How do you get over this horror?


Heroic Warriors or Mindless thugs?(Killmonger,Magneto,Koba)

Erik Killmonger...

What is a warrior? What is an ignorant thug?  What is a ruthless killer?  What is a revolutionary? What does it mean to have courage? I’ve been asking these questions to people I know recently?  In the film Black Panther the anti-hero is Erik Kilmonger. There have been many debates on Twitter,Facebook and YouTube about whether Killmonger was a hero or not.  Killmonger’s main objective was to liberate oppressed black people all over the world.  He wanted to level the playing field against white supremacy.  And he was seen as the villain.  Now don’t get me wrong,Killmonger was no angel. Far from it. He was ready to kill anything in his way. He grew up in poverty in a crime ridden city called Oakland. So he had a lot to be  angry about.  I find it interesting that although KIllmonger is seen as the villain,white supremacy is never named in the film.  The word “racism” is never said in the film.  It’s only implied.  And that is the REAL source of his anger and his oppression.   But anyway,nothing would stop him from completing his mission.  Even with the odds against him he stayed focused on the mission at hand.  But he was portrayed as an African-American thug.  The real public enemy number one.  This is why Black Panther is the hero in a white-created film.  They don’t want children to admire the traits of Killmonger because he’s a threat to the racist power structure.  That’s why I tell people Black Panther is full of anti-black propaganda. What exactly is propaganda? Propaganda is the effort to spread a belief or an opinion about a certain issue. Commercial advertisers,government,media,pressure groups and public officials all use propaganda. The whole point of propaganda is an attempt to get people to think a certain way about something.  I feel propaganda is most effective when people don’t realize it as propaganda.  This is why characters like Erik Killmonger are painted as the bad guy.  His motives are liberating for black people but they portray him as a mindless thug so you associate the behavior with the ideology.


I’ve seen this pattern of painting revolutionaries as the anti-hero.  I remember reading years ago that the Marvel characters Professor X and Magneto were based off of Martin Luther King and Malcolm X.  Marvel comics founder Stan Lee also admitted that the X Men super powered mutants were based off of the black civil rights movement going on in the sixties.  This is one of the reasons Magneto is seen as the evil villain. He wants to liberation of mutants against oppression.  But when you listen to Magneto talk about the the situation of mutants he’s always making valid points.  And he believes if mutants want true freedom they have to do it ” by any means necessary”.Malcolm Magneto..


Another character that was revolutionary was Koba from The Planet of The Apes.  Koba believed that apes shouldn’t trust humans.  The main leader of the apes was Caesar.  He and Caesar rarely saw eye to eye. I also noticed that Caesar was a darker skinned ape. Whereas Caesar has a more light skinned face. Koba also had a scarred face from the torture he received from evil humans.  So Koba even looked like an ugly monster.  This is also subliminal programming.  It’s to give the impression that if someone is unattractive then they must be evil.  Which we know is not true.  I’ve met plenty of good looking people that were selfish,vain,manipulative  and egotistical.  But people are trained to believe that exterior beauty translates to inner beauty.  Nothing could be further from the truth.  Here’s a synopsis from Gaspar Yanga:

“In the begging of this movie, some scientist wander into the apes territory ( theme of White innocence) and have a dispute with the Apes, in which one Ape is shot. Caesar, being the leader tells the people to leave and takes the injured Ape back home. Koba, having been abused by humans (Europeans), tells Caesar they should follow the humans back to where they are at. Koba comes back and tells Caesar, that he believes they should attack the humans before they get stronger. Caesar makes a snarky comment about how the only thing that Koba, learned from humans is hate. ( theme of seeking retribution against Europeans is wrong).

Koba, goes back into the human’s camps, only to find they are stockpiled with WEAPONS. The innocent humans that Caesar loves so much has a army reserve of military grade weapons. Some of the humans go back to the Apes home, while Koba was gone, in order to seek Caesar’s approval to search for a dam which could power their city. Upon, rushing back to tell Caesar of this great potential threat of humans, Koba is furious to find out that that humans have been allowed back into the Apes territory, along with the human that shot an ape named Ash. Koba and Caesar fight before Koba can tell Caesar, that the humans are preparing to for some type of war with all the weapons. Koba comes up with this genius plan, he goes back to the human camp to steal a gun so he can use it to shoot Caesar and tell the Apes that a human shot Caesar at night and that they should attack the humans. Koba’s brilliant plan works. Koba shoots Caesar at night time while some of those humans are in camp and he runs to tell the other Apes, that humans shot Caeser. Well, during the Ape attack on the humans, Koba gives a command to kill this human to another ape, this Ape refuses, Koba pats him on the back, then drags him by the head and throws him off the ledge showing the other apes who is the king of the hill. Koba, then arrest all those who are loyal to Caser and like humans. Koba is an example of supreme intelligence, military strategy, and brilliance. He removes a weak leader with a brilliant plot. He then consolidates power through force (Mao style) and he units the Apes, around their Ape identity. Koba is the ultimate Ape Nationalist and Freedom Fighter. The only thing that Koba does not tolerate is softness for enemies, he considers that WEAKNESS.

Caesar, in talking to the “GOOD HUMAN” (WHITE), says this ” Ape start war, Human will not forgive”. Caesar, blames his own people for the war. The humans created the experimental drug, the humans abused the apes giving them a reason to never trust them and the humans were trying to recolonize the world. Caesar, blames Koba and his people for starting a war that was caused by the humans (Whites). This, of course, is how the warped mind of the European is even in his movies and how he plants this false consciousness in others (mostly Black Christians). The writers actual ignore the history of the Apes and manipulates Caesar into this self hating, self loathing ape who has a soft spot in his heart for humans. Koba was punished in the movie for: 1. Never forgiving humans 2. Loyalty to his own kind and Caesar is made a hero for 1. Forgiving the Europeans 2. Seeing the good in all people.


The problem is people want a kind and sweet revolution.  They don’t know what it takes to get real freedom and liberation.  A real warrior will do whatever he needs to do to get freedom.   A warrior is usually a person experienced in warfare.  Or a person that has shown great vigor,aggression and courage. In a white racist society they want to demonize revolutionaries so people don’t see them as heroes. These films want you to identify with the so-called heroes.  But if you’re an oppressed group you should be rooting for the revolutionary.  When the European colonizers came to America that killed everything that wasn’t European.  They killed millions of Native Americans.  They killed millions of Africans.  They raped women and killed babies.  They were heartless and ruthless and their quest for power and domination.  They were bloodthirsty and heartless!  That’s what they did in the America’s and in Africa. They know what it takes to achieve a revolution.  This is what brave Haitians did in the revolution in 1804.  These were real Africans warriors that knew who was the enemy.  They couldn’t show any weakness against the evil Frenchmen.  And these are the qualities that fictional characters like Killmonger,Magneto and Koba possess. This is why it’s important to recognize propaganda when it’s in front of you.  And these Hollywood films are full of them.  When I was younger I couldn’t see it.  But my eyes are wide open now.  They’re training you to root for the real villains.  So in essence,they have you going against your own self interest.  And ultimately your freedom.


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.


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.


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.


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

African Queen Nefertiti was European?(And other myths)

kMore Lies1...

I watched the Today Show last week.  And I thought that since it was Black History month they wanted to insult the intelligence of black people.  The video(above) shows this fool Josh Gates from the Travel Channel showcasing a recreated bust of King Tut’s mother,Queen Nefertiti.  This is being called an “accurate depiction” of Nefertiti.  This is very insulting!  This recreation looks like Celine Dion with a tan!More Lies2...

This is nothing but pure lies.  This is just more proof that they’re scared of the truth.  How could a bunch of Europeans survive in hot Africa?  They can barley withstand the sun if it gets over 90 degrees.  You expect me to believe they could withstand Africa hitting over 100 degrees temperatures!  No way!  They couldn’t handle that hot ass sun for thousands of years.  They know that Kemet(Egypt) predates European history by thousands of years.  They know that it’s older than Greece and Roman civilizations.


Keri Hilson...

I just want everyone to be aware when lies are presented as truth.  They will do anything to create the myth that they are the beginning of history and the everyone else is an afterthought.  Nothing could be further from the truth.  Although I must admit that the timing is very suspect.  Not only is it Black History month but the Black Panther film is coming out soon.  In the past Africans ruled for thousands of years.  Our civilizations are much older than Europeans themselves.  We had already established schools,politics and governments while they were still living in filthy caves,practicing homosexual sex and eating raw meat.  So when it comes time for presenting a black queen they give us a white woman.  And in most films about Kemet(Egypt) they have white actors playing the parts.  But in Black Panther we have African people who are powerful and ruling their own nation.  So they have no problem showing us as kings and queens in a fictional context.  But in real life they present themselves as the great kings and queens of the world.  We are the Black Gods…they are the phonies. It’s all about controlling the narrative.  And this is how Europeans have tricked the world into believing they are the center of the universe.  They are nothing but low life lying,cheating,decepetive culture vultures.  They are masters of deception. Are you catching on?

Comic Book films-Black Heroes,White Wealth(Part 1 of 2)


There’s been a lot of hype about the upcoming Black Panther film. The film is set to be released worldwide on February 16,2018. Which is convenient since February is Black History Month right?  Anyone who follows my blog knows I have mentioned I grew up reading comic books as a child.  I read a lot of DC and Marvel comic books.  I used to read Spider Man,Batman,Superman,The Hulk,X Men and The Fantastic Four. Over the years I have collected hundreds of comic books.  But I was always fascinated by the black comic book characters.  Some of my favorites were Storm,Black Lightning,Steel,Misty Knight and Luke Cage.  But my favorite was probably Black Panther. Panther first appeared in Fantastic Four issue #52 back in 1966.  That issue of Fantastic Four is selling for $400-$800 on the internet.  Although after the Panther film comes out I’m sure the price will skyrocket.  I always thought Black Panther was a cool character.  Panther’s birth name is T’Challa. T’Challa’s senses and physical attributes have been enhanced to superhuman levels by the heart-shaped herb.  T’Challa is a brilliant tactician, strategist, scientist, tracker and a master of all forms of unarmed combat whose unique hybrid fighting style incorporates acrobatics and aspects of animal mimicry. T’Challa being a royal descendent of a warrior race is also a master of armed combat, able to use a variety of weapons but prefers unarmed combat. He is a master planner who always thinks several steps ahead and will go to extreme measures to achieve his goals and protect the fictional kingdom of Wakanda.  Wakanda is not a real African country.  But it could just as well be Kenya,Nigeria,Tanzania or Ghana.  And this is one of my conerns about the film.  I have covered great African civilizations on this blog many times. Most of us know about The Mali empire as well as ancient Kemet(Egypt),Ghana and Kingdom of Kush. So why is Hollywood making films about fictional African empires when real ones exist?  Of course you know why right?


I will admit that the trailer looks really good.  The visuals are nice and it looks to be action packed.  I have watched the reaction from many black film goers on the internet.  I would say that 85% of the reaction has been positive.  And I can see why.  Talented actor Chadwick Boseman  plays the title character.  The cast has some pretty big names. The cast includes Angela Bassett,Forest Whitaker,Danai Gurira,Michael B. Jordan,Lupita Nyongo(my favorite),Daniel Kaluuya and Letitia Wright. It’s a majority black cast.  Even the director Ryan Coogler is a black man.  So is this a black film? It seems like it.  But of course the film is being made by Marvel Studios.  Marvel Studios was bought by the Walt Disney Company back in 2009 for 4.24 billion dollars. I did a post in the past about the wicked and racist Disney company.  The Disney president and CEO is a white man named Robert Iger.  So the Black Panther film is basically a Disney film with a black cast.

Black Superheroes..

Black Panther1...

I have done many posts on racist Hollywood and their negative stereotypes. Many black people are excited about this film.  And it’s because we want to see ourselves in a positive light.  We want to see ourselves looking glorious and majestic.  We want to see black people as kings and queens on the big screen. Hollywood has given the masses films about Roman empires for years.  Films like Ben Hur,Julius Caesar,Spartacus and Gladiator.  Not to mention fictional films/tv shows like Lord of The Rings and Game of Thrones.  They give us hundreds of films showing them as powerful kings and queens.  Then when they want to show African royalty…we get a fictional country??  That is white supremacy at it’s best.  The film looks good but I know how Hollywood operates.  I will be looking for any type of anti-blackness in this film.  And I’m sure there will be some type of black degradation in it.  I wouldn’t be surprised if there’s some interracial love going on . Maybe they’ll slip in some lesbian/homosexual scene.  Or possibly showing African traitors in which to instill black people to not trust each other.  I could be wrong…but I doubt it.

Kingdom Kush...

Wakanda is fictional but the Kingdom of Kush was real. Don’t get me wrong,I have nothing against fictional stories.  I grew up enjoying films and television shows like Star Trek and Star Wars.  I think they can be fun and entertaining.  I just think we have to be mindful who is getting our money when we pay for these films.  Black Panther looks like it will be a big blockbuster.  And I’m glad the mostly black cast is getting paid.  But the white owned Disney/Marvel company will be getting the majority of the money. We will be giving our money right back  to racist Hollywood.  They are just doing this film to throw black people a bone! But there are many black comic book artists and writers that could use our support.  That’s what I’ll address in part two.


Is racism really just a term for warfare?

In this excellent podcast by Onitaset, he examines the futile use of the term “Racism/White Supremacy” (RWS). He also gives illustrious analogies and metaphors as to why the common focus Black people have on “ending racism” is a dead-end road for Afrikan people, and Afrikans would be better off not only revitalizing our culture and nations to fit the threats we collectively face in the 21st century, but to actively seek power through the institutions and tools that are most useful at present.

I once read an exchange with a Neely Fuller-ite who was trying to seek sympathy for an east Eurasian woman who was allegedly being victimized by RWS. You can read the post here entitled, “The Counter-Racist Cul-De-Sac”. The commentator in opposition to this characterization mentioned that the Asian woman was indeed described correctly by the western Eurasian white woman as not being an “American” (read: white European). Furthermore, this east Eurasian woman had a west Eurasian boyfriend which is typical of these white-identified east Eurasian woman who are raised in the USA by parents who want them to be accepted by the dominate society as a member of the “model race” or an “honorary white”. The Fuller-ite couldn’t understand that the commentator was arguing that RWS only exists because it is a convenient excuse for Afrikans not organizing our own resources for achieving power, and that if the east Eurasian woman truly didn’t like RWS, she should re-patriate to an east Eurasian country which has plenty of nuclear weapons and a robust economy where she will be a first-class citizen. This obvious solution which was based in reality was rejected by the Fuller-ite because he needed to believe that “whites control everything and gave the nuclear weapons to the east Eurasians, therefore whites are still in control”, even if she decides to re-patriate. This is such a self-defeating position because it disables us, Afrikan people, from taking the initiative to secure our own survival. The west Eurasian woman went on to say that she was a supporter of Donald Trump and she voted for him so that “we can get you people out of our country”.

Sun Tzu...

A white woman like that would be regarded as a right-wing extremist or a white nationalist. Regardless of her label, I implore you to read the following article from a typical “white-leftist” whom you Afrikan people think is your friend and the last bulwark against the racist right. You can read the full article at this link.

To summarize the article, the writer basically stated that she lived in Senegal for a year as a Peace Corps volunteer, and interspersed among the references to the “brotherhood of man”, “personal fulfillment”, and “adopted family” tripe that these fake liberals routinely espouse, she states a viewpoint similar to that of a right-wing fanatic. Namely, that Afrikan and west Eurasian (American) cultures are too different to be compatible, and that the solution is to let Afrikans solve their own problems and to keep America white by not allowing Afrikan migration to the USA! This mind you after she was fully funded and welcomed by Afrikans to live for a year in their country. But, be that as it may, this statement of hers is counter-intuitive the negros who need to be part of the “Kumbaya Klan”. (pun intended) However, increasingly, with the ease of global travel, these white lefties are returning to North America and Europe disillusioned with their grand schemes of building a raceless society, and are deciding to protect the legacy of what their forbearers stole through rape, enslavement, theft, murder, and war.

Onitaset makes the brilliant insight that what is called RWS by Neely Fuller-ites is actually warfare. Therefore, any approach to solving this problem should be decidedly warlike. Now the definition of warfare is broad and takes many varied methods, from economic warfare, to psychological warfare, and most apparently conventional warfare, which is actually the least effective and most expensive in terms of energy, and manpower. It usually is the last stage of warfare once all other forms have been exhausted or proven ineffective.

I implore Afrikan nationalists, Garveyites, Pro-Blacks, Afrikan Spiritualists, Nationists, and members of the Conscious Community to consider dropping both terms “Racism” and “White Supremacy” and adopting new terms. Kamau Kambon describes it as “white world domination by terror”, others call it ethno-nationalism, I prefer the term white hegemony which I defined in my blog post “Why Mulattoes and other Hybrids are not Afrikan“. It is also in my book, ACBN: A Primer. Onitaset has written a couple of books which I also implore you to purchase, read, and consider their ideas as well. It is abundantly clear that many of the ideas of the last century have failed or been impotent in the face of the dangers we face. With these books and new concepts, it is time to reconsider the approach we are taking to gain power for Afrikan survival and sovereignty.

Article by Lumumba Afrika