ancient Norse gods with the Military Surveillance State and weapons-contractor billionaires.

Speaking of science-fiction wars with extra-dimensional entities, in The Avengers, the Tesseract of the first movie is the direct name and symbolism of occult philosophy, especially Freemasonry and the Mystery Teachings. However, it should be stated that these symbols are not “demonic/satanic/evil” in and of themselves, and are not evidence to condemn Walt Disney, yet the more ominous claims are yet to come. In consideration to Walt Disney’s ties to freemasonry, it is likely that he was considered an honorary 33rd degree by at least one lodge or another, but some Freemasons deny this claim. Walt excelled in the DeMolay as a young man, and even originally made Mickey Mouse a member of the DeMolay as well. Since Rosicrucianism and Freemasonry often go hand-in-hand, it seems that his specific title as a mason is perhaps an overall moot point that is still being debated.

Walt Disney was said to be a man of high-energy, with awkward social tendencies, neurotic personal habits, and even questionable moral fiber as a father and overall human being. If Walt really was a practicing Rosicrucian, its hard to consider that he was also a pedophile unless this Rosicrucianism was a facade for deeper, black-magick ritualism (which is a documented thread of research when dealing with the upper echelons of Elitist Society). While this remains the most speculative of the claims, there does appear to be preliminary evidence for it–especially considering the continuing threads of the Disney corporation’s relationship with the surviving Project: MKULTRA that inherently deal with trauma-based mind control that is largely based on black magick from the Egyptian “Pyramid Texts”.

A primary MKULTRA derivative, slang-titled Project: MONARCH, has intrinsic ties to pedophilia as well, and is said to have connections to common scandals like Jerry Sandusky, Larry King and Boystown (not the talk-show host), the Vatican’s whole string of events, Bohemian Grove rituals and onward. And yes, Disney is continuously found in the equation, at least from the social-propaganda standpoint. Unfortunately, for those readers still looking to salvage some humanity out of Walt Disney from this read, there are certainly specific accusations of Disney himself participating in pedophilia. A research novel  written by Darwin Porter, entitled Hollywood Babylon Strikes Again, illustrates the many different sex scandals of the Hollywood elite that were completely buried by Public Relations campaigns, and highlights Walt Disney in the process. Said to have a strong attraction to young star, Bobby Driscoll (voice of Peter Pan), the book even alleges that Disney owned a Los Angeles apartment for the sole purpose of meeting up with young boys that he paid to sleep with.

What can be more concretely stated about Walt Disney is the elitist social mentality that is often slipped in between the lines of Freemasonry and esoteric societies. The symbolism behind masonry is inherently meant to be recognized as the responsibility to “build” all things in their life with spiritual alchemy–transmuting the baser elements of existence into “gold,” whether it be within themselves, their business, their community, et cetera. This is obviously not an inherently negative concept, but when this idea of “hidden knowledge” meant to “build” society was met with Sigmund Freud and his nephew, Edward Bernays’ Rockefeller/Rothschild funded Public Relations media revolution, a serious and narcissistic convolution of esoteric tradition can be noted by the Elitist bloodlines of western society.

Instead of being the keepers of esoteric tradition, it became a closely guarded secret that was kept from the general public, and given to them in “proper doses” of esoteric symbolism and mystery traditions throughout the various media outlets. This is obviously, very heavily reminiscent of the Eleusinian Mysteries in ancient Greece, and how these Mystery traditions played a direct role in the theater and art media of the culture, as well as the politics.

Considering Walt Disney, there are two more crucial points worth addressing: his documented relationship to J. Edgar Hoover and Joseph McCarthy’s Communist “Witch hunt” of the Cold War era, and an assessment of his role in the Mainstream Media’s Globalist agenda, streamlined during the propaganda of the two World Wars, continuing with full force today. Due to the Freedom of Information Act, formerly-classified FBI documents reveal Walt’s deep-seated relationship with J. Edgar Hoover and his bureau, even dating back to the original construction of the Disney World theme park.

Hoover, known for his own connections to secret societies and extensive neurotic tendencies that were similar to Disney’s, clearly forged a type of cordial friendship with Walt. Walt, working as a sort of FBI-agent “contact” during the Cold War communist scare, was helping the FBI feel that they were covering their bases and gaining Walt a very strong pro-American image among the Elite. This even allowed him certain privileges at the FBI, such as certain levels of lower FBI classification clearances when it was requested. However, not only were Disney’s accusations against individuals for communism questionable, but they were often (if not always) ill-founded, stemming from neurotic tendencies. For brevity, a general analysis of the declassified information appears to demonstrate that “communism” was a tool used by Disney to justify his social neurosis and his ideas of social elitism. Whether it was conscious or not, Disney used the idea of communism to demonize the people he did not enjoy; to demonize them in a way that put him in the good graces of people like Hoover. Two birds with one stone. The entire portfolio of Disney-related FBI documents can be viewed here.

While the specific details of the dark history of the Disney family may still not be flushed out, there is enough damning information here to show that Walt Disney was indeed heavily participating in the globalization elitist agenda. Even if he was not a pedophile with connections to high-level criminals, he was a neurotic bigot with massive social inferiority that he subsequently sought to project into the minds of countless children and generations to come. Disney was deeply fascinated with esoteric Mystery teachings and clearly understood this in relationship to archetypes and the collective consciousness.

Another open-end of the research includes further speculation into who Walt Disney’s true parents may have been, since this was a notion that recurred to haunt him throughout his life until he finally found that he had been adopted; and some have even correlated this to a certain amount of blackmail that Disney may have received from the FBI, concerning Walt’s true origins. However, these seem to be speculation at this point in time. Additional final notes include that he was known to have a strong distaste for Jews, which Walt interestingly said had been harbored because Jews had monopolized a stranglehold on the media, and because of this, he had a known affinity for the Nazi regime; Project Paperclip being something that Walt truly reveled in. Werner Von Braun went on to have a prominent role in both NASA and Disney’s Tomorrowland Public Relations, and a great deal of his word went into a Tomorrowland TV documentary (aired in the 1960’s) that explained the probability of being able to colonize Mars in the near future.

Still, all of this clearly remains a bit of surface level investigation, and there are still a great many interesting avenues of research that have completely ripened for the picking in the Alternative News community; fruit that will hopefully be plucked and shared with the rest before too much longer. In any case, Disney obviously had a hot streak of elitist mentality where he felt it a philosophical, even metaphysical responsibility to give esoteric fodder to the imaginations of American children.

From witches, magic potions and Nazis, to government espionage, propaganda, drugs, and sexual perversion that may have teetered into pedophilia, Walt Disney was truly the Dark Prince of Hollywood, whichever way one decides to slice this pie.

Article by Anthony Tyler

A United Kingdom-Interracial propaganda Film

united-kingdom

Looks like Hollywood has the perfect film just in time for their Greco-Roman, pagan,orgy-inspired holiday known as Valentine’s Day.  The interracial propaganda is relentless.  When President Obama was in office there a big increase in interracial couples in television dramas,sitcoms and films.  By him being biracial,he was used as a symbol of some type of racial harmony. Of course we know this is nonsense. There can be no racial harmony when one racial group has more power than another group.  This is where the propaganda comes in. I   have covered  this subject many times in the past.  And it looks like I’ll have to continue to do as long as they keep putting these films out.  Now we have the film A United Kingdom. The basic synopsis :

“The film is based on a true story. Seretse Khama (David Oyelowo) is the Prince of Bechuanaland (now Botswana). In 1948 he meets and falls in love with London office worker Ruth Williams (Rosamund Pike). But their interracial relationship is not approved of by either of their families, nor by the British and South African governments. Seretse and Ruth must defy family, apartheid and the British empire to return from an imposed exile to their African kingdom, and assume power after independence.”

This trailer(above) is very hard to watch.  Here you have an African prince and he wants to marry a white woman??  This is total insanity.  This is self hatred to the fullest!  I don’t want to hear any crap about color blind love.  This is nothing but propaganda to make us love our oppressors.  A white woman as a queen in an African nation is blasphemous! This is a slap in the face to black love.   Seretse Khama is a disgrace to African people. Khama sold out his nation.  He is no prince!  Isn’t it interesting that Hollywood can find money to make this film but not about real African heroes.  There were African men and women that did great things in the past.  What about a film about Thomas Sankara?  Patrice Lumumba? Yaa Asantewaa? Queen Tiye? Marcus Garvey? Haitian revolution?  Queen Nzinga? Nope!  Instead they give a stupid ass love story between a brain dead Negro who gives his fortune away to a common white woman.  This film is stupid  and insulting on so many levels.

This is a very interesting interview with the stars David Oyelowo and Rosamund Pike. Pike says that the film tackles racial prejudice from both sides.  She says that it’s about two people that are color blind.  Give me a break!  This white woman is lying through her teeth.  She knows damn well no one is color blind.  And our society is nowhere near that.  The world is comprised of racial groups.  Color blindness is a myth. Then Oyewolo goes on to say that the way to “unite a kingdom” is through love. And that Botswana has control of “most” of it’s resources.  How did they lose some of their resources?  How took them? I think you know the answer. And he says that Botswana sees itself has post-racial.  This is man is insane! How can Africa be post-racial when you got Europeans trying to steal land and resources?  He also says that his white wife has a small part in the film.  She plays a…..racist!  How fitting is that.  You can’t make this stuff up. Black love and black unity is the way to fight white racism.  The answer is not marrying and making babies with your oppressor.  This film is designed to confuse black people about racism.

amma-asante1

This picture(above) is  of Amma Asante and her husband.  She is a screenwriter and director. She is the director of A United Kingdom. Why would a black woman do an interracial love story?   Well that’s an easy answer.  Just look  at her husband and  it’s easy to see why this so-called universal love story is close to her heart.

when-hands-touch

Amma Asante is a very sick woman!  This black woman has lost her damn mind.You don’t think so?  Well check out the picture(above).  That is a photo of the upcoming film When Hands Touch.  It’s a World War 2 “love story”. It stars Amandla Stenberg who plays a biracial girl who falls in love with a Nazi youth.  What the hell??  Even though Stenberg is biracial in this racial context she will be seen as just a black girl.  I will cover the problem of biracial women representing black women in a later post.  But anyway this film has taken “love they enemy” to a whole different level!  They want us to love Nazi’s now???  What’s next?  A  love story with Adolf Hitler and Angela Bassett?   Or maybe Denzel Washington falling in love with a female skinhead?  I wouldn’t put it pass Hollywood at this point. Amma Asante has sold her sold for the chance to corrupt the minds of black people.  She is a female version of Lee Daniels.

david-oyelowo

I understand better now why  David Oyelowo was chosen for the lead role.  In Hollywood he’s the go-to Negro at the moment.  He’s been in other anti-black propaganda films like The Butler,Red Tails and The Help.  And judging by the pic(above) of Oyelowo and his family,I think he was perfect for the role.  Oyelowo and Asante are one in the same.  They are both from the United Kingdom.  And neither one of them believes in  black love or black unity.  They believe the way to defeat racism,oppression, and colonization is to just love your oppressor.  Both of them are brain dead swirlers. But whatever you do,don’t support this film.  Save your money and stay far away from this garbage of a film.

The Hidden Message of Hidden Figures

hidden-figures1

It seems most fitting to begin this piece by stating that mathematician Katherine Johnson is a genius. Thus, a movie celebrating black brilliance sounds progressive, however the actual portrayal renders Johnson a “hidden figure” in a supposed commemoration of her legacy.

The film briefly shows audiences a young Katherine, whose academic ability foments opportunity despite the obvious oppression of the early 20th century. The film attempts to inspire audiences though depicting Johnson’s contribution to launching the first American body into space. However, in actuality Hidden Figures illustrates that black brilliance yields white advancement.

Audiences watch Johnson put in long hours, travel forty minutes to use the bathroom and endure a segregated coffee machine. Subversively, the film suggests that the only place for  a black intellect is in a white world. This conflict is not exclusive to this film, but extended to all encompassed by the phrase “the first black (fill in the blank)” While this phrasing appears complimentary, it shifts the focus away from the individual of African descent to the white vessel who “accepts” them.

In Hidden Figures, this white vessel is Al Harrison, played by Kevin Costner. Perhaps one of the most noteworthy scenes is Costner breaking down the segregated restroom signs. The scene received zealous plaudits from a stadium sized theatre. This applause undoubtedly erupted due to the mostly white audience’s attempt to overtly align themselves with Harrison’s seemingly integrative initiative. For me, this scene provoked an adverse reaction.

Watching this scene brought me back to a Dr. Carr lecture I attended almost a decade ago. During this lecture, Dr. Carr said that “nothing has been done for blacks that did not benefit others.” Namely, these segregated signs existed at NASA although there were no no black individuals worked in this particular wing. Thus, the signs served no direct purpose but to remind those who cleaned the facilities that they were good enough to scrub toilets but not sit on them. Thus, Harrison’s acts are not commendable—they’re selfish. This very deed exposes the fault in integration. The segregated bathroom only becomes an issue when it deterred white initiative. Namely, only when segregation proved an obstacle to his advancement and reputation was it taken down. It is this selfishness, not ideas of equality or unity, that continues to fuel black inclusion in traditionally white spaces.

Before concluding this article, I would like to state that my criticism is not to take away from Mrs. Katherine Johnson’s legacy. This article does function to state that this film is not an accurate depiction of this legacy. I would love to have learned more about her life pre-Nasa, the parents who raised her, her experience at school, how she balanced motherhood and work, and the strength it took to raise three young kids as a young widow. Hidden Figures abbreviates Mrs. Johnson’s life, making her a largely enigmatic figure in a film that is seemingly about her. Johnson’s hidden figure status in her own film suggests that all black excellence yields hidden figure status in a white supremacist society. In veiling sentiments of deprived visibility, the film highlights how imperative it is that we as black tell “our story” and not his-story. For the moral of the story is not Johnson’s greatness, but what history continually tells in in films like 42, The Blind Side and The Help, which is simply that blacks can do anything if whites think they are special.

Article by C.C. Saunders

Moonlight-Gay Propaganda Film

moonlight-poster

The film Moonlight came out back in October.  I meant to do a post about it and never got around to it.  But I heard that it was getting rave reviews by white film critics.  Some were calling it “powerful” and “best film of the year”. When I heard it had a black cast it peaked my interest. But  I knew that if white critics loved it the film must have some type of black degradation in it.  It has to promote one of the following: black criminals, black whores,drug addiction,interracial sex,lesbians,homosexuality and black self destruction.  It’s always a pattern with black films promoted by the white media.  Just like the horrible film Precious that promoted nothing but black death and destruction.  So when I saw the trailer….I knew I was right. This is more black pathology. I saw this morning on the news that Moonlight got six Golden Globe nominations. This should not be surprising at all. The film is directed by Barry Jenkins.  I’m sure he will become the  “new Lee Daniels”.  Here is the synopsis from the website:

“A timeless story of human connection and self-discovery, MOONLIGHT chronicles the life of a young black man from childhood to adulthood as he struggles to find his place in the world while growing up in a rough neighborhood of Miami.At once a vital portrait of contemporary African American life and an intensely personal and poetic meditation on identity, family, friendship, and love, MOONLIGHT is a groundbreaking piece of cinema that reverberates with deep compassion and universal truths. Anchored by extraordinary performances from a tremendous ensemble cast, Jenkins’s staggering, singular vision is profoundly moving in its portrayal of the moments, people, and unknowable forces that shape our lives and make us who we are.”

moonlight-film

The video(above) is with one of the actors in the film,Andre Holland. He plays a homosexual in the film.  In this interview he explains there are “different shades to masculinity and black manhood”.  And I think that’s the motive of films like this.  This film is nothing but a “black gay coming of age” film. The racist white media promotes these type of films and give them awards because it supports THEIR agenda.  They want to redefine black manhood and masculinity.  They want to reshape us from being warriors and protectors of our neighborhood…into being homosexuals,queers and cross dressers.  White actors play mostly heroes and saviors while black men are given awards for playing homosexuals????Hmmmmm…..something is wrong with that picture.  These type of films are an insult to our intelligence.  Also the films stars Mahershala Ali,Naomie Harris,Janelle Monae and Ashton Sanders.  And Naomie Harris plays the crack addicted mother.  You know the drug abuse always has to be there in a black film right?  This is just more Hollywood propaganda.  In the next few weeks you’ll be hearing a lot about this film.  But don’t fall for it.  I’m asking all my subscribers do NOT support this film.  Save your damn money. This is more anti-black,pro-gay,pro-black death and black self destruction.  Black actors will always be rewarded for this type of homophile filth.  Peace brothers and sisters and always stay vigilant!