Blood debts must be repayed- Bobby Wright

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We must take the unequivocal position that if the Black race is to perish,the world must perish with us. Blood debts must be repayed in blood. We must never accept money and privileges as repayment for the mistreatment of our people. The past Black generations who suffer for no other reason than the color of their skin must be avenged not because of hate but for justice.

Bobby Wright

Lead a Nation

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This is a picture of Khalid Muhammad and rapper Tupac Shakur. Any black person that has a way of reaching the youth is seen as a threat to the white supremacy social structure. Muhammad was a powerful speaker that could touch the youth. And of course Tupac was the son of a Black Panther.  Tupac had the ear of millions of fans of all races.  But by being a great speaker he could get black people motivated as a collective.  If Tupac was allowed to live he could’ve been a great leader. He already had the pro-black influence as a child.  They were both seen as threats to this racist,corrupt white society.  Which is the reason they’re not here anymore.

Why I will not be seeing Wonder Woman

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I almost did it. I selected a theatre and even looked up showtimes. As I began to mentally assemble my outfit and rework my schedule to accommodate viewing the film, I realized that I was all too familiar with this story.

Wonder Woman is yet another page in the consistent white female narrative designed to portray white beauty intertwined with an earthly anglicism. I need not see this film to know that it will portray the white Woman as the catalyst for all things good in a “bad” world.

Contrary to the ideally nurtured in the western world, the bad is seldom blatant. Both the individual and the collective have a fair chance at combatting that which they can see. The true “bad” in the world lies in Wonder Woman-like figures, whose embedded message seeks to uplift through depicting the very exclusivity that dominates the western hemisphere.

Wonder Women debuts in a climate that veils this exclusivity with the implication of “change.” Seemingly every film and television series has adopted the feminist agenda, avidly if not aggressively, feeding this fictive utopia to the masses. The film exists to promote feminism as the cure to all worldly evils, omitting of course that feminism is a worldly evil. Clad in a form-fitting costume with long and silky dark hair, Wonder Woman encompasses the conventional sexiness of a blonde with the rarity of a red head to project feminism as the height of femininity. Wonder Woman is a dark haired, dark- eyed white Woman–the pseudo “every woman” in seeming to encompass lightness and darkness simultaneously. What the casual gaze may fail to see, is that Wonder Woman resembles her target audience, and encompasses all her acquired audience wishes to become.  Her dark hair provides a strategic contrast to her fair skin, painting the “Wonder” of wonder woman as encompassing the figurative light to societal conflict or darkness.

The wonder in Wonder Woman is that she embodies the antidote to all the world’s problems. She’s Helen of Troy mixed with Hilary Clinton–a savior to white women but a mortal enemy to the woman of a darker hue.

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Western childhood functions similar to this film, painting the white Woman as Wonder Woman in far less attractive variants. From the abundant white female school teachers, to the tooth fairy, Mrs. Claus, every princess from Cinderella to Snow White, the white female body is a consistent figure of humanity to the western gaze.  These figures function to embed into the black female psyche what “Superman” and “Batman” seek to implement into the general western psyche–that if you are white, anything is possible.

But as the young girl who reads these stories, attends these schools and watches these figures on television grows up, the fantasy of Wonder Woman vanishes into reality.  Instead the harsh world eventually prompts the once naive black body to wonder what was ever wonderful about these pristine figures of their childhood. Although portrayed as the hero in fictive and real scenarios, the white woman is gradually unveiled as an inevitable villain to the black female body.

So, as a black woman, I know this film functions as erasure. I know this film functions to seduce me into a amnesiac state where I falsely separate white female action and intention from white male supremacists. From the white women who chase our black men than scream rape when it goes sour, or objectify our wealthy black men as cash registers, or reduce the quotidian black man to his genitals, to the white women who abrasively target black women at work, back to the very white women who tormented the black female slaves—this movie functions to force the black psyche to accept a white hero, despite centuries of white female villainy.

White heroes, whether male, female, trans, or what have you, are never capable of saving anyone but themselves. For healing is incompatible to the autocrat, who decorates their lives with the blood of the oppressed.

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Therefore, the true wonder woman will never occupy a leading role in mainstream film. She probably will never make six figures and is unlikely to rouse a shallow gaze on the street.

The true wonder woman has probably yet to arrive home from her twelve-hour work-day, her twenty-four hour job as a mother, or full- time victim of white supremacy. The true Wonder Woman sleeps at night with a six-figure debt heavy on her conscious from daring to dream outside of the confines of systemic oppression. She walks through a neighborhood of businesses owned by any and everyone but those who look like her. She faces ridicule for her skin tone, her nose, and curvy body and faces countless queries if her beauty or attributes are deemed outside the scope of blackness.  The true wonder woman is literally and figuratively raped, never respected, or rewarded. She is frozen in time, pieces of her flesh still floating throughout the Atlantic Ocean, or concealed in an unmarked grave beneath a skyscraper. She is dismembered by a system who uses her limbs to assemble their privilege and writes their laws in her blood.

She is the unspoken gospel of this poached land—the original statue of liberty—the feminine mold to which every race, ethnicity, and creed stealthy covets.

The Wonder Woman film exists to place the “wonder” into the woman concept. As a being excluded from this concept, I replace wonder with “black.” For the black woman does not need wonder, she is wonder. Furthermore, members of the black female collective need not go to the movies to view this fictive wonder woman—they must simply look in the mirror.

Article by CC Saunders

Liberating the minds of Black Children-Bobby E. Wright

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We must be about the business of liberating the minds of Black
children. In order for that to occur, the minds of all Blacks who
interact with them must also be liberated. There is no other way.
It is relatively easy to educate Black children, even about their
Africanity. But, it is extremely difficult to reinforce the
education. Therefore, even sitting in the same classroom, white
children will be ‘educated’ and Black children will be ‘trained.’
The white child will be taught how to rule and the Black child
trained to be ruled. ‘Training’ is defined as teaching a group what
to think rather than how to think, making them dependent rather than
assisting in developing skills which could be used for independent
activity, rewarding behavior that operates against their group’s
interest, promoting individual rather than group achievement, and
instilling negative self-concepts and low self-esteem. The opposite
of the above mentacidal process (training) is education in which the
learning process becomes a liberating force.
Black independent schools are important not only for how they
teach but for what is taught. Their purpose of instilling within
Black children an ‘Afrikan Worldview’ is the most important activity
those children will ever experience. Black parents whose children
are not in independent schools should at a minimum expose them to a
well-structured supplemental Black educational program. Some of the
most dangerous Blacks in the world are many of those brothers and
sisters who finished graduate school ‘with honors’ and yet operate
against the interest of Blacks because of their eurocentric
orientation. The writer does not mean to imply that Blacks should
not attempt to achieve high levels of ‘training’ in white
institutions, but should be aware that it is not ‘education’ they
are receiving.”

Are White people our psychological parents?

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I remember when I was younger there was the sitcom Different Strokes(1978-1986).  It starred Gary Coleman,Todd Bridges,Conrad Bain and Dana Plato.  Coleman and Bridges played two black brothers from Harlem. When their mother passed away they were adopted by white wealthy businessman Phillip Drummond. Even back then they were giving us the “white savior” propaganda. Hollywood is known for giving us this type of garbage.

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Different Strokes was a huge success in the eighties. So of course Hollywood tried to duplicate it again.  They created the show Webster(1983-1989).  The show starred child actor Emmanuel Lewis. The plot was about a little black boy who lost his parents in a car crash.  They even used the same plot as Different Strokes.  They couldn’t even be creative and come up with a different storyline.  Don’t be fooled by these shows.  They were not just sweet and innocent sitcoms.  They had an agenda. It’s obvious these sitcoms were geared towards black people.  They were designed to make us believe that whites are our saviors and we should look to them for guidance and acceptance. They want us to forget that they lynched us,raped us and enslaved us for hundreds of years and was never paid back even after we were “freed”. During slavery we lost our language,customs and cultural identity.  We were treated less then humans.  Dogs get more respect than black people. Which is why sitcoms like this are so dangerous.  It makes us believe the fallacy that our oppressors are our friends. Now we emulate Europeans in every way.  Television and films have a way of altering black consciousness. We speak English or Spanish,dress like them,wear the same clothes they do and eat the same food.  This puts European in a parental  position. And after years of social engineering they have become our psychological parents. When black men dress and talk like white men he is imitating a white man. If he thinks black women are ugly and worthless he is imitating a white man. If he beats up black women he’s imitating white men. When a black woman wears a blonde weave and blue contacts she’s imitating a white woman. When a black woman feels all black men are useless losers she has the mind of a white woman. It reminds me of a quote by the great Pan African/psychologist Amos Wilson once said.  Wilson said that every one has a biological father and psychological father.  Wilson also mentioned that even when black men get involved with crime he is imitating his criminal white father.

Amos Wilson summed it up best:

“As long as the “black man” is involved in “black-on-black violence and crime” (unwarranted internal conflict: “gang turf battles,” “civil wars” and otherwise), he, then, will not have time to engage in what must be his true mission: THE OVERTHROW OF EUROPEAN DOMINATION! As I’ve often said, our attention must be diverted . As I said, once in a psychology class, why do so many “black men” kill other “black men?” Is because they have not yet decided to kill white men. THAT IS THE ULTIMATE TRUTH! THAT IS THE ULTIMATE TRUTH! The cowardly black man has not yet decided to really deal with his true enemy! And, he displaces his frustration and his cowardice upon his own people. He attacks and uses his own, and he abuses his women and uses his children, and terrorizes his community (nation). He is great and bold to take out a gun (his army) to blow away another black man’s brain , but he has yet to take up the gun (use his army) and blow out the brain of his true enemy (stop alien exploitation, domination, encroachment, etc.).

He would march around the world and shoot some other man, but he won’t take up the arms against his true enemy. He can only, then, prove his “boldness” by an attack on his own, and by the destruction of his own. I do not see a common black criminal as a revolutionary. Because the common black criminal  have the same motivation as the white ruling and middle classes. The white ruling and middle classes got a BMW, he wants a BMW. So if it means selling poison to our children, he sells poison to our children. If it means terrorizing the African community (robbing the coffers of African nations) to get the BMW (white/alien men’s status symbols), he’s going to do it. In other words, he approaches his world thieving, killing, etc., the same way his psychological father approaches the world: thieving, killing, etc. Everywhere this white man has stepped in the world there have been thieving, killing, etc.

The black criminal  is but an imitator of his “psychological white father”. Therefore, we have “black-on-black crime and violence,” and “black-on-black crime and violence” is a necessity (assures politico-socioeconomic destabilization) for European power. It’s not the intention for whites to remove crime in the African community (end internal conflicts in African nations), it is their intentions to contain crime to the African community. You talk about the corruption of the police: it’s easy to corrupt a police man/woman when he/she is guarding a people that they do not care about (identify with). And when the corruption of those people he/she is guarding ultimately…MAINTAINS THE POWER POSITION!

Ebonee Davis

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Model Ebonee Davis is one of the biggest rising stars in the fashion industry. She’s starred in massive Calvin Klein campaigns, graced the pages of Sports Illustrated: Swimsuit Edition, walked in countless shows and been featured in countless magazine spreads.

But it wasn’t exactly an easy journey to success, nor does she find her career perfect now. In a powerful, must-watch TED Talk, the 23-year-old model detailed the pervasive racism she’s experienced in the industry, concluding with an uplifting screed on Black Girl Magic.

Davis starts out by describing how she began relaxing her hair at the age of four, convinced by the media and the world at large that what she already had wasn’t beautiful. “To be born Black in America is to be born into a world that makes you feel inferior before you can even take your first step,” she said. “It is to be under constant spiritual and mental attack.”

She detailed moving to New York from Seattle as a teenager to model, where people in the industry frequently asked “where she was from.” She told them she was from Seattle.

“I figured that once I got a contract, the industry would open up for me,” Davis said. “But at every turn, I was met with resistance. I had white agents with no knowledge of Black hair care run their fingers through my hair and tell me things like, ‘We already have a girl with your look.’ Translation: All Black girls look the same.”

She was hurt by agents telling her, “We just don’t know what to do with you.” Her face was “painted grey” by makeup artists, stylists burned and pulled out her hair to the point where she “had to start over,” and she was discouraged from wearing her hair natural (she did it anyway).

“I was told not to work for publications like Essence and Ebony magazines, because if I got labeled an ‘urban model,’ the fashion industry would close its doors to me,” she said. She appeared in the March issue of Essence. Her career is bigger than ever.

Despite everything she’s gone through, Davis continues to rise in the industry, and due to her fame and success, she has a powerful platform to speak out about inclusion (she does not want to be the one Black model, checking some kind of box, but rather see representation across the board).

“Despite the great injustices we face as Black women, we can, and have, and will rise out of the ashes, and become examples of resilience, drive, and excellence,” she said. “I like to call this Black Girl Magic. And with this magic we are creating our own publications, we are creating our own television shows. We are creating our own narrative.”

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