Why are Black men the face of the MeToo movement?

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Elvis Presley: King of Pedophiles?

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Amwerican singer Elvis Presley is labeled the “King of Rock and Roll”.  Even though black people invented rock and roll music.  Little Richard and Chuck Berry were more talented.  But that’s another subject.  There’s been a lot of talk about sexual predators during this witch hunt…Oops…  I mean MeToo movement.  But it seems that black men like Bill Cosby,Michael Jackson and R Kelly are getting the most press.  They went and found women from thirty years ago to testify against legendary comedian Bill Cosby. Then sent the old man to jail.  Then Twitter started a hashtag called MuteRKelly.  There’s a new documentary called Leaving Neverland about Michael Jackson.  The documentary interviews two white men who say Jackson molested them.  Jackson has been dead ten years and they come out with this now? Why??  He’s not here to defend himself.  Sounds like character assassination to me.  Or a money grab.  The reality is that Hollywood is full of rapists and pedophiles.  And black people are corrupt in that business as well.  But black people don’t control the mainstream media.  So when they make a deal with these demons for fortune and fame..the devil will collect!  If you do something they don’t like they can destroy you.  They can publicly destroy your image through television.  They can even frame you and send you to prison.

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MeToo1...There are many white men in Hollywood and the music industry who have had sex with children. None of them are saints.  But the media covers up for them.  Where is the documentary on Woody Allen?  What about Harvey Weinstein?  That’s Oprah Winfrey’s buddy.  I see Oprah had no problem doing the documentary about Michael Jackson.  But she’s silent on Harvey.  Jackson had his issues.  I believe he had self hate issues and worshipped whites too much.  But at least before his death he spoke out on the wicked people in the music industry. Oprah has shown her true colors.  She is nothing but a Hollywood mammy.  She and her lesbian lover Gayle King are tools for the white devils in Hollywood.  They both make me SICK!!!

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But why does Elvis get a pass?  He met his future wife Priscilla in 1959.  She was only fourteen at the time.  They had a romance until they got married in 1967 when she was twenty-two years old.  So let’s do the math here.  From the time she was fourteen and until they got married…did they have sex???  You know damn well they did!  So what’s the difference between him and R. Kelly? Didn’t Kelly marry Aaliyah when she was really sixteen?  So where’s the hashtag #MuteElvisPresley?   Jackson,Cosby and Kelly are not saints.  They are imperfect people and have their flaws.  But in a so-called justice system everyone should be treated the same.  But that’s not the reality we live in.  We live in a society controlled by Europeans Jews.  They own the mainstream media and control Hollywood and the music industry.  So don’t wait up for Oprah to make that Leaving Graceland documentary.  You might be waiting for a very long time.

US film review(spoilers) by C.C. Saunders

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In its contemporary context, blackness assumes a violent coupling. Filmmaker Jordan Peele (Get Out) tackles this coupling in both a literal and figerative sense with his latest release Us. Peele depicts humans as “coupled” by a being who mirrors their exteriority. In challenging the presumed singularity of identity, the coupled being obscures reality, simultanously inciting the following query: Are humans replaceable?
Well, according to the film’s doppelgängers, who wear red jumpsuits accessorised by gold scissors, the answer is yes. Viewers meet Adelaide (Lupita Nyong’o) as a child who goes to a mirror house and encounters a girl who looks exactly like her. After this encounter, Adelaide is never the same, and later viewers learn that Adelaide is never the same because she and her doppelganger switched places on that faithful day. Though Adelaide’s parents noticed a difference in their child, this difference, viewers learn, with therapy, could be negotiated. In no time, Adelaide resumes the nurture of her parents and becomes the girl they raised.

The original, for lack of a better word, Adelaide grows up to lead an uprising where the different or the othered, kill their counterparts. Us features a battle between those who reside behind the mirror—at society’s peripheral, and those who look into the mirror and reside at the center. Peele never makes it clear who or what these beings are. The sole reference to identity the film gives is Red’s proclamation that they too are “Americans.”
Red (or Adelaide depending on your perception), to ensure that her initial plan remains in motion, eventually kills the girl whose place she took years. Her son is the only one who knows her secret, a connection she hints at with the early line “stick with me kid and I’ll keep you safe.” Here, Adelaide foreshadows the choice her son will eventually have towards the end of the movie, to share or remain silent. Red/Adelaine’s offspring is also coupled, as he encompasses both the center and the peripheral. Thus, the secret is a gateway to his understanding of self, a gift obscured from the realities of his sister and father.
The film as a whole exhibits a coupling distinct from what it delineates in part. Peele couples black actors with their American counterparts. Specifically, the media exhibits black bodies by way of representation, but the exhibited blackness remains superficial.

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For example, though Winston Duke and Lupita Nyong’o, who occupy the film’s lead roles, encompass a physical blackness in their melanin-dominant appearance, both play roles that could easily be played by white actors. Black actors in race-less roles, marks what the western world calls progress; however, this colorblind casting depicts the violent seizure of power from black people. Colorblind casting extracts black personhood from the black body. Specifically, colorblind roles attempt to circumvent the presumed problem of race. Race in this context also functions superficially; as color is a part, not the whole, of racism. Yet, Peele’s film attempts to showcase those often eliminated from lead roles because of their complexion in a role where their complexion is merely a coicidence. Us eliminates race in a world build on this falsified concept made real in the systemic disenfranchisement it continues to afford black people.
Thus, US makes “us,” or the black person, invisible by casting melanin dominate actors as coupled with an American identity that has never truly been theirs.
US and Social Reproduction of the Invisible [Wo]Man
Though I do not think it was intentional, Peele presents a diasporic discourse with Us. Particularly, the coupled identities that dominate the film illustrate the black individual as coupled by a collective identity. The envy dynamic present between Adeline and Red illustrates the envy many blacks within the diaspora have towards the black displaced in America, or what I will call the “invisible man.” The phrasing “invisible man” alludes to the Ellison novel where a nameless protagonist struggles to see himself in a world built on his invisibility. My use of “man” does not cite gender but references “human.” This invisible man remains largely invisible to his diasporic brethren who often view him or her as a “favored child” in the disillusion of black disruption. Us, in its depiction of black persons as the invisible man, depict the coupling of the black body and personhood as crippled by disallusion.

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By the film’s end, Adeline loses her life because her diasporic doppelganger (Red, who eventually becomes Adeline) wishes to be her; so, Red assumes Adeline’s space and takes her place. This is very much the reality for black people throughout America who have witnessed the perils of racism and prejudice, perils strategically aggravated by immigration. Buried by the fantasy that is American idealism, the invisible man remains invisible to many of their diasporic brethren who are often unable see to past this veiled reality. Instead, this invisible man becomes a hyper-site for a social reproduction that affords white hegemony its violent stagnancy.
In Us, Adeline encompasses the “invisible man” ideal that her counterpart seeks to socially reproduce. Red sees the space Adeline occupies as a bridge to a better life. She (Red) deems her position in American’s peripheral as inferior to the central placement of her doppelganger (Adeline). This notion is particularly complicated by Peele’s colorblind roles, where the black actor remains in the periphery despite seemingly central placement.
Nevertheless, I digress.
Red believes that she is more deserving of the space Adeline occupies and thus would occupy said space “better.” This is often the ideology many Africans in America face with our diasporic brethren who become “model minorities” in seeking to occupy the American space “better” than their kidnapped kinfolk. America, for the being of black form, is a site of physical and mental abduction perpetuated by the continued pressure to assimilate. This assimilation, despite its societal perception, does not mark achievement but cultural compromise. Thus, it is Red’s desire to socially reproduce the invisible man that drives her sadistic and physically violent attempt to take-over an exclusive space. It is this desire to socially reproduce the invisible man that makes the mentally enslaved black predisposed to attack those who look like them and not their true oppressors. As long as the oppressed see themselves as the enemy, the narrative remains focused on the oppressors. Thus, Red/Adeline and her diasporic counterpart cannot co-exist because then the narrative runs the risk of becoming “us,” and within this global paradigm of white supremacy, it must always be about “them.”

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Peele’s colorblind casting alludes to the Duboisian notion of double consciousness in his depiction of the black person is physically split into two selves. So while viewers physically see black actors, the main role remains reserved for white cultural hegemony. What I mean here is that viewers see black actors but are forced to engage with the white space these black actors wish to occupy rather than the black actors themselves. It is the desire for American-ness, or to exist beyond blackness, that makes Us’s viewing experience a visual engagement with the invisible man. Specifically, with “Us,” black viewers witness what will become of them if espoused to an American identity. The film functions as a visual illustration of the “black American” or “African-American” concept that the abducted Africans in America must detach from as a rudimentary step in our collective liberation.

Buried under the American fantasy and entombed by the fiction of progress, there is no “us.” This fact is perhaps best illustrated when Red kills another black women to aid in a white plight to assume a space.
It is Red’s desire to socially reproduce the invisible man that drives her sadistic and physically violent attempt to take-over an exclusive space. It is this desire to socially reproduce the invisible man that makes the mentally enslaved black predisposed to attack those who look like them and not their true oppressors. As long as the oppressed see themselves as the enemy, the narrative remains focused on the oppressors. Red/Adeline and her diasporic counterpart cannot co-exist because then the narrative runs the risk of becoming “us,” and within this global paradigm of white supremacy, it must always be about “them.”
The singularity Red seeks and attains ensures that there is no “us,” if there ever was an “us.” Her actions represents the inevitable end for a group who remains disrupted. As a product of a festered disruption, the black collective, in part remains what they made of “us.” The black representation seen on-screen and throughout politics, education, and every other field, is not us and has never been us. It’s them.
Conclusively, as evidenced by his latest film venture, Jordan Peele also fails to represent us; rather, he remains vested in “them.”

Oprah Winfrey: The Devils Advocate?

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LET ME KNOW YOUR THOUGHTS. WHAT DO YOU THINK OF OPRAH WINFREY? HAS SHE SOLD OUT?

Lee Daniels new film….PIMP(Interracial Lesbian Propaganda)

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Looks like Director Lee Daniels is at it again.  Hollywood’s favorite black homosexual director is back with a new film.  The man who made black servitude look good(The Butler) and made black degeneracy look artsy(Precious,Empire). He also has a show called Star on FOX.  A show that promotes homosexuals,interracial sex, transgenders and cross-dressers.  I’ve watched the show twice and could barely stomach the filth promoted on that show.  But now he’s take it to another level.  He has an upcoming film called Pimp. Daniels is the executive producer of the film.  The actual director is white lesbian Christine Crokos.

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Written and directed by Christine Crokos, the love story stars Keke Palmer (Akeelah and the Bee), Haley Ramm (The Originals), Aunjanue Ellis (The Help), Vanessa Morgan (Finding Carter), Mike E. Winfield (Conversations in L.A.), Edi Cathegi (Twilight) and DMX.

Pimp marks the first movie that Daniels — the writer-director-producer behind such TV and film hits as Empire, Star, Precious and The Butler — has executive produced. The impetus for his involvement stemmed from wanting to support a new generation of filmmakers with authentic voices and a unique approach to storytelling.

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Pimp is set on the rough streets of the Bronx and centers on Wednesday (Palmer), who is born into the gritty world of hustling, where she learns the game from her dad. Once he’s gone, she is left to look out for her mother (Ellis) and her girlfriend Nikki (Ramm). In need of more money, Nikki decides to hit the streets for Wednesday for a dream at a better life. In a ferocious battle of survival, Wednesday comes face to face with a pimp (Gathegi) who runs a more dangerous game, leaving Wednesday to fight for love and risk all to save Nikki.

Alexis Varouxakis of 1821 Pictures and Adrenaline Entertainment is producing the pic alongside Victoria Bousis and Christine Crokos. Paris Kasidokostas-Latsis, Terry Dougas, Roys Poyiadjis, Nick Garyfallos, Michael J. Mailis, Corey Large, Gary Ousdahl, Michael Cline, Bader Alghanim, Gina Dwyer, Ali Jazayeri, Viviana Zarragoitia and John Krokidas also are executive producing.

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Daniels’ Precious (2009) received six Academy Award nominations, including for best director, and took home two Oscars. In 2012, Daniels directed the historical fiction drama The Butler, which became a box-office hit, holding the No. 1 spot for three weeks. He is also the co-creator and executive producer of the TV series Empire and Star.

I’ve always liked Keke Palmer.  I always thought she was a beautiful and talented black actress.  I thought she might be someone young black girls could look up.  But I was wrong.  Just like many young black adults in Hollyweird they fall victim to the agendas.  The know they must promote homosexuality,lesbians,queers,interraical sex and transgenders if they want to take their careers to another level.  These sick European demons in Hollywood want to corrupt the minds of black youth.  And they get these sellout black devils like Lee Daniels to destroy the minds of their own people.  Many of the powerful people in Hollywood are satanic and greedy bastards.  And we have to be careful not to follow people just because they have melanin like we do.  We must accept the fact that there are white devils….but black devils as well.  Do black children need to see a black female pimp?  And a lesbian one at that!  Do black children need to see an interracial lesbian affair? Is this inspiring to the youth??  Hell NO!  They are grooming the minds of black children to see this filth as normal.  This is more psychological warfare.  Not to mention the film as bloody violence,murder and all types of black degeneracy. Just more promotion of black people as pimps,whores,hustlers and gangsters.  Haven’t we moved past this? This is why homosexuals like Lee Daniels are rewarded so much in Hollywood. The film is coming out November 9,2018.  Be sure to NOT support this film!  Do not give these sick bastards one red cent! Let me know your thoughts on propaganda films of this nature.

Bill Cosby convicted! What about the others?

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SO BILL COSBY IS CONVICTED.  THESE WOMEN SAY HE DRUGGED THEM THEN RAPED THEM.  SOME OF THE CASES ARE OVER TWENTY YEARS OLD. THERE’S NO PHYSICAL EVIDENCE OF RAPE. NO DNA AT ALL. AND MANY OF THE WOMEN LIED ABOUT THEIR STORIES.  YET HE WAS STILL CONVICTED.  DOES ANYONE ELSE FIND THAT STRANGE?  IS THIS JUSTICE? IS COSBY GUILTY? YOU COME TO YOUR OWN CONSCLUSION.  BUT WHAT ABOUT THE REST OF THESE FAMOUS WHITE MEN ACCUSED OF SEX ALLEGATIONS. CHARLIE SHEEN? MATT LAUER? HARVEY WEINSTEIN? WILL THEY SEE DAY IN COURT?  WILL THEY BE CONVICTED? IT’S HIGHLY UNLIKELY. WHAT DO YOU THINK?