Racism Is War

Primate (2026): President Trump Thinks This Film Stars Barack Obama

2026-02-09T22:01:00.000-08:00

The chatbot and I spent hours examining the System of White Supremacy and the 2026 flick Primate. We connected British director and Racist Suspect Johannes Roberts’ latest horror film, which dramatizes a White family lynching a rebellious chimp, to the Planet of the Apes’ franchise, MacArthur “genius grant” recipient Jennifer Eberhardt’s landmark research, and the February 2009 police shooting of Travis the Chimp - which also marred Black History Month and led to Racist commentary about then-President Barack Obama.

I unhinged from my device and headed for the bathroom to attempt a potty break. Before I reached the commode, a distant television blasted the image of President Donald J. Trump’s February 6 social media post displaying the faces of former First Lady Michelle Obama and her husband on the bodies of two apes.

After my lavatory leak, I told the bot it’s probably important that this movie is set in Obama’s native homeland of Hawaii. The uppity chimp who’s lynched at the end, has a first name that starts with the letter “B” - just like President Trump’s allegedly Kenyan nemesis, Barack.

Dr. Eberhardt’s lauded 2008 project, Not Yet Human, shows that White and non-white people in the US, perhaps the world, reflexively associate black people with monkeys. The President of the United States associates black people with monkeys. Nearly 250 years ago, when President Thomas Jefferson was not raping black children like Sally Hemings, he wrote that black females prefer sexual intercourse with “male orangutans.”

300 years of White pseudoscience, 100 years of the King King franchise (valued over $1.2 billion), 70 years of the Planet of the Apes franchise (valued over $2 billion), a 2009 Google apology for Michelle Obama search results yielding distorted images depicting a chimpanzee, and our current president’s social media suggests that the global White collective views a film like Primate and instantly envisions the naughty chimp as Obama, LeBron James, prizefighter Jack Johnson, and/or black people at large.

As such, Roberts did not concoct a mediocre slasher film that’s an ode to a 1980s Stephen King book-turned-movie featuring a rabid hound. He constructed a deliberate lynching fantasy for all who prayed to see the first black president slaughtered like Travis.

Bot said I should mention that Primate is based on medical deception. Animals with rabies do not become mass killers. If Ben’s a “crazy nigger” threatening White lives and power, the audience cheers on the White lynch mob. The “infection” is tissue paper camouflage using a biological lie to justify a racial execution.

This movie reveals itself in its character’s names. The chimp is old, reliable, faithful, black Ben. This name evokes such comfort and savoriness for White people, they branded Ben’s servile face to their denatured white rice for decades. It speaks to the monkey, and black people’s, subservient and minstrel existence as dictated by the System of White Supremacy. We serve their research goals with our bodies and their amusements with our suffering. When their experiments conclude or we’re no longer entertaining, we’re eliminated.

Which is exactly what White people wanted for Barack. They got their wish with Primate.

Counter-Racist scholars such as Dr. Carol Anderson and Dr. Frances Cress Welsing emphasized the historic number of death threats and venomous White rage targeting President Obama during his tenure in the White House. Dr. Welsing concluded that White Men felt especially anxious and threatened by a non-white male, even jokingly, being thought of as the most powerful man in the world.

A major component of Primate’s plot and gruesomeness is the decay of White manhood. Obama’s furry twin butchers all the White dudes first, leaving an opulent, Hawaiian “whore mansion” filled with unprotected, young, scantly clad White Women. Beyond being monkey casualties, the White guys on the screen are nearly effeminate.

In the first 5 minutes of the film, the one black character mocks his White pal for having “never talked to a real girl.” Before being snuffed, Ben straddles this White beau in a White girl’s bed, pens down his arms, and rips away half of his face. Before losing his jaw, the White boy’s last words are an idle threat to have animal control jab a needle deeply into Ben’s rectum. Sodomy and sexual violence are time-tested means of establishing and maintaining White Manhood.

The only White father of the film, Adam, is hearing impaired, habitually absent, and abandons his White daughters and adolescent house guests with a knowingly infected simian on the premises. The veterinarian interrupts dad’s book signing to inform him that Ben is rabid, yet he doubts her.

As opposed to herds of murderous White males, Race Soldiers with badges, and robed klansmen who’ve taken pride exterminating countless black males in the name of safeguarding White femininity, the White Men of Primate are an impotent indictment of “the man’s” failures to protect and manage his castle and non-white property.

The bot was initially resistant to this counter-racist interpretation, but Robert’s usage of the pool verified every Racist molecule of this project. Just like the negro apes, and Uncle Ben’s grains, prohibiting black people’s access to swimming pools is an ingrained aspect of White Culture.

When the White girls recognize that Ben’s revolt has begun, they instantly remember the chimp can’t swim, so their only sanctuary becomes the pool. Primate evokes generations of White violence that denied the existence of black swimmers and infinite Racist canards about burly Bens intent on ravaging sun-burned White chicks. The White girls are now manless and trapped in a pool with an insurrectionary beast denying their exit.

The failure of White Manhood, and White Power more broadly, is so widespread, no one has a charged, functioning phone. When the phones do work, the White girls can't give the 9-11 operator sufficient information to initiate a rescue. But the most glaring dereliction of White duty is that this household lacks a firearm. Primate spits in the "cold, dead" face of Charlton Heston, the former spokesperson for the National Rifle Association and lead actor for the first two installments of Planet of the Apes. These White people abandoned all sense of protection, adopted a jungle beast, dressed him in an “aloha” t-shirt, and thought of him as “family.”

White people did accuse Barack of taking their guns.

Without pistols or White penises, the White girls are left groping for shovels, bottles, and other primitive weapons to combat a substantially stronger Ben. They critically turn to the signature Race Soldier weapon: a rope. During a 2016 discussion of the film franchise The Purge, Admitted White Supremacist Dr. Martin Kevorkian described the symbolism of a White family requesting a rope to confine a black male who has a salivating, White gang begging to lynch him. Kevorkian said this mimics the long history of hanging black males for the maintenance of White Power - which necessitates black death.

The White Women make two attempts to lasso Ben, and they both fail. The second attempt is a protracted tug of war, where the noose does go around Ben’s head. The bot and I think this display, as well as Ben’s eventual double empaling, serve as reminders and nostalgia for the primitive White violence used to control black people a century past. The resurrection of White Power and White Manhood demands a black blood letting. Unreliable mobile phones and 21st century gadgetry are not the necessary tools to stop “woke” beasts and extract black blood.

When Ben is finally “put down” - twice, his blood drains into the same pool where nearly nude White Women were just held captive. Bot emphasized the “double” execution of Ben mirrors the spectacles of extreme violence enacted during lynchings. It’s insufficient to merely kill a black dude. White Men require his testicles. White People demand negro knuckles, fingers and teeth as souvenirs of the time they quieted Ben.

This is what hoards of White people, maybe even our current President, dreamed for Barack.

In fact, Ben got the same death as King Kong a century earlier, both are tossed from a building and plunge dozens of feet to obliteration. Both “falls” represent the restoration of White People to the supreme position, on top, with the beastly ape/negro at the very, bottom - meaning the grave.

Bot also emphasized Ben is not rabid. Rather, he’s engaged in "guerrilla warfare" because he talks back. We’re told Ben was a research animal to help White people communicate with chimps. Ben has an elaborate speech pad, where he can strike different keys to play audible words. He can even conjure rudimentary sentences. Roberts’ Primate is aping Planet of the Apes, where those gorillas’ acquisition of language is a key component of their overthrow of White people.

Primate’s most important and repeated line is: “Bad Lucy.”

White Lucy is one of the main characters, and she does survive the chimp revolt. In the context of this film, and the horror genre more broadly, White Lucy is “bad” for shacking up at “Whore Mansion,” doing drugs, underage drinking, and being a neglectful big sister. In the context of Ben’s uprising, White Lucy and her White family are “bad”/Racist because they stole/enslaved this chimp and brought him half way around the world to their man-made “Eden” on a colonized non-white island.

Barack’s homeland has no native chimps. In fact, Hawaii is one of the most sensitive and isolated archipelagos in the world. Consequently, they have very strict biosecurity prohibitions on admitting non-native species like Ben. As with lynching, there is a long history of invading, “bad” White people - like Barack’s White mother, bringing species and things to the islands with disastrous consequences.

Ben has been stolen from his family, used as a lab subject, and stuffed in a Hawaiian dungeon for the entertainment and intellectual gains of White people. Bot say it’s important that Ben dons a red t-shirt for the whole rebellion, signifying the history of circus and “street grinder” monkeys, which wore similar colors, and minstrel mockeries that equated chimps to black people. Ben’s a “house nigger” while White Lucy, and the rest of Ben’s White wardens in general, are very “bad”/Racist. Because the final line of the film is “Lucy bad,” Ben’s verbal indictment of White people is a massive aspect of why this film is considered “scary.”

Victims of Racism are not supposed to sass White people.

Not even to expose White lies. And White Lucy is a critical lie in this flick.

“On November 24, 1974, paleoanthropologists Donald Johanson and Tom Gray discovered the 3.2-million-year-old fossilized remains of Australopithecus afarensis in Hadar, Ethiopia.” They named her Lucy. The bot thought about this and concluded, “‘Lucy’ is the ‘Mother of Mankind,’ proving that all human life originated in Africa.” “By naming the White daughter Lucy, the film ‘reclaims’ that name for White womanhood.”

Similar to Pres. Trump’s ongoing lies that he won the 2020 presidential election, many White people seem unwilling to except that human life began with melanated hue-mans in Africa. Filmmaker Roberts doubles down on the names of White characters relating to the origins of mankind by christening the delinquent White father “Adam,” suggesting he and White Eve were the first to walk the planet in Eden.

On his 1975 album The First Minute of a New Day, which features a gorilla on the record cover, the late Gil Scott-Heron talks to a live audience between performances. He also noted the Racist tendency for White people to falsely claim being the genesis of human origins on earth. Acknowledging how media manipulates our thinking and sympathies, Scott-Heron encouraged that moviegoers be mindful about which characters they celebrate. He referenced a similar horror film where an animal stalks and slaughters young White people, Jaws. Scott-Heron told the crowd he rooted for the killer shark because he was in the water, the predator's natural habitat. The splashing White people are trespassing.

Despite Roberts structuring this film so that audiences relax and relish dead Ben’s blood staining the pool red, I cheered for my upstart guerilla brother. Ben may have been smuggled for all we know. Sissified White boys threaten to anally violate him - which may have already happened at the research laboratory, and he’s the property of White adults who neglect their own offspring. How much joy is in Ben’s life being caged by Whites on an island where he never sees another chimp?

“Like one White man said in the late 1950s. He said he doesn’t care what kind of car a negro has. He’s said he’s still a nigger. And when he rides by in a shiny car, to him, it’s just a monkey in a car. White people built the care. Put a monkey in it. Train the monkey to drive the car, so now, you’re looking at a monkey in a car. See, but black people don’t see themselves that way. But this is how the White Supremacists see us, and they are the ones who run our business. And we have to know that. That when they look at us, that’s what they see. That that’s what they see. And at a subliminal level, what they see begins to spill over into our brain. So that we see at a subliminal level see each other that way and indirectly see ourselves that way.” Neely Fuller Jr. 2008 (months before the election of Barack Obama)

Pres. Trump probably watched Primate before posting his Racist image of the Obamas. I bet he at least saw the trailer. And I’m for certain he remembers Travis, who, like countless black people, was put down by White officers’ bullets. Roberts, who is British, confessed to remembering and being influenced by the chimp's 2009 escape and shooting death.

Travis. Barack. Ben. They are one and the same according to our president and Whites writ large. The trio are at least close relatives.

Admissions Granted (2024): #ANTIBLACKNESS #SIFFTY

2024-06-04T19:25:00.000-07:00

Produced and Directed by: Hao Wu (@beijingloafer), Miao Wang

Run Time: 90 Minutes

Rating: 0 Stars, The Worst of 17 Films Gus Saw @ SIFF2024

While the US Supreme Court was dismantling so-called “affirmative action” programs in higher education during the summer of 2023, Gus T. invited Dr. Jennifer L. Pierce to discuss her book: Racing For Innocence: Whiteness, Gender, and The Backlash Against Affirmative Action (2012). A White Woman/Suspected Racist and expert on both “affirmative action” and the System of White Supremacy, Dr. Pierce’s text exposes how dialog on this contested program reliably and deliberately misrepresents “black” people (especially “black” males) as “unqualified,” lazy applicants seeking unearned handouts at the expense of hardworking, scholarly Whites. Racing for Innocence details how decades of cinema and Supreme Court decisions suggest that because of “affirmative action,” “whites are disadvantaged vis-à-vis black Americans.”

The latest film in this White Supremacist tradition is the MSNBC documentary Admissions Granted (2024). Slated for mainstream release later this month, California’s VC Film Fest told moviegoers that “Admissions Granted takes an honest and thoughtful look at the complexity of the affirmative action debate.”

There’s little honest about Admissions Granted.

The documentary showcases a number of “asian” students with gaudy résumés and sincere frustrations about being rejected from the ivy palace that is Harvard. As they continued to suggest that there were specific efforts to exclude or hinder applicants classified as “asian,” I began to wonder what percentage of Harvard’s students are classified as “asian.” You’ll have finished your popcorn and watched nearly the entire film before you’re told (without graphics or fanfare) that 28% of the Cambridge scholars are “asian.”

The big lie is at the center of this film. This falsehood is so redundant, I expect it, and now, respond aggressively when any person mutters “affirmative action” to grouse about people classified as “black.” Dr. Pierce, a White Woman, stresses that the greatest beneficiaries of “affirmative action” are people like her. White chicks. This is not confidential or new information. Time magazine wrote about this in 2013. The Admitted White Supremacist known as Tim Wise penned an essay last century detailing White Women’s rejection of “affirmative action” in spite of the fact that they’re the primary beneficiaries of the program.

Filmmakers Hao Wu and Miao Wang know this. Audiences get more deceptive stalling and have nearly exited theaters before they’re told that White Women benefit most from so called "affirmative action." The fraudulence and cowardly filmmaking at the core of this project are laid bare with whom Wu and Miao chose to inform us about this.

Whoopi Goldberg.

Not Dr. Jennifer Pierce. Not an ivy league, critical race scholar. Not even a screenshot of that Time magazine report.

Whoopi Goldberg.

Wu, Wang and I were all present for the Seattle International Film Festival's May 13th screening of their film. During the subsequent Q & A, I asked why they chose this Lion King (1995) alumnus to share such a vital piece of information. Both filmmakers responded, saying that they wanted to pick someone that viewers would recognize. They also conceded that there are many aspects to the discussion of “affirmative action,” and they hoped the scene would encourage viewers to research more about who has benefited from this program.

Wu and Wang said what they said. Their documentary is dishonest and anti-black, and logic suggests they chose someone who worked as a comedian and is commonly thought of as a “negro" "jester” to minimize the import of the statement. Ms. Goldberg is not an academic scholar. This film has loads of prestigious-degreed students and faculty to give expert, respected opinion. Why would a five second soundbite of someone widely regarded as a “black” “clown” sway White (or non-white) opinions on this subject or even encourage them to investigate more closely?

I hoped this film would showcase many informed “asian” (non-white, non-black) people voicing their allegations of college admissions abuses and their views and frustrations about Racism in education. Many “asian” students and their parents get screen time to share a wealth of opinions.

However, Admissions Granted is an ode to a White Man. Edward Blum.

Ward Connerly & Edward Blum

Blum has spent more than a quarter century court-clogging under the guise that “affirmative action” wrongs White people. Anyone suggesting people classified as White are somehow wounded by “affirmative action” is militantly dishonest and dedicated to White Supremacy. Blum is so refined in his practice, he’s concocted a code for showcasing his partnerships with non-white people. Decades before he met Wu and Wang, Blum teamed with “black” male Ward Connerly to scrap California’s "affirmative action" plan in higher education. Admissions Granted discusses how the elimination of California’s plan correlates with a substantial reduction in the number of “black” students in the California university system.

One glaring moment illustrates the cast and filmmakers’s overall contempt for "black" students in California and the universe.

But you have to watch a lot of Blum before you get to this part. We’re treated to Blum’s home life, career accolades, we meet his White Wife and even his hound. In contrast, "black” people are mostly shown gyrating and shouting at protests, denying their presumed welfare-ish and undeserving student status, or being called names by the filmmaker. In fact, Blum gets more screen time than all the other “asian” students, parents and faculty - who were supposed to be the center of this project. I wondered if MSNBC’s support or other funding sources for Admissions Granted were contingent on this White Man being a central component of the film. Perhaps there’s less interest for a documentary exclusively focused on genteel “asian” students’ flimsy claims of academic discrimination at Harvard.

We don’t meet Danielle R. Holley’s Dalmatians or goldfish. Classified as a “black" female, we don’t learn about Holley’s accomplishments at Harvard law school, if she met President Obama while there, or how White Supremacy/Racism hampered her pursuit of a law degree. However, Hao Wu chooses this moment to add his voice to the film. He brands then-dean of the School of Law at Howard University an “affirmative action baby.” In my technicolor dreams, Ms. Holley, the current President of Mount Holyoke College, channels the spirit of Howard alumnus Chadwick Boseman and buries a Black Panther fist in Wu’s esophagus, then has security roll him down Howard Hill.

This scene illustrates the cowardice and anti-blackness that's the bedrock for this film. Wu and Wang lack the backbone to track down Hillary Clinton, New York Governor Kathy Hochul, blond entertainment mogul Taylor Swift, or hoops phenom Caitlin Clark and publicly, correctly libel them as “affirmative action babes.” Wu didn’t raise a peep to challenge Blum in any of the scenes that made the final draft. But he finds his courageous voice to insult a “black" female and provide non-white narration to the Racist tropes of "unqualified" “black” people debunked by Dr. Pierce and many others for over a decade.

Back to that other anti-black moment in this project.

Jeff Wang is one of the “asian” students who felt aggrieved by the Harvard admissions process. He and his father, Michael, are given ample time to detail their nuanced perspective on the admissions process and “affirmative action.” When we first hear Wang’s cries of injustice, he’s sporting blond highlights. The film moves forward, with lots of Blum, and after what seems like years, Wang returns. Sans blond and well-rooted at the University of California at Berkeley, he and his “asian” pals fraternize and discuss the politics of Racism and college admissions. They briefly (nanosecond) lament the lack of “black” students on campus. Things aren’t perfect. Jeff Wang didn’t get into Harvard, but Berkeley is a world class consolation prize. Wang’s future's so bright, highlights are redundant. In their stead, seated girlfriend-ly close, a real life White Woman. With blond tips.

Blondness reigned throughout the conclusion of the film, into the Q & A period, and for the duration of the 50th annual SIFF. Admissions Granted closed with scenes of "black" people protesting in support of “affirmative action.” As the Supreme Court guts the program, a "black" female, who’s probably not going to Harvard or Berkeley, whales in despair while brandishing the US flag. Red, White, & blue frame her crown of blond locks and tears.

A few minutes after this scene, the film concluded, and the audience was allowed to ask questions. Someone I think would be classified as a “black” female shared that she really appreciated this film even though things don’t seem to be headed towards Justice. She had blond hair too.

Coloring hair isn’t criminal activity. However, what you do with your hair sends a message. And non-white people have been skillfully programmed (often with films) to poison and mutilate our bodies and minds in pursuit of White beauty standards. Standards most people classified as White flounder to achieve themselves. Non-white failure of standardized White beauty tests was a theme painfully reinforced throughout this international festival.

Admissions Granted features former C.O.W.S. guest and former Howard law professor Frank Wu. He wrote the book Yellow: Race in America Beyond Black and White (2002), which examines how “asian americans” have been victims of White Terrorism and their resistance. As the the term “yellow” applies to this film, it concerns the scaredy-cat filmmakers who were brave enough to confront the White man’s dog and mock a "black" female dean, but too chicken to examine White Women’s supremacy in “affirmative action.”

Wu & Wang didn’t want the White smoke with the Swifties.

** Dedicated to Akai Gurley, who did not take any Harvard slots from more qualified White or "asian" applicants.

LIVE Stream of The C.O.W.S. Radio Program

2022-03-31T13:07:00.000-07:00

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REVIEW: King Richard (2021) #YetundePrice

2022-03-06T21:36:00.003-08:00

“As we got closer to Venus’s birth, it seemed like every three or four days Oracene would go to the hospital. Finally, they said she was ready to deliver, and I took her to have Venus. As I was putting on the gown and slippers to go to the labor room, I started thinking about all the things I wanted Venus to do—to play tennis, to be educated, to be a certain kind of person. Then I thought about what that little baby was going to experience if she was going to do all that. She was going to go through all of the prejudice I had been through. She was going to be called names. She was going to be called “nigger.” I could visualize it all, and I didn’t want that for my child. Suddenly, I couldn’t bear for Venus to come into this world. Not that I didn’t love her. Of course I did. I didn’t love what she would have to go through—and if there was any way I could have stopped it, I would have. I started to yell. Pain tightened my chest and sweat poured off me like I was having a massive heart attack. My life rose up to haunt me and I couldn’t bear my child having to go through what I experienced. The nurses wanted to know what was wrong, but I couldn’t share with them what was happening inside me.” - Richard Williams

I generally avoid Hollywood’s “holiday” blockbusters (see: Django Unchained - Christmas 2012; American Sniper - Christmas 2014; SHAFT - July 4th, 1971) and films with predominantly black casts. The System of White Supremacy demands that black people be depicted as criminal, sexually sinister buffoons who must be governed by Whites. I was uncharacteristically excited for the “Thanksgiving” release of King Richard, a biopic detailing the origins of two of the world’s greatest tennis players and most well known Victims of White Supremacy, Venus and Serena Williams. And then, I was uncharacteristically impressed and appreciative. It’s a rare thing to sit through 2 hours of of black affection and self-respect.

They’re no spoiler alerts here because we all know how the Williamses’ story concludes: Two gorgeous black females revolutionize and dominate women’s tennis and professional sports globally. Despite their unparalleled accomplishments, Venus and Serena continue to be brutalized by the System of White Supremacy. In fact, during a 2012 visit to Nigeria, Serena told an audience, “the greatest obstacle we had faced were those who at this stage caused racial uproar.”

And with so much Williams domination, Racists have roared.

King Richard is restricted to the pre-champion, adolescent days when Richard Williams, depicted by “Fresh Prince” Will Smith, and then-wife Oracene Price, portrayed by the lovely Aunjanue Ellis, invested maximum time and energy to develop their two tennis prodigies. A 10-part series may be insufficient to cover the ceaseless and trifling attacks targeting the entire Williams family from the White aristocracy of tennis. An abbreviated list of malice includes:

Relentless, unfounded allegations that Richard Williams pre-determined the winner when his daughters faced each other. The two ran roughshod over the White girls of the WTA for better part of two decades and faced each other 9 times in a Grand Slam finals or the WTA Championship. Whites were certain the uncouth black dad instructed one daughter to lose on purpose.
Indian Wells, March 2001. 19-year-old Serena took the crown, trouncing Kim Clijsters and a boorish crowd of thousands of unruly Whites. Spectators believed Mr. Williams “selected” Serena as the winner and made 20-year-old Venus withdraw with a sham ailment. Serena boycotted the event for over a decade, while Venus never returned.
Being twice as good, paid half as much. Maria Sharapova is White, and that’s about all she has on Serena. Apparently, that’s enough. The two played 22 times. Serena won 20. Sharapova’s nabbed 36 WTA singles championships. 73 for Serena. Winning be damned, Sharapova consistently made $10 million more from endorsements per year than Serena.
Regularly referenced as males (or worse). In 2014, Russian Tennis Federation President Shamil Tarpischev branded the tennis icons “the Williams brothers.” Tarpishcev is a part of a White Supremacist chorus that dehumanizes black males and females. In 2001, Sid Rosenburg called the sisters “animals who should be banned from playing on the women's tennis tour.”

White Supremacy and championships abound in the Williamses’ biographies. Although King Richard couldn’t make time for all of this, the dramatization poignantly captures the fears, horrors, vulnerability, and labor of attempting to parent black children in a System of Racism.

The film delivers numerous bloody conflicts between Mr. Williams and a cadre of young black male criminals. They make lewd comments towards his daughters and terrorize and assault Mr. Williams. The father and coach wrote an autobiography (Black and White The Way I See It), which confirms this violence. Mr. Williams adds that he deliberately relocated Serena and Venus to a sleazy, vicious region of Compton because the “ghetto makes you tough and strong—unless it doesn’t do anything for you at all but get you killed.”

Between episodes of black hooliganism, there’s one moment where the vulnerability of black parents is exposed at the hands of White people. Mr. Williams and his soon-to-be-famous daughters return from practice to find a White female social worker flanked by armed White enforcement officers. The film suggests a snooping black neighbor instigated this intrusion. The White officials “needed to look” at the household, and, presumably, the nefarious activities of the black inhabitants. For decades, White Women - under the guise of “child welfare,” have flexed state authority to deposit untold numbers of Serenas, Venuses and Minister Malcolm X's (and his siblings) into ghastly depositories for black children.

Smith gives a remarkable performance, and this scene is magnificent. Mr. Williams rules his household even in the presence of a blond White Woman and badge wielding White lawmen. He and Ms. Price invite inspection of their young savants and parenting techniques. Mr. Williams brags about being “hard” on his daughters before challenging the officers to arrest the [White] “parents at them tennis matches.” See Indian Wells.

The film offers several sly glimpses of White parents berating their tweeners for poor backhands and wide serves, or simply telling a child to lie to escape defeat. Beyond sportsmanship, audiences see Mr. Williams’ vigilant observations of tennis star Jennifer Cappriatti, who debuted in professional tennis at the age of 13. Watching the White teen sensation’s narcotics arrest swayed Williams’ approach to shaping the genesis of his daughters’ unprecedented careers. Black girls aren't allowed a “second serve” for mistakes of youth.

This 2+ hour epic provides a heap of supremely captivating moments. As Venus and Serena begin amassing one of the greatest trophy halls in history, they read the first newspaper reports of Venus’s accolades while the 1991 video of the late Rodney King being bludgeoned by Los Angeles Police Department officers distracts their parents. This scene is beautifully executed with the children facing away from the television, their jubilee undisturbed. Meanwhile, Ms. Price musters the feeble hopes of a black parent in a System of White Supremacy when she tells her husband: “At least they got them on tape this time.”

Again, no spoilers. We know having video of King being mauled meant nothing in Semi Valley. Los Angeles was left smoldering a year later, following the April 1992 acquittal of all White officers charged for bludgeoning Mr. King. When black lives are daily, globally pulverized, it is audacious and, seemingly, foolhardy to plan for and dream of magnificent accomplishments for black girls or boys.

The Williams parents dared to plot their children’s path to tennis royalty in the face of unchecked police terrorism escalated by the 90’s War on Drugs. The film masterfully pivots from CNN’s Bernard Shaw reporting on the piñata-bashing of King’s skull to young Venus and Serena flanking former First Lady Nancy Reagan. The White tennis crowd and Williams crew are admonished to “Just Say No” to narcotics, or they too could end up beaten and jailed like Mr. King (Dr. Martin Luther or Rodney). The scene concludes with Mr. Williams jokingly branding the Whites in attendance KKK members before releasing a round a flatulence to answer the would-be-klansmen’s offer to take control of Venus’s career.

The former First Lady and President Ronald Reagan did take selfies with the future tennis titans. Those pics paired with the photos of Mr. Reagan authorizing the federal observation of Dr. King’s holiday could be an impressive collage. Call it the: “Proof we’re not Racist” album.

Venus and Serena hobnobbing with White powerbrokers signaled their burgeoning star power and generational tennis acumen. And it was just as Mr. Williams planned. In spite of White Supremacy and all lesser obstacles, he and Ms. Price believed their black babies would be extraordinary.

One thing I appreciate most about this project is being immersed in an affectionate black family. To borrow from Ta-Nehisi Coates, audiences witness “all the love poured into [Venus and Serena]. The gasoline expended, the treads worn carting [them] to [tennis matches]. The embraces, all the private jokes, customs, greetings, names, dreams, all the shared knowledge and capacity of a black family injected into” the beautiful tennis conquerors we now exalt.

But King Richard is not Pollyanna. Ms. Price and Mr. Williams have bitter disagreements about raising their girls and life in general. The two divorced years after the events depicted in the film. However, the two attempted black parents remain flirtatious and share tender moments in front of their offspring.

And, poignantly, the film includes all 5 girls of Mr. Williams and Ms. Price’s attempted family. Mikayla Bartholomew resurrects older sister Yetunde Price, who was "accidentally" shot to death by gang members in 2003. While discussing the film, Serena revealed, “I think I cried the whole time. Whenever she came on film, I just — personally, I just started, like — I mean, even still.” The film triumphs showing the intimacy and love that molded two legends, and Yetunde’s presence is a powerful component of this origin tale.

Although Yetunde was 31 at the time she was killed, her death illustrates the fears and vulnerability of Ms. Price, Mr. Williams, and every attempted black parent who cannot protect their child from the omnipresent violence of White Supremacy. Mr. Williams courageously, candidly shared the fears and frailties of a black father in the section of his autobiography that details Venus’s birth.

King Richard climaxes - there’s still 35 minutes of movie after this scene, but this is the big finish - with Mr. Williams confessing his fears as a black dad to his daughter, “Junior.” Smith gives a master performance, tearfully telling Venus she’ll be “representing every little black girl on Earth.” She and Serena will be called niggers and worse. There will be days when it seems the entire tennis stadium is brimming with White Supremacists, thirsty for the Williamses destruction… and her black father will be helpless.

Call it a pitiful truth, but this brilliant bit of cinema and parental honesty should be replicated between non-white parents and their offspring. Lying about or minimizing the System of Racism and the power individuals classified as White wield over black lives is dangerous and a hallmark of defective parenting. Venus and Serena were prepared to dominate the WTA. Mr. Williams and Ms. Price were equally vested in readying their two prodigies for the System of White Supremacy. The morning before Venus’s first big match, her mother provides a big dose of tactile love, braiding her daughter's hair and breaking out the beads, which were a fashion staple of the adolescent Williams sisters. While pampering, Ms. Price reminds her girls that they’re just like slave-turned-abolitionist Sojourner Truth: beautiful, strong, trailblazers.

Smith and his exceptional co-stars didn’t just win over Gus. King Richard bagged six Academy Award nominations, including one for Best Picture. In spite of this, there’s been a staunch, vocal White chorus determined to malign this project.

In late November, Dr. Jessica Taylor whined about Mr. Williams being the source of the film’s eponymous title - as though this was yet another example of “black male privilege” and Venus and Serena getting shafted in their own biopic. I’m certain the film’s executive producers, who happened to be Serena and Venus, thoroughly enjoyed this critique of their dad.

Just maybe.. two black daughters wanted to give their attempted black father some love?

To put a bow on “black history month 2022,” Kim Masters of Southern California’s KCRW’s interviewed the film’s director, Reinaldo Marcus Green. For the better part of twenty minutes, Masters consistently found her way back to asking Green how much material had to be sanitized to hide from audiences the philandering, flawed, black-male-brutishness of Richard Williams.

Apparently, it’s difficult for White Women and White Men to appreciate and commend an attempted black father who not only worked to make sure his offspring were not “running with hoodlums and doing drugs,” as the Williams patriarch told the White social worker, but also believed his black girls would conquer the über White world of professional tennis, become international black powerbrokers, and bankroll Oscar-nominated Hollywood flicks showcasing their affectionate, flirtatious, constructive attempted black family.

Mr. Williams’s autobiography, which was published years before this film, gives the highest praise to Ms. Price and her essential and complimentary role in coaching their daughters. In fact, during the book promotional tour, the beastly, black Mr. Williams told BBC Radio: “Through my girls and through a lot of women that was around me, I learned that womens (sic) have some of the greatest ideas in the world. The mens (sic) just need to learn to listen to them.”

Thanks to superb black parents, Venus and Serena have our ear.

Alice Sebold's 'If They Caught You," LUCKY #BlackMisandry

2021-12-31T21:58:00.004-08:00

Anthony Broadwater

“If they caught you,

long enough for me

to see that face again,

maybe I would know

your name.

I could stop calling you 'the rapist',

and start calling you John or Luke or Paul.

I want to make my hatred large and whole.

If they found you, I could take

those solid red balls and slice them

separately off, as everyone watched.

I have already planned what I would do

for a pleasurable kill, a slow, soft, ending.

First,

I would kick hard and straight with a boot,

into you, stare while you shot quick and loose,

contents a bloody pink hue.

Next,

I would slice out your tongue,

You couldn't curse, or scream.

Only a face of pain would speak

for you, your thick ignorance through.

Thirdly,”

“Should I hack away those sweet

cow eyes with the glass blades you made

me lie down on? Or should I shoot, with a gun,

close into the knee; where they say

the cap shatters immediately?

I picture you now,

your fingers rubbing sleep from

those live blind eyes, while I rise restlessly.

I need the blood of your hide

on my hands. I want to kill you

with boots and guns and glass.

I want to fuck you with knives.

Come to me, Come to me,

Come die and lie, beside me.”

They were going to turn this into a movie.

The above poem is from Alice Sebold’s 1999 “memoir,” Lucky, which purportedly details her 1981 rape by a black male while she attended Syracuse University. Sebold’s biography was recently spotlighted after convicted rapist and registered sex offender Anthony Broadwater was exonerated for this crime. He’d already served a sixteen year sentence for sodomizing a White Woman while steadfastly maintaining his innocence.

Ironically, executive producer Timothy Mucciante was working on the film adaptation of Lucky and found Sebold's account fishy. He hired a private investigator, which cemented his belief that a black male was wrongfully caged. He’s now working with Broadwater to make a documentary about his experience of White Terrorism called Unlucky.

Many White-dominated outlets have discussed this case and the destruction wreaked on Broadwater’s life. The former U.S. Marine decided against having children because of his status as a “rapist.”

But there is no analysis of Sebold’s poem, which is smack in the middle of a book that boasts a million copies sold. And they were going to turn it into a film!

This poem - and Lucky in total - represents another dynamic of White Power: Individuals classified as White are allowed to be publicly, violently angry and vengeful. Whether the 2015 Mother Emanuel AME Victims of White Terrorism or Anthony Broadwater himself, black people are obligated to forgive and reconcile with Racist Woman and Racist Man. The book publishing industry - which is dominated by White Women - would not tolerate the publication of a manuscript where Dylann Storm Roof’s Victims talked about their fantasies of violent retribution against Whites.

But Lucky sold a million copies… And was about to made into a film.

Dr. Tommy J. Curry and Melissa K. Stein visited The C.O.W.S., and both talked about the willful erasure of White Women from the scene of Racist violence against black people. Both scholars dissected how White Women like Sebold were often present for lynchings and, sometimes, like Sebold’s poem, participated in the bloody carnage.

Sebold's poem is not the product of sublime imagination or literary genius. Sebold is writing the history of her White Supremacist ancestors. Every act of torture she hopes to carry out, has been executed against black males many times over.

She kicks off the poem with the most cliche act of White barbarism, hacking away “Negro” testicles. The similarly dubious accusations of Carolyn Bryant Donham cost 14-year-old Emmett Till his genitals and his life. Countless White Men have raped White Women, non-white females, and other males. You do not hear anyone talk about castrating Harvey Weinstein or Jerry Sandusky - both White Men are convicted sexual abusers.

After proving once again that Whites are the undisputed champions of genital mutilation, Sebold hopes to slice out the black male tongue. In 1944, White Supremacists lynched Rev. Isaac Simmons “so they could steal his land.” The White Terrorists “killed him brutally – shooting him three times and cutting out his tongue.”

Sebold talks incessantly about her White virginity and innocence throughout the text. All pretense of “White fragility” is lost when it’s time to pluck out “Negro” eyeballs. Like Broadwater, Isaac Woodard was a U.S. veteran. On the February 1946 evening he received an honorable discharge, a White South Carolina police chief beat him in the face until he was permanently blind. The History Channel states that Emmett Till also had both eyes gouged out.

It’s not surprising that Sebold includes that White Syracuse University security officers, when told that her alleged “Negro” rapist was in the vicinity, “were not as much university representatives that night as they were hunters with a fresh scent.” One of the White "hunters" uses his billy club on three random black males, even though Sebold writes, "It was wrong to hassle, and perhaps physically hurt, three innocent young black men on the street."

Animals, not people, are “hunted.” And black males are never presumed innocent.

Sebold’s father explicitly brands random black males “animals” following his daughter’s alleged rape. White men rape and rob the elderly in Sebold’s Lucky. They are not dehumanized, and no one speaks gleefully about carving their carcasses in retaliation for White wrongdoing.

The only priority and lone focus of the book is to reinforce the mythology of the black male rapist, the innocence and purity of White Women, and the necessity for White violence to keep the black male penis subdued.

If Sebold was raped by a White Man (or White Woman), there is no universe where an audience would be treated to her depraved fetish to “fuck” a White man with knives. Only the culture and System of White Supremacy craves and devours literature and movies that justify extraordinary (often, extralegal) violence against black males.

The final line, where Sebold beckons Broadwater to come “die and lie” with her, suggests a familiar component of necrophilia and sexualized violence against black people - black males especially. The fact that a million mostly White readers feasted on Lucky and the presumed guilt of Broadwater for nearly a quarter century without question or interrogation is evidence of the widespread belief in the black beast rapist and the White duty to violently subdue him/“it.”

Mr. Broadwater said he never read Lucky, which, thankfully, spared him from reading about the lynching a White Woman planned for him.

REVIEW Isabel Wilkerson's Caste: The Origins of Our Discontents

2020-12-17T13:57:00.005-08:00

For many reasons, we needed rescuing from 2020. Covid-19 disrupted all areas of people activity and life around the planet. Simultaneously, police slaughters of black people prompted global protests against the System of White Supremacy. In the midst of a U.S. presidential election, violent confrontations between enforcement officials and citizens, and an unprecedented viral scourge, Pulitzer Prize-winning journalist Isabel Wilkerson allegedly tossed us an elixir.

There’s been a lot of snake oil this year.

Wilkerson compiled decades of topnotch reporting for The New York Times – much of it addressing Racism/White Supremacy. Her 2010 publication, The Warmth of Others Suns : The Epic Story of America's Great Migration, is an eloquently written, meticulously researched narrative of 20th century black migration. I, like former President Barack Obama, caped hard for Wilkerson’s first book and was piqued by news of her latest offering.

Alas, hopes of consecutive constructive books were quickly annihilated. Caste: The Origins of Our Discontents is dubiously poor in quality. Where The Warmth of Other Suns provides enormously detailed information and high-quality, clear writing, Caste is a mealy-mouthed presentation of sloppy metaphors that works hard not to offend White people.

Oprah Winfrey, who’s networking with entertainment mogul Ava DuVernay to adapt this text into a documentary film, declared, “[Caste] might well save us.” Winfrey, DuVernay, and Wilkerson are all qualified and entitled to their respective views. But it’s highly doubtful Caste will help us end Racism or even get a better understanding of the problem because “this book is pointedly not about racism in itself,” writes Wilkerson.

Some readers may logically conclude that Wilkerson’s primary objective is to get non-white people to swap the term “Racism” for her book title, “Caste.” In nearly every 2020 interview and in the text, Wilkerson explains that the term “Racism” is too limited to encompass the systemic terrorism Whites wage against black people. She submits that “caste” is more adequate to convey the omnipresent and never-ending suppression of non-white people and labors mightily to persuade readers. The term “caste” appears more than 1,000 times in the book – which does not include the title.

In chapter six, Wilkerson dissects “The R-word,” writing that for Whites, “The word is radioactive—resented, feared, denied, lobbed back toward anyone who dares to suggest it. Resistance to the word often derails any discussion of the underlying behavior it is meant to describe, thus eroding it of meaning.”

Wilkerson chucks “the r-word” and often identifies people classified as White as “members of the dominant caste.” Caste provides a full course of word-salad as Wilkerson describes the rape of black slaves as dominant caste enslavers being “invited to impregnate the women themselves if so inclined.”

Pussyfooting and circumlocutious dialog that presents information in a convoluted and indirect way helps maintain the System of White Supremacy. Talking about Racism in a manner more palatable to the “dominant caste” helps maintain the System of White Supremacy. Minister Malcolm X notoriously encouraged us to “make it plain.”

One unambiguous goal of Wilkerson’s work is to not offend White people. The book redacts the “r-word,” often deliberately shirks labeling anyone as White, and name-drops a collection of so-called well-meaning Whites. Wilkerson devotes an entire italics section to the work of Jane Elliott – an Admitted White Supremacist, and bookends the text alluding to the 2017 killing of Heather Heyer. Many reference the Charlottesville, Virginia protests that lead to Heyer’s death as an example of Trump-inspired White rage and extremist violence.

In fact, Wilkerson and others include Heyer’s martyrdom alongside the 2015 terrorist attack of Dylnn Storm Roof. After researching and visiting the South Carolina Mother Emanuel AME congregation, Roof sat with black worshipers before slaughtering 9 people. Wilkerson omits the names of all of Roof’s victims. Readers are not told that Roof may have committed a White Supremacist political assassination, as one of his victims was State Senator Rev. Clementa Pinckney.

Conversely, Heather Heyer, a White Woman, is named repeatedly in the text. Wilkerson describes the 2018 police shooting of Botham Jean and the 2015 police assault of Thabo Sefolosha. Like those butchered at Mother Emanuel, Jean’s murder and Sefolosha’s suffering are depicted as anonymous black victimization. The hashtag #SayHerName was created to acknowledge how black female Victims of Racism and violence are often ignored and minimized. Wilkerson continues the same pattern throughout Caste – although often applied to black males.

One male who is named is Wilkerson’s deceased White husband, Brett Hamilton.

In the acknowledgements, Wilkerson first makes it clear: “this book is pointedly not about racism.” Then she tells us about who inspired this project:

“Finally, I am grateful beyond language for the love and devotion of Brett Hamilton, the kindest and most giving husband I could have wished for, a gift from the universe. Many of the observations in this book first found a voice in our deeply fulfilling conversations and in our life together. While it breaks my heart that neither he nor my parents lived to see this culmination of what we, each in our own ways, sought to transcend, I feel his cosmic embrace as I send this out to the world…”

A C.O.W.S. listener pondered how we would respond if a black male authored a bestselling book about Racism, where he gushes about his White spouse who “transcends” race. I’ve yet to think of such an author, so I’m still pondering.

Incidentally, months after Caste’s publication, The C.O.W.S. hosted Dr. Paul Ortiz, whose research on White terrorism against black Florida voters is referenced in the book. He celebrated Wilkerson’s writing ability, said he’s had the privilege of being a part of speaking engagements with her, and explained how he explicitly instructs his students to avoid dangerous clichés like notions of “transcending” Racism/White Supremacy.

Dr. Ortiz said he read Caste, but skipped the acknowledgments.

Wilkerson paints a full White circle with Heather Heyer and her spouse. The acknowledgements conclude Caste, while her book begins with this dedication: “To the memory of my parents who survived the caste system and to the memory of Brett who defied it.” Wilkerson fails to offer detail for many components of Caste. Names of black people are omitted, footnotes are absent from the body of the text, and Wilkerson refuses to offer a sentence explaining how her White hubby defied White Supremacy. Marrying a black female does not count.

Wilkerson insists that White people are ignorant about Racism, ignores the history of sexual exploitation of black males, and offers a plethora of faulty logic. This book – and the subsequent film – is dangerous material for non-white people. Works like this deliberately promote confusion about what Racism/White Supremacy is and how it works.

This book is so dangerous and lame I now give The Warmth of Other Suns the side eye.

Mother Emanuel AME Victims:

Reverend DePayne Middleton-Doctor

Mrs. Cynthia Graham Hurd

Mrs. Susie J. Jackson

Mrs. Ethel Lee Lance

The Honorable Reverend Clementa C. Pinckney

Mr. Tywanza Kibwe Diop Sanders

Reverend Daniel Lee Simmons, Sr.

Reverend Sharonda Coleman-Singleton

Mrs. Myra Singleton Quarles Thompson

The C.O.W.S. Book Club: Chris Kyle's Americian Sniper

2020-09-22T18:35:00.004-07:00

The Context of White Supremacy has hosted a book club for a decade. We've covered a lot of material and learned a lot about White Supremacy/Racism. Back in 2014 we explored Chris Kyle's American Sniper. The bestselling book was made into a feature length film - that was released on Christmas Day 2014. This book reveals a lot about what it means to be White. Look out for the urine. Whites have done a lot to disrupt our archives, so here are all the links for the text. With armed Whites contesting masks and terrorizing black people at will across the U.S., it might be a good time to re-visit this text.

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UPDATE: The C.O.W.S. Counter-Racist Yoga Retreat: Washington, D.C.

2020-03-01T21:26:00.000-08:00

~~The summer of 2020 offers a bounty of exciting events. Tokyo, Japan hosts the Olympic games~~....

And then came the rona. 2020 has been cataclysmic, confusing, and rife with cancellations. The Summer Olympics got postponed, classrooms from kindergarten to grad school have been vacated or limited to dodging penises and swastikas on Zoom, and the yoga studios and gyms are mostly still empty.

The U.S./Canadian border has been sealed for two months, which forced the cancellation of The C.O.W.S. Toronto Retreat scheduled for May. Lots of losses this year.

In the midst of global protests about Race Soldiers routinely suffocating black people and a novel respiratory virus that's reported to also be strangling black people (literally and economically), making time to breathe is all the more important for Victims of Racism. During our debut counter-racist retreat in Virginia, we affirmed and experienced why self-care must be a critical component of all counter-racist efforts. The System of White Supremacy is designed to drain the vitality from non-white people. It's imperative that we engage in self-maintenance, activities that replenish our life force and inspire us to make improvements and solve problems.

And it's always a good time to have healthy, delicious food!

This is why The C.O.W.S. is moving forward with plans to host the summer counter-racist yoga retreat in Washington, D.C. If Covid-19, protests against Racism, or other unforeseen 2020 catastrophes occur, we'll notify as soon as possible of changes.

We'll take adequate safety measures, including:

An abundance of soap for hand washing.
Cleaning materials to sanitize the residence.
Social Distancing

If anyone has suggestions to help ensure everyone's safety, please, share.

Originally, we planned to visit the Smithsonian and the Library of Congress. But.. the rona. It's unclear what public venues will be open come August or how interested people will be in wanting to be in a large crowd. As they say, we'll wait and see.

Even if we can't frolic throughout the nation's capitol, we will have healthy delicious meals - like what's pictured above, calming yoga, and constructive counter-racist dialog. They might still be protesting by the time we get there.

Date: Wednesday, August 5th to Sunday, August 9th.
Where: Washington, D.C.

There are a relatively small number of Washington locations that can adequately house a dozen people, so time is of the essence.

The investment for the D.C. retreat is $680. This includes:

All meals (Plant-based breakfasts, lunches, dinners and snacks. We'll enjoy the versatility and deliciousness of veggie-based cooking. No one will be hungry.)
Lodging
Morning and Evening yoga classes taught by Gus T. Renegade (200hr certified/ 85hr prenatal certified)
Counter-Racist Workshops
Cooking Workshops
Quality contact with like-minded Victims of Racism

This does not include:

Transportation
Travel Insurance
Yoga Mat

A $400 deposit is due by June 22nd. The deposit is non-refundable. The remaining $280 is due by July 19th. Payments can be submitted using PayPal (https://www.paypal.me/TheCOWS), CashApp (https://cash.app/$TheCOWS), or check/money order. Please, email Gus for mailing information.

For Parents!
There were a number of attempted parents who mailed Gus with sincere interest in attending the retreats with their offspring. However, Racism makes many things financially challenging for non-white people. To compensate, as long as there are eight paying adults signed up for the retreat, the cost for children ages 14 and under is $340. All adults and children are expected to participate in all workshops and yoga sessions during the retreat. Children must be at least 10 years of age.

Parents must submit a deposit of $170 by June 22nd to reserve a spot for your child. The remaining $170 is due by July 22nd.

Hopefully, the last half of 2020 will be astronomically better for black people, Victims of Racism. Make The C.O.W.S. Washington D.C. Counter-Racist Yoga Retreat a part of the improvement. #EatWellUseLogic

The C.O.W.S. Counter-Racist Yoga Retreat: TORONTO 🇨🇦

2020-01-10T15:12:00.002-08:00

The Context of White Supremacy Radio Program has dedicated eleven years to broadcasting counter-racist concepts and strategies to help Replace White Supremacy With Justice. Since becoming a certified yoga instructor in 2018, Gus T. Renegade has emphasized correct eating and exercise as critical components of self-care and counter-racism. Non-white people won't/don't have the vitality needed to neutralize Racists if we're reckless with nourishing, strengthening, and replenishing our minds and bodies.

The C.O.W.S. Counter-Racist Yoga Retreats are uniquely designed to help black people (Victims of White Supremacy) detoxify and nourish ourselves while courteously exchanging views and relaxation with other non-white people. Our first two retreats, in Virginia and Florida respectively, had lots of delicious plant-based meals, yoga, and courteous dialog.

We plan to continue this event as long as it's constructive. Up next, we travel north of the U.S. border to Toronto.

Date: Thursday, May 21st to Sunday, May 24th.
Where: Toronto, Ontario Canada

There are a number of Toronto locations that are within 40 minutes of the Toronto airport where we'll have beds for all participants, adequate bathrooms, and space for yoga. Once we have a definitive number of participants, we'll send out information with an exact address for the retreat.

The investment for the Toronto retreat is $660. This includes:

All meals (Chef Nadirah Khalifah prepared all meals for the Virginia and Florida retreats and will be flying north to cook plant-based breakfasts, lunches and dinners)
Lodging
Morning and Evening yoga classes taught by Gus T. Renegade (200hr certified/ 85hr prenatal certified)
Counter-Racist Workshops
Quality contact with like-minded Victims of Racism
Gift Bag with C.O.W.S. Retreat T-Shirt and surprises.

This does not include:

Transportation
Travel Insurance
Yoga Mat

A $400 deposit is due by February 29th. The deposit is non-refundable. The remaining $260 is due by May 1st. Payments can be submitted using PayPal (https://www.paypal.me/TheCOWS), CashApp (https://cash.app/$TheCOWS), or check/money order. Please, email Gus for mailing information.

For Parents!
There were a number of attempted parents who mailed Gus with sincere interest in attending the retreats with their offspring. However, Racism makes many things financially challenging for non-white people. To compensate, as long as there are eight paying adults signed up for the retreat, the cost for children ages 14 and under is $330. All adults and children are expected to participate in all workshops and yoga sessions during the retreat. Children must be at least 10 years of age.

Parents must submit a deposit of $165 by February 29th to reserve a spot for your child. The remaining $165 is due by May 1st.

Hopefully, you'll consider getting ready for the summer of 2020 with a constructive, counter-racist twist. #EatWellUseLogic

UPDATE! The C.O.W.S. 10-Yr. Anniversary Yoga Retreat: Florida

2019-08-13T16:49:00.001-07:00

Tentative Davenport, FL. location.

UPDATE (October 10, 2019). A number of C.O.W.S. listeners asked if there's a way to make the retreat more financially accessible. I was able to find a similar location in the Orlando area, that's substantially cheaper. I was able to lower the price by $200. Everyone who already paid the initial deposit, will have their final payment reduced accordingly.

The Context of White Supremacy welcomes 2020 in a focused, constructive and (hopefully) warm manner. The C.O.W.S. 10-Year Anniversary Yoga Retreat visits the Orlando, Florida area to promote plant-based meals, yoga and healthy counter-racist exchanges between black people.

When: Saturday, December 28th to Wednesday, Jan 1st.

We've tentatively located a residence approximately 35 minutes from the Orlando International Airport. The house has plenty of beds and bathrooms and outdoors space. There's a garage and street parking, and there seems to be no mud!

We have space for a maximum of 12 people. The event is child friendly and welcome to children age 8 and older.

The investment for the retreat is $730. This includes:

All meals. Chef Nadirah Khalifah prepared all meals for the Virginia retreat and will be flying to Florida to cook plant-based breakfasts, lunches and dinners.
Lodging. Everyone will have a bed.
Morning and Evening yoga classes taught by Gus T. Renegade (200hr certified/ 85hr prenatal certified)
Counter-Racist Workshops
Quality contact with like-minded Victims of Racism
Yoga Blocks
Gift Bag with C.O.W.S. Retreat T-Shirt and Yoga Tune-Up Balls

This does not include:

Transportation
Travel Insurance
Yoga Mat

Workshops will include tutorials on how to prepare vegetables in a tasty, nutritious manner. Participants will work along side Chef Nadirah, to get a hands-on-experience with the production of vegan meals.

We'll also discuss the toil of attempting counter-racism during the so called-holidays. The retreat will offer a respite from the gift-buying and seasonal madness, where Victims of Racism can replenish and prepare for a new year.

A $380 deposit is due by October 24th. The deposit is non-refundable. The remaining $350 is due by December 8th. Payments can be submitted using paypal (https://www.paypal.me/TheCOWS), or check/money order. Please, email Gus for mailing information.

Hopefully, you'll consider concluding 2019 with a constructive counter-racist twist. Please, email (untiljusticeATgmailDOTcom) with questions or concerns.

Dr. Frances Cress Welsing: Donald J. Trump and The Reconstruction of White Supremacy

2017-02-06T17:48:00.001-08:00

“I think that a critical word is reconstruction. I mean that's the word that has been used by historians and maybe misused. In other words, I look at starting with the emancipation of black people from formal enslavement - and slavery was a phase of the system of racism/white supremacy, enslavement of African people. So then the slaves were emancipated, and the slaves thought: ‘well, the shackles are off and now we're free. And we're going to be able to do whatever we need to do to maximally develop ourselves.’ And what the… emancipated African people were then faced with was a whole system of laws that were called Jim Crow laws. We can call them white supremacy laws, were set up and put in place to block Black people from really being able to move forward. And… many Black men… could be captured and put… on plantations to work even though [slavery] had come to an end. And so I say that was like the reconstruction of white supremacy.”

Third generation physician, general and child psychiatrist, and attempted counter-racist scientist Dr. Frances Cress Welsing died on January 2, 2016. She devoted more than a half-century to healing Black people and using her extraordinary skills to educate us about the global system of racism/white supremacy. The loss of this scholar and healer is colossal, cannot be quantified.

However, Dr. Welsing would not allow us to be discouraged. She would demand that we complete our cosmic assignment: replacing white supremacy with justice. Our appreciation for her contributions are best demonstrated by employing her teachings, demonstrating maximum Black self respect, and mimicking her indefatigable commitment to the production of justice on the planet.

To that end, days before Dr. Welsing’s transition – and nearly two months before the first Republican primary – she proclaimed that President Barack Obama’s successor would be Donald J. Trump. Approximately six months after her death, Trump was formally recognized as the Republican presidential nominee. Her clairvoyance was not the product of “Black girl magic” or haphazard guesswork, but rather, decades spent studying white people. Dr. Welsing courageously followed logic and confidently broadcast her analysis of what racism/white supremacy is and what motivates individuals who classify themselves as white to brutalize Black people and/or support Trump.

Dr. Welsing’s brilliance is only enhanced when juxtaposed with the historic failure of White journalists to anticipate Trump’s success. The Washington Post’s Dana Milbank declared, “Trump will lose, or I will eat this column.” Milbank swallowed his pride and his words – “newsprint and ink” – when Trump secured the necessary Republican delegates. Nate Cohn’s New York Times’ column offered many questions and few answers for how he and most others flagrantly misjudged the Trump candidacy.

“Was Mr. Trump’s victory a black swan… an unlikely event with complex causes, some understood at the time but others overlooked, that came together in unexpected ways to produce a result that no one could have reasonably anticipated? Or did we simply underestimate Mr. Trump from the start?”

Her seminal publication, The Isis Papers: The Keys To The Colors, explains how Dr. Welsing positioned Trump’s rise within the context of collective white behavior.

“All major and minor behavior-energy crystallizations or behavior-units in the global white collective – no matter how simple or complex, old or new, short- or long-lived – must conform, in the final analysis, to the basic behavior-energy equation of white over non-white (or white power over non-white powerlessness). This is the necessary power or energy equation for white genetic survival.”

Trump’s ascendancy was a predictable – necessary – creation of the 21st century global white minority. The white population’s declining percentage of the U.S. and world population, eight years of a black family occupying the White House, and a general anxiety about the declining potency of white power mandated a Trump-like figure to reconstruct white domination. Much of Dr. Welsing’s life work as well as fundamental aspects of her definition of white supremacy/racism are affirmed by Trump being a general election away from being the 45th President of the United States.

Following President Obama’s 2012 re-election, National Public Radio (NPR) hosted a post-election assessment. David Brooks pronounced, “the Republican Party has become the receding roar, for a lot of white people who are longing for a way of life that will never come back. Every other institution, in American life, has done this… They've adapted to a world with many more Latinos, many more Asian-Americans.” Dr. Welsing diagnoses this “roar” as the central motivation for the white collective’s perpetual hostility towards the global non-white majority. She maintained that individuals who classify themselves as white practice racism (white supremacy) “for the ultimate purpose of white genetic survival and to prevent white genetic annihilation on planet Earth – a planet upon which the vast and overwhelming majority of people are classified as non-white (black, brown, red and yellow) by white skinned people, and all of the non-white people are genetically dominant (in terms of skin coloration) compared to the genetic recessive white skin people.”

Permanent dissatisfaction with a melanin-dominant planet inspires and maintains unyielding devotion to global white rule and brutality against non-white people – especially Black people.

In subsequent years, NPR and other outlets have reminded white people that the planet is becoming blacker. A 2014 report – released days after the shooting death of Michael Brown Jr. in Ferguson, Missouri – declared: “The future of humanity is increasingly African.” UNICEF research “estimates that by the end of this century, 40 percent of the world’s people will be African.” They project the continent’s population “will soar to more than 4 billion by 2100.” This prognosis was not met with jubilee.

U.S. population estimates are no whiter.

In June of this year, The Wall Street Journal warned that “White Americans no longer account for the majority in hundreds of counties across the U.S.” Donald Trump has directly addressed “the fear of a black planet” better than any other candidate. His vows to erect a wall on the Mexican border and to prohibit Muslim immigration are naked appeals to white trepidation about encroaching, dark bodies.

Toni Monkovic theorized how Trump’s rhetoric is particularly alluring in regions where whites feel intimately menaced by non-white people. “Mr. Trump’s anti-immigration language lands with force for people who fear the browning of America. Within three or four decades, several reports have indicated, non-Hispanic whites will no longer make up a majority of the United States population.”

During one of her final interviews, Dr. Welsing deconstructed how whites’ minority status is at the root of their group pathology and tyranny.

“People who classify themselves as white are beginning to feel and become aware that whites are a tiny minority on the planet. And to the extent that there's any motion at all, even discussion about ‘Black Lives Matter,’ or any discussion about the absence of diversity where the person whose mindset consciously and/or subconsciously is thinking: ‘I'm white. And certain things are my right because I am white. And I can do whatever it is that I want to do to non-white people, and I can get away with it because that is my right as a white person in the system of racism/white supremacy.’ So that's their crystalized conscious and/or subconscious identity. Well, if cracks begin to appear in the system of racism/white supremacy, even cracks such as a discussion about gun control, then subconsciously the white person can start feeling like my system that has protected me, that has given me privileges above those that persons who are non-white have, it's sort of like the foundation is shifting.”

The 2008 election of Barack Hussein Obama represents a tectonic cataclysm.

The post-Civil War 19th century witnessed unprecedented accomplishments by formerly enslaved Black people. Ex-slaves reconstituted families, established schools and churches, and won political offices formerly restricted to White men. These feats galvanized a pogrom of white terrorism to re-shackle Black Americans. In White Rage, Carol Anderson describes how white citizens perceived “Black empowerment as a nightmare.” Former president Abraham Lincoln’s “better angels of our nature” failed to shape white conduct in the march to the 20th century. Whites like former South Carolina Governor Benjamin R. Tillman, who boasted about killing black people, were instead guided by “the threat of negro domination.” Anderson documents how the Klu Klux Klan and other White terrorist organizations slaughtered Black citizens with impunity, as “the Reconstruction era descended into nothing less than an age of violence and terror.”

More than a century later, white Americans resurrected many of the same behavior patterns in response to the Obama presidency. Days after his 2008 victory, the Chicago Tribune recorded an eruption of white supremacist activity:

“Barely three weeks after Americans elected their first black president amid a wave of interracial good feeling, a spasm of noose hangings, racist graffiti, vandalism and death threats is convulsing dozens of towns across the country as white extremists lash out at the new political order. More than 200 hate-related incidents, including cross-burnings, assassination betting pools and effigies of President-elect Barack Obama, have been reported so far, according to law-enforcement authorities and the Southern Poverty Law Center, which monitors hate groups. Racist web sites are boasting that their servers are crashing under the weight of exponential increases in page views. Even more ominously, America's most potent symbol of [white terrorism]—the Ku Klux Klan—has begun to reassert itself, emerging from decades of disorganization and obscurity in a spate of recent violence.”

Anderson documents that, “In Obama’s first year in office alone, there was a 400 percent increase in death threats.” Dr. Welsing regularly referenced this historic escalation when refuting the fabricated notion of a “post-racial” society no longer dominated by white supremacy (racism). To the contrary, she decoded and highlighted the white fury targeting the Obamas – and black people at large.

Lagging well behind Dr. Welsing, Monkovic did correctly correlate the racist displeasure with President Obama to Trump’s crusade. “Some social science research suggests that the simple fact that President Obama is black might have contributed to a sense of lost power and resentment among whites, and, of course, Mr. Trump first came to political prominence by questioning whether Mr. Obama was even a citizen.”

Although accurate, Monkovic and most others lack the comprehensive analysis to explain Trump’s appeal within the historic and global context of white culture. In 2011, Dr. Welsing clarified how the white psyche interprets President Obama as a blemish on the White House, an affront to white power.

“So then the next phase is a black man runs for president of the United States of America. Well, even though there was white support for his presidency, when he got into the White House and you have a Black man with his [Black] wife and his Black children and his Black mother-in-law in the White House, even the people who classify themselves as white who called themselves liberals began to think: ‘Oh my god. What have we done?’ Because just the image of the Black man being in the White House and being in charge began to set off the anxiety of if we lose power, if the power equation changes and this… in the symbolic parlance of white supremacy speech, you don't want to be ‘caught behind the eight ball.’ But President Obama being in the White House makes the white mindset that is concerned subconsciously about white genetic survival begin to feel: ‘Wait a minute. We're being caught behind the eight ball.’ And that translates into white genetic annihilation. So then we have this massive attack. We can call this the 3rd reconstruction. Meaning the reconstruction of racism/white supremacy.”

Deviating from conventional narratives of U.S. history, Dr. Welsing identifies three periods where the white collective reconstructed the power equation of white over non-white. Governor Tillman and the KKK presided over the 19th century re-assertion of white domination. During the mid 20th century, countless Black citizens dedicated and lost their lives confronting the organized system of white terrorism that governed the United States. Fannie Lou Hamer, Robert F. Williams, Assata Shakur and countless Black warriors defied and destabilized white power. Dr. Welsing describes this period as the second reconstruction of white supremacy. This era of restoration includes state-sanctioned counter-intelligence programs designed to neutralize any efforts towards Black liberation, the political rhetoric of “law and order,” which authorized any means necessary to crush Black opposition to racism, and the 1968 election of President Richard Nixon, who instituted federal policies to achieve these objectives. This historical framework informs Dr. Welsing’s theory of why the third reconstruction – white retaliation to the Obama presidency – was an obligatory, to be expected occurrence.

“In other words, if the system moves from establishment, maintenance, expansion, refinement – refinement is the emancipation of the slaves. Refinement is changing the laws so it looks like equality. But each time you have that kind of gain it has to be thrown back because the fundamental concern is white genetic survival by any means necessary. So you have a black man becomes president. He's intelligent, articulate, brilliant. Every single qualification that is needed to lead the nation, to lead the world. But then it hits subconsciously that this means white genetic annihilation or symbolically just because a black man is supposed to be in charge. And so we have to have the third reconstruction, and that is the annihilation of his power and showing him all this talk about the budget and the debt, but the articulation that came out once he was elected where you had spokespersons on the television saying our goal objective is to… see that he fails.”

This is the decrypted White mentality responsible for an unprecedented number of death threats targeting a U.S. president, a nagging suspicion that Barack Obama is a Kenyan native (not “American”), and the climb of Donald J. Trump. A 1980 essay on Dr. Welsing’s interpretation of Nazi Germany and the Third Reich provides a chilling context for the Trump sensation.

“The specific fear of white genetic annihilation, while always present in the global white collective, becomes more prominent and is more frequently acted upon in times when whites have lost a war and/or when there is serious economic uncertainty. At these times the white collective feels insecure because the major props for the sense of white invincibility and for fear of white genetic survival – their guns and money – seem to have failed. Thus, after the German’s loss of World War I (which was followed by political instability, high level inflation and high level unemployment), there appeared on the scene a dynamic spokesperson, articulating the need to destroy those perceived as capable of ultimate white destruction. In the United States we are in such a period.”

The economic and demographic upheavals at the dawn of the 21st century have inflicted a tremendous injury to a sizable population of whites. A Princeton University tandem published a stunning report chronicling “financial despair, [drug] addiction and the rise of suicide in White America.” The researchers found that the system of white supremacy is failing to accommodate the great expectations of a growing number of white people; in response, they’re abusing narcotics and/or ending their own lives.

In addition to the surge of self-destructive behavior, these disruptions to white power are re-focusing white proclivities to violence on black bodies. Unfortunately, an ambassador of white culture, Dylann Storm Roof, targeted members of the Charleston, South Carolina Mother Emanuel A.M.E. church. Before murdering nine unarmed black worshippers in June of 2015, Roof allegedly detailed his homicidal logic in a manifesto. He conveys much of the white frustration articulated by Trump supporters.

“To take a saying from a film, ‘I see all this stuff going on, and I don’t see anyone doing anything about it. And it pisses me off.’ To take a saying from my favorite film, ‘Even if my life is worth less than a speck of dirt, I want to use it for the good of society.’ I have no choice. I am not in the position to, alone, go into the ghetto and fight. I chose Charleston because it is most historic city in my state, and at one time had the highest ratio of blacks to Whites in the country. We have no skinheads, no real KKK, no one doing anything but talking on the internet. Well someone has to have the bravery to take it to the real world, and I guess that has to be me.”

Roof didn’t “see anyone doing anything” to fortify white dominion. A substantial portion of Trump voters harbors an identical grievance. In “The Anti-P.C. Vote,” Thomas B. Edsall reveals, “Trump has capitalized on the visceral belief of many white voters that government-enforced diversity and other related regulations are designed ‘to bring Americans to submission’ by silencing their opposition to immigration — legal and illegal — to judicial orders putting low-income housing in the suburbs, and to government-mandated school integration, to name just a few of their least favorite things.” White rule is being impugned from the White House to the schoolhouse, and no one’s doing anything about it.

No one, except Trump. During her final lecture at The Cress Welsing Institute of Psychiatry and Social Research on the campus of Howard University in Washington, D.C., Dr. Welsing foreshadowed why Trump would resonate with white voters.

“Every single thing that we are concerned about, every single thing when you turn on the TV tomorrow morning that they will talk about will all be related to racism/white supremacy as a system. Donald Trump. I say meet your next president. See all kind of people from the time he started talking: ‘Oh, he's crazy... Oh, the American people won't accept...’ Donald Trump has pulled the hood off of, the sheet off of, the cover off of the system of racism/white supremacy. See he pulled it off, and he's talking with more clarity than anybody else. All the other candidates quietly, quietly are thinking about racism, but they're not talking overtly about it. But Donald Trump is talking. So like I said, Donald Trump's trump card is the race card in the system of racism/white supremacy.”

In this climate, a dynamic spokesperson with an explicit appeal to white racial angst can become a political juggernaut. Dr. Welsing’s unparalleled comprehension of white culture allowed her to accurately forecast a presidential campaign that most found inconceivable.

Sadly, Dr. Welsing became an ancestor before Trump’s domination of the Republican primaries, the numerous incidents of black onlookers being mauled at his rallies , and his campaign pledge to: “Make [white] America great again.” It’s doubtful she could conjure a more accurate, public illustration of her analysis of what racism and how it works.

(For footnotes, see Academia.edu)

Hillary Clinton Shatters Glass Ceiling With Dead Black Bodies

2016-07-31T11:45:00.001-07:00

Michelle Obama got plantational during her address to the 2016 Democratic National Convention. She reminded the Philadelphia audience that she wakes “up every morning in a house that was built by slaves."

And throughout the week, Mistress Hillary R. Clinton showcased enough black help to build a new White House. The Lou Rawls Parade Of Stars got nothing on HRC. Her melanin rich lineup included: Oprah Winfrey, Rev. William Barber, Kareem Abdul-Jabbar, Congressman John Lewis, former Attorney General Eric Holder, Rev. Jesse Jackson, Lenny Kravitz, Senator Corey Booker, Morgan Freeman, and the Obamas.

“It’s a hell of a show, “ declared journalist and Pennsylvania inmate Mumia Abu-Jamal, one of the few negroes in the state not on stage at the DNC. “It has writers and directors and stage managers. And it’s a hell of a show. But never forget: It’s just a show.”

“For whose entertainment shall we sing our agony?”

Ogling grieving black mothers is as synonymous with Americana as shackled black bodies or the Liberty Bell. Whites gazed as enslaved black mothers watched their children auctioned from the womb. White voyeurs devoured images of Mamie Till-Mobley recounting how Mississippi terrorists butchered her son, Emmett. Hollywood reflects this Racist fetish; Viola Davis’ The Help and Halle Berry’s Monster’s Ball deliver Oscar-celebrated renditions of bereaved black motherhood.

Tell us about your pain. Tell us what we took from you.

Mrs. Clinton continued this tradition at the DNC, brandishing the black mothers of Sandra Bland, Michael Brown Jr., Jordan Davis, Eric Garner, Dantré Hamilton, Trayvon Martin, and Hadiya Pendleton. Bland’s mother, Geneva Reed-Veal, told the convention:

"One year ago yesterday, I lived the worst nightmare anyone could imagine. I watched as my daughter, Sandra Bland, was lowered into the ground in a coffin. She was my fourth of five daughters, and she was gone. No, no, not on administrative leave, but on permanent leave from this Earth, found hanging in a jail cell after an unlawful traffic stop and an unlawful arrest."

Christopher “Biggie Smalls” Wallace appraised the value of black life: “You’re nobody ‘til somebody kills you.” The notorious HRC only developed an interest, said the names Sandra Bland and Eric Garner once they were corpses. Well-publicized black deaths provided Clinton a chance to campaign on the caskets of black bodies, plaster their graves with “Ready For Hillary” buttons.

Clinton insists: I care about the negro. Months before the Philadelphia extravaganza, the former Secretary of State didn’t just break bread with these violated black mothers. Amy Chozik writes that for almost three hours, the presidential hopeful munched “pork chops and gravy, fried okra and rice.” Presumably, Clinton proffered her concealed hot sauce to authenticate her “blackness.”

This motherhood of black grief became “an unlikely linchpin of Mrs. Clinton’s success.” And with nauseating similarity to Kunta Kinte’s painful rebirth as Toby in Roots, “The Clinton campaign named this sisterhood… ‘Mothers of the Movement.’” A branding calculated to keep black people shackled to the Clinton brand.

A trail to the White House paved with black tears.

But as First Lady, Mrs. Clinton championed the White Supremacist ideology that mandates and rationalizes the death of black children like Emmett Till, Trayvon Martin, Jordan Davis, and Tamir Rice. Former Ferguson, Missouri police officer Darren Wilson practically plagiarized Clinton’s 1994 crime bill talking points when he justified killing Brown. Wilson articulated the essence of Clinton’s “super-predator.” He called the unarmed 18-year-old a “demon” and claimed he “felt like a five-year-old holding onto [black] Hulk Hogan.” Clinton’s mid 90’s oratory can be seamlessly incorporated to explain why Michael Brown's black life didn't matter. He and Dorian Johnson, who was with Brown when he was killed, were “not just a gang of kids.” Emmett, Michael and Tamir are probable rapists, strong-arm robbers, (toy) gun-toting black predators. As HRC declared: “We have to bring them to heel.”

Logically, we don’t call it “murder” or ~~convict~~ indict White killers for putting down black “super-predators.”

But the repulsive, treacherous irony is that Hillary Rodham Clinton best exemplifies a “super-predator.” Her calculated, shameless exploitation of vulnerable, traumatized black mothers and their deceased children is the epitome and pattern of White parasitic behavior. Clinton gnaws the corpse of Sandra Bland to nourish her reputation as a “White ally,” the “not racist” option to Donald J. Trump. This isn’t pandering to black citizens; it’s a necrophilic scavenger hunt. Clinton’s a grave robber thirsty for black ballots.

She may be scrambling to add the mothers of Philando Castile and Alton Sterling to her macabre sorority.

This conclusion could be repudiated if Clinton proposed authentic measures to value and protect black life while making history in Philadelphia. She did not. Dr. Cornel West castigated her for “trotting out [black] mothers,” but failing to mumble a syllable about policy changes designed to permanently annihilate Racist police practices. In fact, the remarks of Clinton’s “club of heartbroken mothers” reveal the handiwork of the writers and directors Mumia credited. Geneva Reed-Veal, Lucia McBath, and Sybrina Fulton discussed God, “commonsense gun legislation,” and helping a White Woman get to the White House. No one – including Hillary Clinton – said “Racism,” which is the primary reason these black mothers have a child “on permanent leave from this earth.”

In Medical Apartheid, Harriet A. Washington details the White tradition of looting black burial sites, trafficking in dead black bodies. She describes how White medical students took commemorative selfies with cadavers that were often black. Washington compares this "important medical rite of passage" to the lynchings of black citizens, which necessitates gruesome portraits of White terrorism and the celebration of black death.

Clinton revised this tradition by mugging for the cameras with the lynching victims' relatives. Then asking for their votes.

Christopher Clark: "Well-Meaning" White Man Rejects Opposition To His "Integrated" Bedroom

2016-06-15T02:44:00.002-07:00

Christopher Clark with his black female partner

The Context of White Supremacy welcomed White journalist and writer Christopher Clark live from South Africa to exchange views on Racism. During the exchange he made these critical points:

Clark agreed that there is a System of White Supremacy defined as: a global system of people who classify themselves as White and are dedicated to abusing and/or subjugating everyone in the known universe whom they classify as not White.
Clark concurred that it is logical for non-white people to suspect that any White person - including himself - could be a White Supremacist/Racist.
Clark conceded that the counter-racist thought that supports why any sexual activity between a White person and a non-white person is inherently exploitative and incorrect behavior under the System of White Supremacy is logical.
Clark failed to provide any strategies for Victims of White Supremacy to accurately differentiate between "well-meaning" Whites and Racist Whites.

After the broadcast, Clark submitted this expletive-laced reflection on our discussion. His commentary is unedited.

Hi Gus,

I just re-listened to our talk and the subsequent "commentary", if it can be called that.

Firstly, I think it's a huge cop out for you to dismiss so much of what I said and in such a callous manner once I was already off air. I would have been more than happy to deal with your snarky comments on air, but I guess that wouldn't have worked so well with your agenda, right?

Secondly, how dare you speak about my relationship with my partner the way you did both while I was on air and even more so subsequently. Excuse my language, but you know sweet fuck all about her, her background, her family or the details of our relationship. Who the fuck are you to say that we won't stay together, or speculate about why we are not already married, or to assume that that is automatically my decision rather than a mutual one, or her decision for that matter? Who the fuck are you to assume that you can police other people's life or relationship choices, whatever their race?

Thirdly, I was being completely genuine when I thanked you for the "grilling". I am sincerely interested in understanding more about racism and how to confront it, and I felt I had learnt valuable lessons from you and your callers in this regard, even though I don't agree with everything that was levelled at me. I don't see how seeing this as valuable and giving thanks for that is something that can also be perceived as negative. But then it seems clear now that you are incapable of taking anything from a white person as something that is not completely and inherently negative. Please tell me how the fuck such a one-sided view is productive for anyone, black or white?

And yes, much of our conversation was uncomfortable for me. Why is that "bad"? I have honestly never had to answer or counter some of the questions or theories you posed, whether from white people or black people, and I certainly wasn't expecting some of them either. But was I dishonest at any stage? Absolutely not. When I was uncertain about something, I said as much. When I hesitated or chuckled, it was because I was feeling nervous or awkward or stunned by the directness of a question and didn't have a definitive answer. I'm also acutely aware of professing certainties about such complex issues that I am still learning about and analyzing on a daily basis.

Next up, do all white people sit around and conspire about how to "talk to negros" in a manipulative and evasive way? Did I honestly hear you ask that question? Are you fucking serious???

Newsflash my man: there are good people trying to "do the right thing" and live their life right across all races, including among whites. There are most definitely non-racist and anti-racist white people, though they are admittedly a minority. There are also prejudiced people across all races, including among blacks.

I think I know myself pretty well, and I know that I am a good person who tries to treat everyone I encounter with respect, empathy and dignity. I honestly think it's sad that you are obviously so unwilling to see the good in certain types of people or situations. I came onto your show with nothing but good and honest intent, and you refused to see that -- I think you'd already made your mind up before we even started talking. Hence the resounding triumph in your voice whenever you felt I'd lived up to your preconceived ideas.

And then to even be insulted by you for defending my own mother. . . that was a new level of bullshit for me. Who wouldn't stick up for their own mother if they thought she was being portrayed unfairly (and later greatly misquoted / taken out of context in your "commentary")? It's not because she is "white", it's because she is a good woman who I love and who has done a tremendous amount for me. How the fuck is sticking up for someone like that so hard to understand? And the fact that I am unwilling to disclose the contents of a private email she sent me says nothing apart from the fact that I'm not willing to share everything with someone who I don't know live on air. And with regards to the lack of "addendum" you pointed out on the post about what my Mum said to me, I didn't think it was necessary to what I was trying to get across in that blog post.

Also, if I were you I'd do some more research on what Bantustans were before you start throwing that word around. Just some friendly advice before you start talking about ignorance :)

In all honesty, you lost all credibility for me when I listened to your commentary. That was just really shitty talk radio man.

I'm sure you'll find some way to turn this all around and make it about my inherent racism and white power or policing your blackness, but it's really not about any of that. It's just about you behaving like a presumptuous, judgmental asshole.

So fuck you, quite frankly.

Cheers,

Chris

Whitefolks Watching Roots Like: "Make America Great Again."

2016-06-02T17:34:00.001-07:00

I swallowed it whole on Roots.
Wasn’t it nice?
Wasn’t it nice?
Slavery was so cool.
And all you had to do was wear derbies and vests and train chickens
And buy your way free if you had a mind to.
Must be the devil.
It wasn’t no whitefolks.
- Amiri Baraka “Dope”

The Memorial Day debut of the refurbished version of Alex Haley’s Roots didn’t captivate a hundred million viewers like the 1977 rendition. Maybe the audience dwindled because OJ Simpson wasn’t re-cast? Regardless, the updated mini-series entertained millions and enjoyed widespread appreciation for providing a historical context for racial turbulence in the United States in the era of Black Lives Matter.

The Miami Herald’s Leonard Pitts Jr. and a multitude of others insist that when it comes to slavery and the history of Racism, Whites and blacks alike are often ignorant; we’ve “never been given the tools to face the ugly truths America hides from itself, [have] never been taught how to have the conversation” about the American empire being founded on shackled black bodies.

That bit of racial rhetoric is oft repeated, always false.

Whites cannot flunk Racism.

Smartphones and Hollywood are making it increasingly impossible for Whites to claim obliviousness about the ceaseless pillaging of black people. Eric Garner (a black male choked to death by New York police in 2014) and Sandra Bland (a black female found hanging dead in a Texas jail under suspicious circumstances in 2015) garnered more television time than many of the 2016 presidential candidates. While the box office and Netflix hemorrhage viewing options of chained, bludgeoned black people.

Before the Roots reboot and FOX’s Empire there was: The Book Of Negroes (2015), Belle (2013), 12 Years A Slave (2013), DJango Unchained (2012), Case départ (2011), Feasts of All Saints (2001), Sally Hemings: An American Scandal (2000), Beloved (1998), Amistad (1997).

This is a stingy sample of the plantation genre and excludes oddities like Abraham Lincoln: Vampire Hunter (2012), documentaries like Katrina Browne’s insufferable Traces Of The Trade (2008), and exemplary projects like Halle Gerima’s Sankofa (1993).

Whites haven’t ignored these flicks; they’ve directed, financed and doled out Emmy and Academy Award nominations to a sizable number of these projects. Authentic or dramatized, Whites maintain an insatiable appetite for depictions of black misery.

Black suffering made America great. Seeing Kunta Kinte lashed, mutilated and broken affirms White Power. White historian Amy Louise Wood authored Lynching And Spectacle: Witnessing Racial Violence in America, 1890-1940, which deconstructs the White thirst to visually consume blacks being castrated and brutalized. Her theory applies to the hundreds – often thousands – of Whites who attended lynchings, the dispersal of photographs and postcards of ceremonial White terrorism, and films like Birth of a Nation – and probably either version of Roots. She writes:

The rituals, the tortures, and their subsequent representations [impart] powerful messages to whites about their own supposed racial dominance and superiority. These spectacles [produce] and [disseminate] images of white power… white unity and… [serve] to instill and perpetuate a sense of racial supremacy in their white spectators. Lynching thus [succeeds] in enacting and maintaining white domination not only because African Americans [are] its targets but also because white southerners [are] its spectators.

The “re-imaging” of the routine rape of Kizzy - which was an everyday trauma for enslaved black females, males and children -and the YouTube postings of Oscar Grant’s life being snuffed out to christen 2009, are the necessary “terror porn” that solidifies the worthlessness of black life, verifies undisputed White might. Woods corroborates that Whites recognize “the ways in which entertainment [is] bound up with violence, as well as the ways in which violence itself [is] a source of visual amusement.”

We commit a colossal error thinking White viewers digest Roots or any other portrayal of black agony with guilt for the barbarism their racial ancestors meted out to our black relatives. Watching Kunta lose a foot won’t compel presidential hopeful Bernie Sanders to recalibrate his stance on reparations. LeVar Burton, Anika Noni Rose and Forest Whitaker’s best dramatizations fail to convince Arizona rancher and federal lawbreaker Cliven Bundy to reconsider; the southwest outlaw believes negroes were “better off as slaves, picking cotton.”

White jurists and former prosecuting attorneys like Staten Island, New York’s Dan Donovan (now a Congressman and a Trump supporter) and Ohio’s Timothy McGinty watched authentic footage of Eric Garner and Tamir Rice being killed and concluded it didn’t even warrant a trial – much less a conviction. A celluloid recounting of antebellum black lives undeserving of White respect does little to alter 21st century dedication to White Supremacy.

If anything, a growing chorus of Whites openly wishes for a return, a reconstruction of earlier eras of White Supremacy when the only Obamas at the White House were butlers or mammies. White teenyboppers at Grosse Pointe South High School, a Detroit, Michigan suburb, summarized their presidential platform for a potential 2040 campaign: "Bringing back slavery, burning black people with brands and sending them back to Africa." After four decades, Roots returns to the airwaves when presidential front-runner Donald J. Trump’s political rallies have often rhetorically and literally echoed the flagrant White sadism of plantations where black people are mauled with impunity.

The commercialized rape of black bodies made America great.

Must we see it again?

Supreme Court Justice Antonin Scalia: Original Racism

2016-02-15T23:08:00.003-08:00

The death of Supreme Court Justice Antonin Scalia has simultaneously recalibrated talking points for the upcoming presidential election and intensified the importance of President Obama’s remaining months in the White House. Scalia reportedly died over the weekend while on a hunting trip in Texas. He occupied the highest bench for three decades since being nominated by President Ronald Reagan and unanimously confirmed in 1986.

Like Bernie Sanders or Donald Trump, Justice Scalia is a Racist Suspect.

Before his SCOTUS residency, Scalia commanded the United States Court Of Appeals for the District of Columbia Circuit, where, according to the New York Times, he issued opinions “skeptical of claims of employment discrimination.” In 2013, he helped erode the 1965 Voting Rights Act, which he branded a “perpetuation of racial entitlement.” And during the courts re-reconsideration of Affirmative Action, Scalia echoed predictable “Bell Curve” dogma about the intellectual ineptitude of negroes. The late justice explained that, “Most of the black scientists in this country don't come from schools like the University of Texas. They come from lesser schools.”

Scalia wasn't practicing White Supremacy. He was looking out for our best interest, so that aspiring black scholars don't strain our puny colored brains.

Dr. Frances Cress Welsing, a third generation physician and author of The Isis Papers, discussed Scalia’s assessment of black aptitude during one of her final lectures before her 2016 death.

“150 years since emancipation, and [Justice Scalia] is justifying why black people should not be admitted to the law school because they don’t have what it takes. Maybe there’s a little nursery school law school that they can attend. That’s kind of more suited to what we’re going to allow them to do anyway.”

The American Slave Coast, co-authored by Ned and Constance Sublette in 2015, explains how the United States was founded and thrived on a slave system that required the perpetual rape of black people. The organized sexual exploitation of black bodies informs the genesis of the United States Constitution that Scalia was charged with decoding. The Sublettes write:

“The story of the Constitution’s making in 1787 has been told any number of ways, typically suffused with a cue-the-kettledrums aura of religiosity and an assumption of American triumphalism. Constitutional historians have tended to portray their subject as the most important political document in world history, in the greatest nation in history. In extreme cases this has involved elevating the framers to a sort of secular sainthood, as in the post-Reagan years, when a school of constitutional interpretation called 'originalism' emerged in American jurisprudence. Most prominently associated with archconservative Supreme Court Justice Antonin Scalia, originalism is a fundamentalist movement that seeks in effect to construe the Constitution as static and unchanging by mind-reading the intentions of the presumably divinely inspired Framers - a word Scalia writes with a capital F, the way they did it in the eighteenth century. His opinions are shot through with variations on phrases like: 'The Framers recognized …,' 'The Framers contemplated …,' 'The Framers viewed…,' and 'The Framers’ experience …' This is a peculiarly subjective lens through which to view a document created by so many people, at such sharp cross-purposes with each other.

'Aware that the South would not join a Union that prohibited slavery,' writes Scalia’s generally dissenting colleague, Supreme Court Justice Stephen Breyer, who does not capitalize 'framers,' 'the framers in effect postponed the question of slavery’s continued existence by writing into the Constitution a series of compromises.' But if we were to follow the notion of original intent from the point of view of the South Carolina Framers, we would see the Constitution as protecting the right to own and trade [and rape black people.]”

STAR WARS: The Force Awakens (Through the eyes of a C.O.W.S Listener)

2016-01-26T05:46:00.001-08:00

(GUEST POST)

Tonight I took my son to see the new installment in the STAR WARS franchise. We arrived early and got prime seats, center screen near the back of the theater so that we could have a good view of things. I’ll leave out what I see as minutiae in the first 5-7 minutes of the film and focus on the non-white/black male star; John Boyega. In the film he portrays a “Stormtrooper” who is on his first raiding mission to retrieve a map that has in it’s contents, the location of Luke Skywalker (The last good Jedi). Boyega portrays Stormtrooper “FN-2187” who while on this mission, is ordered to kill the remaining villagers by the new “Darth Vader-like” character but can’t find the nerve or lacks the courage to do so in comparison to all the other Stormtrooper who blast away at the poor victims. He is immediately singled out by the “Darth Vader-like” character that feels something via the “FORCE” (weakness, betrayal…it’s not made clear but there’s something amiss) with FN-2187. FN-2187 returns to base and is exhausted, clearly troubled by the mass murder of the villagers he’d witnessed a few moments earlier. He takes off his helmet and is dripping with sweat, breathing heavily alone in a spacecraft when his superior walks in and asks, “Who told you to take your helmet off?” He puts the helmet on and reports as ordered to have his weapon inspected. Fast forward to FN-2187 rescuing a rebel fighter pilot who was kidnapped from the raid because he may know where the map is. FN-2187 clearly wants to leave his “captors” but needs a pilot…. a “SAVIOR” (in my eyes) so he and the pilot commandeer a spacecraft and escape. FN-2187 who has by all indications, been a Stormtrooper since childhood, behaves and acts nothing like a military trained fighter but more like a confused and afraid child, takes orders from the pilot who by his own words, knows nothing about flying the oppositions spacecraft. The pilot asks FN-2187 “What’s your name?” he replies “FN-2187” (Prisoner #, slave name? both are apt in this context), the pilot says “No, what’s your real name?” (I immediately thought about the scene in roots with Levar Burton; Kunta Kinte vs. Toby) – he says, “This is all I’ve ever been called” – The white pilot says, “I’ll call you Finn” (As in FN – Fucking Nigger came to mind for me) Boyega agrees and accepts his new name.

My antennae went up when on the raid, Boyega’s character couldn’t pull the trigger which took me back to the Walking Dead analysis on The C.O.W.S. and how none of the non-white black male characters had the courage under fire, to pull the trigger – even in the face of life threatening danger. This theme is carried out multiple times with Boyega in this movie – even though at times he fights back but never over takes his opponent convincingly. To get back on track; Finn and the white pilot escape after a gunfight and crash on a nearby planet. Finn wakes up in a desert, totally disoriented but sees smoke over a sand dune and runs to it; the spacecraft has crashed and is on fire; the white pilot is no where to be found, only his jacket remains of which Finn takes as his own and uses as cover from the hot sun. He walks and walks until he comes upon a village. He runs there looking for water, but no one will give him any. He sees a large watering hole where a space creature akin to a large rhinoceros is drinking, and falls on his knees to get a drink – the water is clearly not sanitary but he is so thirsty, he drinks anyway (drinking from the same watering hole as an animal.)

The story goes away from Finn and goes to the evil mother ship where they realize “FN-2187” has ESCAPED! And he’s the one who helped the rebel pilot escape as well. They make it clear that FN-2187 has been “programmed” since childhood and never illustrated any signs of psychological issues and was loyal to the “1ST ORDER”. They even had a picture of a young black boy – maybe 5 or 6 on the screen instead of FN-2187’s current picture as a young man. So in effect, Stormtroopers are “slaves” raised from childhood to fight for their oppressor and FN-2187 is a run-away slave (Note that he was asked “who told you to take your helmet off?” by his superior moments earlier…. in my estimation, all Stormtroopers are non-white black males who have been enslaved to work on the plantation). This paints a much clearer picture of his behavior once viewed through the lens of Racism/White Supremacy. His heavy breathing, sweating, anxiety, lack of confidence, lack of self-control – traits that none of the white characters illustrate, but are stereotypically associated with non-white black people – these are all wrapped up in the character portrayed by John Boyega.

After he drinks from the “Doggy Dish”, he sees the female heroine being harassed because she now has in her possession, the little android that is carrying the map. Word has spread around the galaxy that the android has it/and FN-2187 has escaped so everybody is on the case…The VOLTRON EFFECT. Finn attempts to rescue her from her attackers but stops short after he sees her beat up two men handily. The android recognizes the jacket that Finn is wearing because it belonged to his master who happened to be the white pilot who flew Finn off the plantation. The android tells the heroine who chases Finn down…. a Stormtrooper who’s visibly afraid of a skinny white girl…a Stormtrooper…trained since childhood? She “outsmarts” Finn by basically doing a magic trick and appearing out of nowhere and kicks his butt! He once again appears weak and unable to defend himself even from a woman who is much smaller. They begin to run from more attackers…Finn grabs her hand of which she immediately asks, “Why are you touching me?” …. They end up on the Millennium Falcon (Han Solo’s ship), which was stolen and hidden on this desert planet. Once again, Finn is being ordered around in what could be termed a military environment by a civilian (The heroine) who was just earlier picking up scrap metal and selling it at the junkyard so that she could buy food. He is reduced to being her whipping boy for much of this scene as she orders him to shoot at the opposition’s ships on their tail. While she is proving to be adept at flying a spaceship – he is floundering and bumbling trying to shoot the guns. They end up being captured by Han Solo who wants his ship back and once again – Finn is in a subordinate role to the female who saves his butt from monsters and is being painted more and more as the movie goes on as being savvy, intelligent, brave and versed in the engineering of spaceships.

They go to a planet for refuge and are plotting a plan to find Luke Skywalker of which Finn wants no part…he makes clear that “I can’t go back to that place…I can never go back!” Which sounds more like ex-con, prison-speak the more he says it. He walks out on the crew (Han Solo, Chewbacca, the android and the white female) who are all very composed while he is emotional and running away from the fight. (The Walking Dead)

I’m going to stop here because this theme continues throughout the movie all the way up to the point where Finn fights the villain with Luke Skywalker’s light saber and loses. But in turn, the female heroine (who learns she is a Jedi as the movie goes along) picks up the light saber and defeats the evil antagonist and saves herself and Finn. Finn, who was knocked unconscious by the evil one, ends the movie laying on a hospital bed in a coma. In effect he’s dead, having served no real purpose at all.

What looked to be a tender moment in the making with the female heroine kissing Finn’s lips (Cowbell) – ends up with her kissing his FOREHEAD (Like a mother kissing a child) but – he’s totally unaware and unresponsive to this affection. The movie was entertaining and not much different from other STAR WARS films. I was expecting more from the non-white black male’s character simply because of all the hype associated with his performance. His role was reduced to running…. always running and sweating and looking for guidance, never in control. Han Solo asked him what was his job while he was a Stormtrooper he replied, “I was a Janitor!”…. Even in this depiction of the future, we are running away from slavery. Slavery that has us in servile positions as janitors on the mother ship (plantation).

Daniel Holtzclaw: The Rape Of Black Bodies Is White Culture

2015-12-09T08:38:00.001-08:00

Prosecution highlighted #Holtzclaw's aggressiveness and intent of sexual gratification with quotes from survivors. pic.twitter.com/QdRETDygaR

— OKCARTISTS4JUSTICE (@OKCART4JUSTICE) December 7, 2015

Today is the third day of deliberations at the Oklahoma County District Court. Eight White Men and four White Women have yet to reach a conclusion on the guilt of Racist Suspect and former Oklahoma City police officer Daniel Holtzclaw; this suspected predator is charged with 36 counts, including oral sodomy, sexual battery, and six counts of first-degree rape. All thirteen victims are black females.

OKC Artists For Justice co-founder Candice Liger appraised the closing arguments articulated by White defense attorney Scott Adams. Holtzclaw’s lawyer assessed Oklahoma City’s east side, Holtzclaw’s alleged “hunting ground” and home to a high percentage of the city’s black citizens. Liger reports that Adams told the all white jury that they didn’t know this place. “It’s nothing to see somebody walking at 2:30 in the morning high on pcp, drunk… This is the beacon of criminal behavior.” According to Liger, Adams insisted “people don’t call police on the east side. Not because they fear the police, but because they hate the police.”

Liger’s evaluation was corroborated by a Jezebel report, which affirms that Adams’ closing argument suggested these black victims are a treacherous syndicate with an “agenda” to railroad and shakedown one of the “finest” officers and the Oklahoma City police department.

This represents the most recent confirmation of Syreeta McFadden’s premise: only under the System of White Supremacy are dead black boys and violated black females put on trial for their own exploitation. Holtzclaw never testified. Meanwhile, more than a dozen black females where subjected to a month of skepticism and defamation.

The Interracial Con Game states, “A White male has never been executed for raping a black female in the history of the U. S. – because White males raping black females was not (and still isn’t) considered a crime.” The sexual plunder of black bodies is an essential component of White culture. It’s difficult to conceive of an all White jury convicting Holtzclaw (any White person) for partaking in the ritual rape of black females. A tradition that views black bodies, “the whole world as the White man’s brothel.”

For the last thirty days, Holtzclaw’s attorney assailed the credibility and humanity of these black females by belaboring the criminal history and substance dependency of several of the victims. Holtzclaw may have used this same reasoning while searching for vulnerable prey. Senior ACLU attorney Sandra Park told RH Reality Check reporter Kanya D’Almeda that officers like Holtzclaw “can use stringent drug laws to help perpetuate or commit sexual assault.” A 2005 ACLU report charges “racially targeted law enforcement practices, prosecutorial decisions, and sentencing policies” have reduced black female bodies to what the African American Policy Forum describes as “vessels for drugs.”

Easy pickings for police predators.

Oklahoma’s KOCO describes why one of Holtzclaw’s alleged victims, a 44-year-old black female, declined to report her abduction to police: “‘[I] didn't think anyone would believe me. I'm a drug addict.’ She said she dealt with the trauma by using more drugs. ‘The only way I knew how to deal with it was to get high to block it out.’”

The Oklahoman’s Kyle Schwab documented a similar response from a different victim during the trial.

“The defense attorney pointed out during the woman's testimony that she has past felony drug convictions. The attorney also noted the woman's ‘tired’ demeanor, asking if she currently was under the influence of drugs. The woman said she used crack cocaine a few days before Tuesday's testimony. She said she relapsed because the trial has taken a toll on her.”

It should be noted that while these black females have been stigmatized and discredited for their drug afflictions, there’s a swelling movement for a “gentler war on drugs.” Skyrocketing numbers of White heroin addicts and prescription pill abusers warrant compassion, unlike the decades of “pathologizing of black people” in the name of combating the scourge of narcotics.

But run-ins with the law and drug usage obfuscate the primary reason why Holtzclaw purportedly terrorized these females and why many are justifiably reluctant to believe that a dozen Whites will deliver a conviction. The rape of black females – black people in general – is a sacred Racist tradition.

Ned and Constance Sublette’s 2015 publication, The American Slave Coast: A History Of The Slave Breeding Industry, documents that one of the most lucrative institutions of colonial America was the exploitation and desecration of black procreation. Chapter two of the text is titled: “The Capitalized Womb.” Constance explains how “the weight of all this fell upon [black] wombs.”

There is an explicit, unbroken pattern of commodification and defiling of black females from the antebellum plantation to the fictitious White House of ABC’s hit series, Scandal.

“The sexual exploitation of black women by White Men had its roots in slavery and continued throughout the better part of the twentieth century,” writes Danielle McGuire in At The Dark End Of The Street: Black Women, Rape, and Resistance. “When African Americans tested their freedom during Reconstruction, former slaverholders and their sympathizers used rape as a ‘weapon of terror’ to dominate the bodies and minds of African–American men and women.”

It’s en vogue for many scholars to name-drop Claudette Colvin as a courageous and ignored precursor to Rosa Parks and the 1955 Montgomery, Alabama bus boycott. Her commentary in Claudette Colvin: Twice Towards Justice was decades before the Holtzclaw trial, but remains depressingly applicable. “Black girls were extremely vulnerable. My mother and my grandmother told me never to go anywhere with a White Man no matter what. I grew up hearing horror story after horror story about black girls who were raped by White Men, and how they never got justice either. When A White Man raped a black girl – something that happened all the time – it was just his word against hers, and no one would ever believe her. The White Man always got off.”

Holtzclaw has one White parent and one non-white parent. But a black victim testified under oath that he asked her: “Is this the first time you sucked a White cock?”

Last week marked the 60-year anniversary of Parks’ refusal to forfeit her seat to a White passenger. Presidential hopeful and Racist Suspect Hillary Clinton along with legions of Whites professed their admiration and connection to the tired negro seamstress. But historian Jeanne Theoharis documents that Whites regularly served Parks the same sexualized contempt as Holtzclaw’s alleged victims. In the middle of the Montgomery boycott, a White reporter “peppered her with a series of aggressive questions accusing her of seeking publicity, impugning her morality, and referring to her as a prostitute,” writes Theoharis.

Because the rape of black bodies is at the core of White culture, the projection and branding of black females as whores and sexual deviants is constant. This is why Kerry Washington’s hit series, Scandal, must depict a black female as the White president’s “sidepiece.” And this show is followed by Viola Davis’ How To Get Away With Murder. Whites honored Davis as the first black actress to receive an Emmy for a lead role in a drama; a role where her White husband describes her as a “disgusting slut” who’s only use is “dirty, rough sex I’m too ashamed to tell anyone about.”

These depictions of black females are predictable and necessary for a Racist culture founded on the molestation of black bodies. White Supremacy is engineered to produce Holtzclaws and all white juries to exonerate them. A conviction would contradict centuries of White rapist entitlement enjoyed by the likes of Thomas Jefferson, Strom Thurmond, Domonique Strauss-Kahn, and now Holtzclaw.

Shots On The Bridge: The Context Is Racism

2015-10-21T21:12:00.001-07:00

I harbor and advise skepticism when the suffering of Black people becomes grist for White authors. The ten-year “anniversary” of the levee failure and the 2005 deluge of New Orleans was accompanied by the latest hemorrhage of Katrina literature, primed to commemorate and cash in.

On the final Tuesday in August, Pulitzer Prize-winning journalist Ronnie Greene was in Washington, D.C. to discuss the freshly published Shots On The Bridge: Police Violence and Cover-Up in the Wake of Katrina. The book deconstructs the Danziger Bridge Shooting – where New Orleans police officers gunned down a pair of unarmed Black families, leaving two dead, four savagely maimed – and a decade of court wrangling.

Greene shared one sentence with his D.C. audience that confirmed my suspicions and nearly decimated my willingness to read his book: “I really tried to put this shooting in context of what [the officers] were going through, what the department was going through.”

In his discussion and the text, Greene describes the officers as Katrina’s “hostages,” laboring in the wake of unimaginable ruin and bedlam. Police leadership was flagrantly inept. Local officials and global news outlets insisted looting hooligans might overrun Louisiana. The officers, like many, had failures in the city’s bleakest hour.

This position is tenable if the carnage on Danziger Bridge is a singular example of NOPD misbehavior.

It is not.

Greene documents decades of pre-Katrina, during Katrina, and post-Katrina police delinquency and abuse of New Orleans’ Black citizens. He cites the 2011 Department of Justice findings, which concluded, “NOPD’s mishandling of officer-involved shooting investigations was so blatant and egregious that it appeared intentional in some respects.” Even hinting that a natural or manmade disaster should mitigate our assessment of this slaughter and the years of fraud concealing it, minimizes the barbarism of the involved officers and devalues the Black lives terminated and mangled. As Greene meticulously documents, much of the Danziger conspiracy took place well after New Orleans was dry.

In spite of my concerns, I had to read Greene’s offering. While sharing his motives for writing this grisly account, he remarked that Katrina created “so many horrors you couldn’t keep track.” Shots On The Bridge provides an abundance of detail about the NOPD ambush and cover-up that could have easily been debris in the wreckage. But most importantly, it emphasizes that an atrocity was perpetrated against innocent, loving families. These grieving relatives’ unwavering pursuit of justice may be the greatest - and least cited - example of NOLA “resilience.”

The police fraudulently cast the Madison brothers as a band of armed ruffians who “had been looting and terrorizing people since the storm.” In truth, Ronald Madison was a mentally challenged 40-year-old with the mind of a six-year-old; he cried at the thought of abandoning Bobbi and Sushi, the family dachshunds, and rejected the chance to evacuate before the storm. His protective brother Lance comforted and shepherded him as they struggled to survive an inundated city.

While crossing the bridge, officers shot Ronald in the back twice. He asked his brother Lance to, “Tell Mom I love her.” Ronald was shot in the back five additional times, stomped, and handcuffed after his death.

Lance Madison survived, only to be shackled at gunpoint, arrested, charged with eight counts of attempted murder, and crammed into a temporary jail at “Camp Greyhound.” “He was held in a cage with a portable toilet. German shepherds circled the cage.” Lance’s love for his brother demanded that he recite witnesses’ names and remember critical facts of the Danziger carnage for the twenty-five days of his confinement.

The Madison family received reports of Ronald’s death and Lance’s arrest early. “For more than nine months, Sherrel Johnson did not know where her son JJ was.” Her son, James Brissette Jr., accompanied the Bartholomew family across the Danziger. Greene informs us that floodwaters claimed all but one of Johnson’s photographs of her 17-year-old son. If JJ were alive, she could take more pictures.

“Bullet after bullet shredded JJ’s body from the heel of his foot to the top of his head; the teen now lay dead on the pavement. Seven gunshot wounds and even more pellet wounds, fired from multiple weapons, tore into JJ’s right leg, right buttock, and right elbow; pierced his left arm and shredded his neck; and lodged in his brain. His wiry body was left unrecognizable.”

JJ and Ronald Madison were the only casualties that day, but NOPD brutes littered the bridge with bullet-riddled black bodies. The horror is presented in excruciating clarity: “Screams mixed with gunfire. The mother, father, and daughter, Lesha, cried out, bloodied and in pain. A bullet grazed Big Leonard Bartholomew’s head. Another tore into Lesha’s stomach. More gunfire ripped into Susan Bartholomew’s right arm, nearly severing it from her shoulder, her limb held together by skin. Lesha, at seventeen years old, one inch shorter than Susan, lay atop her mother, trying to shield her as bullets tore through the concrete barrier.”

Shots On The Bridge skillfully blends court transcripts and police reports with crushing anecdotes from bereaved and wounded victims. Jose Holmes, who was blasted repeatedly, was thought “too far gone” and nearly left for dead. His recovery is all the more astounding because some of the hospital staff accepted the NOPD lies and “told Jose he needed to get healthy because, once he was released, he would be arrested on attempted murder charges.”

Little Leonard Bartholomew was fourteen-years-old and a hulking eighty-five pounds at the time of the shooting. His family was reduced to bleeding carcasses clinging to life. He was shot at – not hit, slapped by a white patrolman, and handcuffed. Given the day’s events, he was fortunate.

Greene rightly encourages readers to reflect on Little Leonard’s tearful apology upon reuniting with his dismembered family members.

“I should have been shot, too. It isn’t right that I got off like that but everybody else has to go through all of this pain. And I’m just walking around, I’m fine. I don’t have to worry about injuries. It just isn’t right.”

There’s an immense depravity about a Black teen suffering PTSD and survivor’s guilt not from Hurricane Katrina, but from crossing paths with the New Orleans Police Department.

Readers can juxtapose the families’ suffering against the online comments that erased the 2011 federal convictions.

Shots On The Bridge is an important reminder that Katrina and the cataclysmic levee fiasco are not the only horrors from 10 years ago.

Racial Profiling Of John Henson Recalls Former Bucks Teammate Larry Sanders

2015-10-20T10:43:00.000-07:00

Milwaukee Bucks’ center John Henson inked a four year $44 million extension on October 1st. One would think (hope) a robust salary inoculates him from Racism. Unfortunately, all the nickels in the world can’t buy sanctuary from White Supremacy. Henson’s recent trip to Schwanke-Kasten Jewelers, a White-owned Wisconsin retailer, provides confirmation.

Henson describes his attempt to patronize “the leading jewelry store in Southeastern Wisconsin” as “one of the most degrading and racially prejudice things I've ever experienced in life.”

As the White jewelers watched a 6’11” 220lbs. black male lumbering toward their establishment, they didn’t see new money. They designated Henson a menace, bolted the doors, shooed him away from the premises, and scurried for their lives to the rear of the store. This, of course, mandated a police call. Henson says two officers assured the terrified Whites that all was well, but only after they ran his plates and interrogated him.

In 2013, black 16-year-old Corey Stingley was suspected of shoplifting in Milwaukee and summarily strangled to death by three White men. No one was indicted. All things considered, Henson may have been lucky.

This latest instance of shopping ~~while black~~ under White Terrorism calls to mind one of Henson’s former teammates, Larry Sanders. The two were Bucks teammates for three seasons, which included a 2013 playoff run against LeBron James and the Miami Heat.

In December 2013, Sanders was cited for disorderly conduct and assault and battery for his involvement in a Milwaukee nightclub scuffle. Like Henson, Sanders too concluded Racism was a factor in the brawl and the subsequent reporting on the skirmish. He published several comments online, which stated in part: “I take full responsibility for my actions, this is something I’ve dealt with my whole life...from being the black male being followed around the store to being the black male helped around the store.. I’ve seen the American society from both ends...ppl are hypnotized by the media to feel and base certain judgment toward certain groups of ppl…”

He wasn’t finished. “Guess it’s my turn, we “thugs” aka black men in America built this country and now we are the primary source of entertainment… guess we’re still building…slavery never stopped.”

Sanders was clowned for “playing the race card,” scolded as another black baller who deserves a prison-orange jumpsuit instead of an NBA jersey. Bleacher Report summed up Sanders as “an irresponsible miscreant, unworthy of the money he’s being handed.”

But in 2015, Sanders pulled a Dave Chappelle. The 26-year-old left $27 million on the table and retired. He checked himself into Rogers Memorial Hospital to get help for mood disorders, anxiety and depression. The former first round draft pick explained how being perpetually promoted as “this angry [black] man” pushed him to “a place of anxiety and fear, suffering.” Sanders described his exodus as an effort to preserve and nourish his mental health.

Studies have found that trauma can be passed down genetically...this would explain the effect slavery has had on my generation .#therecovery
— Nappy Gilmore ™ (@LarrySanders) September 30, 2015

Kellen Winslow’s Hall Of Fame football career had to end before he realized that in “the real world… I was just another nigger.” In several respects, Henson and Sanders may be ahead of the curve.

"Non-white people, particularly black males, have sometimes been called "Bucks" by those White persons who practice White Supremacy (Racism)." Neely Fuller Jr.

Why Racists Gave Viola Davis An Emmy #HTGAWM

2015-09-24T17:24:00.000-07:00

Emmy-winning Viola Davis cantbreathe

Viola Davis is a superb illustration of the labor required for #BlackSelfRespect. White Terrorism saturates her life, mandates that “classic beauty” be anything but black. She testifies to unrelenting abuse in the 2011 documentary Dark Girls, remembering how she was “constantly being called ‘black ugly nigger’ — those words together.”

This spiritual molestation is common for black people around the globe and helps explain the vicarious adulation so many black females experienced when Davis became the first African American female to win an Emmy for her lead role in the ABC drama How To Get Away With Murder. Danielle Moodie-Mills writes that during Davis’ moment of unprecedented accomplishment, “She stood on that stage, fierce, beautiful and firm in her blackness and womaness.” She paid homage to “General” Harriet Tubman as “she called out racism and challenged a system that refuses to see black women as whole.”

Davis and HTGAWM executive producer Shonda Rhimes are lauded for subverting racist projections of black people and producing opportunities for black actresses to be broadcast as commanding, professional, and valued.

But even though HTGAWM is a ShondaLand production, Rhimes did not write or create this series. Those credits belong to a gay White man, Peter Nowalk. He praises Rhimes as his guru and gushes about the lessons learned from years collaborating on her other lucrative franchises, Grey’s Anatomy and Scandal. There’s widespread gratitude for Nowalk devising the character Annalise Keating that allowed Julliard-trained Davis to make history.

Yet her unparalleled triumph felt familiar.

Davis’ victory seemed an encore of Denzel Washington and Halle Berry palming 2002 Oscars for exemplary portrayals of black hooliganism and debauchery. Nowalk repackages and camouflages worn-out Racist concepts of blacks toiling to help whitefolks and presents profoundly anti-black moments in the limited scenes when Davis is sans wig, unadulterated black. At its lowest, black female sexuality is – as usual – cast as malignant and scandalous.

One of Davis’ signature works is her 2011 Oscar-nominated portrayal of The Help’s Aibileen Clark, a servant for a White Supremacist family in 1960’s Mississippi. In spite of the film’s success, Davis candidly observes another constant: “I have been given a lot of roles that are downtrodden, mammy-ish… Then you’re going to be hungry for your next role, which is going to be absolutely the same. That’s the truth.” Nowalk’s debut project was “her shot at the anti-mammy,” according to GQ contributor Amy Wallace. Annalise Keating represents “a flinty, stylish defense lawyer and law professor,” and a scarce opening to animate a black female character as “cerebral and alluring… with a handsome husband and a lover on the side.” Ostensibly, Nowalk unshackled Davis from a racist industry, that, according to Kirsten West Savali, “pathologizes, reduces and co-opts blackness at every turn, especially black womanhood.”

But Annalise’s time and energy is almost exclusively in service to Whites. She’s an attorney extraordinaire with blouses worth more than Aibileen’s house. Other than one humdinger of an exception, black people are not privy to her counsel. Whites are the sole beneficiaries of her legal acumen, and the bulk of her customers aren’t even “good” Whitefolks. She successfully, ruthlessly defends White drug traffickers, alleged White sex offenders, admitted and suspected White killers. Her clientele is a smorgasbord of white-on-white crime. Mimicking Hattie McDaniel’s venerated contribution to Gone With The Wind, Annalise has no children and devotes the bulk of her time to the maintenance of unscrupulous white lives.

Now, about that humdinger.

The show’s sixth episode is the lone outlier, the only time Nowalk’s lead character devotes her energies to aiding black people. Keating successfully liberates a death row inmate (David Allen) who had been wrongly caged for decades. Kayla Kumari Upadhyaya digests the plot of the episode and why it signifies vintage ShondaLand entertainment:

“A white senator used Allen as a pawn to gain political power and gentrify an inner-city [black] area for financial gain. Annalise loudly condemns the racialized nature of the Senator’s scheme in one of the best Viola Davis moments in an episode full of spot-on Davis moments (seriously, this is going to be her Emmy reel episode, right?).”

Unfortunately, Racists don’t permit black people to enjoy a full glass. They must kick it over. Before one can appreciate a primetime drama with the courage to indict a White man for the deliberate caging of black bodies, we’re reminded that Annalise is still primarily concerned with the well being of whitefolks. Her white husband specifically.

Her lying, adulterous, womanizing, murderous, “handsome,” White husband.

Following her courtroom conquest, she jettisons her makeup and straight hair - props to imply strength. She confesses that she’s been lying, planting evidence, and framing the innocent to protect her guilty White spouse, Sam Keating. The scene concludes with Davis’ character dissolving into a whimpering puddle while declaring her need for psychopath Sam ad infinitum.

The politics of black hair exponentially magnify the significance of this scene and all other settings when Annalise reveals her natural. Franchesca Ramsey reminds us “there are very few black women on TV wearing their natural hair.” “There's a long, complicated history of black women being told by society [Whites] that their natural hair is unprofessional, ugly, distracting, and a whole host of other insults.” In another display of #BlackSelfRespect, Davis lobbied to have HTGAWM include her unprocessed do. It’s fascinating to deconstruct Nowalk’s politicking of black hair.

Upadhyaya unpacks the unmasking: “Annalise sits at her vanity and slowly peels back her layers. She removes her wig, her eyelashes, her makeup, never breaking eye contact with the reflection of her natural self. It’s an intimate, powerful moment television doesn’t often show: A black woman removing all the elements White Supremacy tells her she has to wear to be beautiful, successful, powerful. And let’s not forget that that wasn’t just Annalise taking it off: It was Davis, too...”

What happens in the narrative at this moment? Sam admits to having an affair with a dead blond girl. More layers are unearthed as the audience discovers that before they were married, Sam was her therapist – helping Annalise cope with the trauma of child rape. He was previously married, but had an affair with Annalise. She accurately diagnoses his fetish for mistresses who are “weak, broken, messes that” require his straightening. The scene ends with Sam violently subduing and momentarily smothering his black wife.

Annalise’ authentic locks re-emerge at the top of episode six. Wes, a law student and main character played by Harry Potter star Alfred Enoch, determines that his law professor is lying to protect her murderous white husband. He confronts Annalise and her natural hair to declare explicitly and repeatedly that she is “disgusting.”

This is not “anti-mammy” or “anti-racism;” this is the routine war to insist that black females be rebuked, abused, and de-feminized at all times.

The anti-blackness of Nowalk’s series is most forcefully emphasized in the presentation of black female sexuality. During a Variety interview, he disclosed, “Some of the characters are very driven by sex and I think that’s cool. I think Annalise — and Viola and I talk about it — she’s definitely driven by sex.” The problem becomes blatant in how Nowalk animates Annalise’s sexuality.

Her marriage – again, her husband's a White killer – began as an affair with a married man. His infidelity continues, while she’s stepping out with a dying cancer patient’s husband. And she doesn’t merely have adulterous sex with this black male, she betrays him continually, has him incarcerated unjustly, and decimates his life. This is not a critique born of “respectability politics.” This is an emphatic restatement of Melissa Harris-Perry’s conclusion that “the implications of sexual images for black American women are different.” “The sexualized myths of black women have conspired to narrow the political and social world for sisters.” How To Get Away With Murder was supposed to be beyond those confines.

Alessandra Stanley helped launch the series when her contentious New York Times piece described Davis as “darker-skinned and less classically beautiful.” Earlier in the same paragraph she writes, “As Annalise, Ms. Davis, 49, is sexual and even sexy, in a slightly menacing way.” Unarmed black teens like Renisha McBride and Michael Brown Jr. are “menacing.” Is the sexuality of primetime, Emmy-winning White actresses branded as “menacing”? The scripting of Annalise’s promiscuity promotes Stanley’s perception.

This is best illustrated during the first season's winter finale. After an ugly verbal dispute and a second round of domestic abuse, Annalise’s White husband gives a mic drop and reminds us that black females are disgusting.

“You're nothing but a piece of ass. That's what I saw when I first talked to you in the office that day. Because I knew you would put out. That's all you're really good for. Dirty, rough sex I'm too ashamed to tell anyone about. That's how foul you are. You disgusting slut.”

Should this be the Emmy reel episode?

Hurricane Katrina: Sniping Looters With Chris Kyle

2015-09-11T14:45:00.002-07:00

We've had a bountiful serving of commentaries and ceremonies on Hurricane Katrina and a decade of ethnic cleansing and resilience in New Orleans. Former President George Bush rebuked Kanye West by nuzzling black children, the Danziger Bridge killers of Ronald Madison and James Brissette Jr. celebrated their 2011 federal convictions being trashed, and the 9th Ward got a plaque.

There's been more time reminiscing about New Orleans’ looters of yore than jabs at federal inmate, former Mayor Ray Nagin.

Between Wendell Pierce’s new book, Lil Weezyana, and the consistently vulgar Chicago Tribune… the late Chris Kyle was forgotten.

Which seems impossible considering American Sniper christened 2015 with six Academy Award nominations and grossed more $300 million. “The most lethal sniper in U.S. military history” sports a list of honors nearly equal to his number of confirmed kills. In June, he was posthumously awarded the Texas Legislative Medal Of Honor. More than 200,000 petitioners insist Kyle be awarded the Congressional Medal Of Honor, and just this summer, a Georgia Family converted seven acres of farmland to a monument for the murdered Navy Seal.

No evidence places “killer Kyle” in the Crescent City when the levees broke. But Nicholas Schmidle reports that the deified veteran bragged about notching extra kills on the flooded streets of New Orleans:

“In the days after Hurricane Katrina, he said, the law-and-order situation was dire. He and another sniper… set up on top of the Superdome, and proceeded to shoot dozens of armed residents who were contributing to the chaos. Three people shared with me varied recollections of that evening: the first said that Kyle claimed to have shot thirty men on his own.”

Perhaps if Clint Eastwood had included this scene in the fallen soldier’s biopic, he would’ve nabbed an Oscar or three.

In his autobiography, Kyle habitually brands the people he slayed in Iraq as “despicable savages.” Identical verbiage was employed against the drowned black citizens of New Orleans. Sheri Fink writes that Former Memorial Hospital (Baptist) employee and Suspected Racist Dr. John Thiele feared “crazy Black people, who think they’ve been oppressed for all these years by White people,” would wade through toxic sludge to rape, dismember, and torture hospitalized elderly patients. Some of Dr. Thiele’s armed colleagues evoked Kyle’s spirit by threatening to shoot “looters,” “including wide-eyed children” near a hospital window.

In Katrina: After The Flood, Gary Rivlin depicts Tulane University’s Lance Hill bearing witness as Katrina transmogrified Whites “to their original state.” Hill “watched as two White men thanked a white National Guardsman for helping to protect their city. ‘Now if you can just keep the blacks from coming back.’”

Kyle may have been absent, but local police, state troopers, National Guard, military personnel, privately contacted Israeli forces, Academi (Blackwater), and gun-toting White civilians saturated the streets of NOLA. AC Thompson conducted years of research on nearly a dozen Black people who were killed in the week following Katrina by New Orleans police officers or random White citizens. Enforcement officers alleged that Baton Rouge police targeted and molested black evacuees and branded them "'animals' that needed to be beaten down." The documentary Welcome To New Orleans records a gang of Whites gleefully admitting to carnage Kyle could only counterfeit. They picnic and reminisce about “looters” they capped after the storm. “It was like shooting pheasants.”

Banishing, hunting black bodies, terminating black life is a hallowed occasion in the history of White Supremacy. The hurricane, levee failure, and contempt for black life consumed more than a thousand black lives.

Kyle told tall tales where he added to that number.

Dukes Of Hazzard Canceled (Again), Empire Returns In September

2015-07-01T18:25:00.000-07:00

I’ve seen more episodes of Dukes of Hazzard than Empire.

One of these programs encourages antiblack violence in support of White Supremacy and will remain on the air for the foreseeable future.

The Dukes of Hazzard, which was canceled when Madiba was still in prison and before Dylann Storm Roof existed, has been expunged from the TV Land lineup. No reason was given, but it's suspected that the Confederate flag dispute prompted the removal.The show's featured getaway ride is named “General Lee” and brandishes a Confederate flag.

Much like Ferguson 2014, White Supremacists have done a masterful job framing our understanding of the most recent illustration of white pathology. We’re groomed to accept Roof as a “unique” White man. Told Racism will be stifled by removing a symbol of “turmoil for African Americans.”

They were referencing the Confederate battle flag, but… black people are being EricGarnered with shrines to Racism and White killers.

The removal of Dukes creates space for an infinite number of viewing options that invariably sanctify identical concepts of white power that guarantee American Snipers like Roof.

The manifesto attributed to the Charleston Terrorist quotes a

pivotal scene from the 1998 film, American History X:

I see all this stuff going on, and I don’t see anyone doing anything about it. And it pisses me off.

This is part of the Hitleresque tirade Derek Vineyard presents to a troop of White Supremacists before a Roof-like assault on a non-white business. Edward Norton earned an Academy Award nomination for his portrayal of Vineyard. Roof’s muse goes on to kill two black people, rejoices after stomping through a black male’s skull.

This film – and Empire – will have more broadcast time now that Dukes has been banished.

Many reports acknowledge that the former CBS series was "one of television’s highest rated shows" in the early 80’s. They do not suggest that flagrant appeals to white power were an integral aspect of the show’s charm. In edition to invoking the Confederate general's spirit and the flag of white defenders of black enslavement and treason, they made “Dixie” a hallmark element of the production.

The song's opening verse tells all: I wish I was in the land of cotton. The theme song of the Confederacy, "Dixie" has become an exalted white power hymn that Whites defend and coalesce to sing on campuses and sporting events across the land. Campuses including the University of Mississippi and South Carolina's The Citadel.

"Norman Seabrooks, The Citadel's first African American scholarship athlete, disliked hearing 'Dixie' as a fight song, and he would sit down or walk away when he heard the tune. As captain of the football team, he would leave the locker room early and step on the field before the band started playing. Other black cadets exhibited similar protests, and Seabrooks' classmate Larry Ferguson faced a severe backlash for refusing to play the song as a member of the Regimental Band. Ferguson's academic scholarship was threatened and one night, he and his roommate returned to the barracks to find their room trashed, racial threats painted on the walls, their books shredded, and a doll hung from the ceiling by a noose."

The stars of Dukes are white delinquents who habitually #CrimeWhileWhite. The show’s signature moment features “General Lee” and the Dukes evading authorities while the car horn blares the secessionist ditty that yearns for the "bondage, beatings and rape" of the plantation phase of White Supremacy.

In 2015 Washington state, one of my White “neighbors” has the very same Dukes Of Hazzard, “Dixie” melody for his car horn. White Supremacy memorabilia transcends region and time because collective devotion to White Terrorism is unbounded.

Irrespective of recent events, it’s unlikely my “neighbor's” car horn will be prohibited.

Gregory Johnson, Jr. Died In A White Fraternity Like SAE

2015-03-12T06:10:00.000-07:00

This is how a public university defends its values? By effectively evicting and contemplating expulsion for those who express hate for others based on their race? Is sending the white students packing even responsible? Is it educational? Whatever happened to the adage, “Sticks and stones may break my bones, but names will never hurt me”? And what about the principle of passionately rebutting outbursts of racism with speech of one’s own, while loving the racists? It’s that value to which Dr. Martin L. King, Jr. subscribed.

Michael Meyers of the NY Daily News bemoaned the University of Oklahoma's decision to hold it's Sigma Alpha Epsilon chapter accountable for their Racist conduct. If Darren Wilson isn't punished for killing a black teen, who could justify or stomach White juveniles being reprimanded for singing about lynching a nigger?

Astonishingly, Meyers' plea for tolerance and mercy for the Sooner transgressors is not widespread. All members of the Oklahoma SAE chapter were suspended by their national organization, the chapter is banned from campus, the White students ordered to vacate their frat house, and two members (Levi Pettit, Parker Rice) have been expelled.

My counter-racist code demands that I not help Whites/Racists to the best of my ability. But the rampant, shameless White hypocrisy this incident has unleashed requires me to briefly channel Annalise Keating/Aibileen Clark and help the pounced upon SAE brotherhood.

Ann Telnaes, the president of the Univ. of Oklahoma David Boren and a host of others grabbed their rocks and commenced to throwing as if their house wasn't glass. As if they weren't members of the same White brotherhood/sisterhood that birthed, nourished, groomed, protected and instructed SAE. As if they weren't Racist.

As if SAE's Racist spectacle is an oddity, a deviation from the global White Supremacy norm.

A party at Clemson University has some of the student body upset. The party, held on Martin Luther King Junior day, poked fun at racial stereotypes with partygoers dressed in blackface and other offensive gear. Pictures from the event show one man who'd painted himself black, and other students gripping bottles of malt liquor with their hands duct-taped to the bottles. The theme of the party was 'Living the Dream.' Jan. 2007

Some Arizona State University fraternity students posted horrendously offensive photos of themselves dressed in basketball jerseys, bandanas, drinking out of watermelons and throwing gang signs in celebration of Martin Luther King Jr., Day. Jan. 2014

An incident involving Wheaton College football players who dressed up in Ku Klux Klan robes as part of a parody of the Will Smith film "Bad Boys II" has rocked the college's campus, which already has been reeling from two other recent high-profile incidents. March 2015

A white student walking down the hall of her dormitory at Wheaton College found a noose hanging near the door of a black dormmate three weeks ago. It was the sixth apparently racist incident to occur at the college in the last two years. Nov. 1983

Two student associations at Lund University in southern Sweden have been reported for hate speech after a party featuring the sale of "slaves" complete with blackened faces and ropes around their necks. April 2011

It's a grotesque lie to trivialize the SAE footagee as youthful tomfoolery, a tragic mixture of booze and naivete, or a lone blemish to otherwise burgeoning race relations. White elders brazenly, perpetually carry out identical Racist rituals. Andrea Shea King announced to a live radio audience that Congressional Black Caucus members should be lynched in front of the US Capitol Building for opposing Prime Minister Netanyahu's address to congress. Kelly Tilghman told a live television audience that uppity Tiger Woods should be hung from a tree. The Montgomery County Sheriff's Department (Ohio) investigated five deputies (two were fired) for sending racist text messages for years. Those texts included - but were not limited to: “I hate Niggers. That is all.” “What do apples and black people have in common? They both hang from trees." And according to the Department of Justice investigation of the Ferguson Police Department, Darren Wilson's former colleagues have a lot in common with the boys of SAE.

This video is just the latest illustration of White Culture. The most recent reminder of what it means to be White. Hopefully, the straw that permanently cracks the spine of the cock-and-bull notion that young Whites are rehabilitated, not Racist.

One of the few things worse than the faux White outrage directed at Oklahoma is the repulsive, bogus spectacle of Senators Jeff Sessions, Rob Portman, former president George "doesn't-care-about-black-people" Bush and the White occupation of Selma. Whites invest enormous sums of time and energy creating photo ops that suggest a sizable portion of Whites are not racist and value black lives. Whites allocated more resources to parade across a bridge named after a KKK member, than to earnestly examine and report the death of Gregory Johnson, Jr.

Mr. Johnson was a 20-year-old student at San Jose State University in 2008. He made the unfortunate decision to reside in the all White Sigma Chi Fraternity House; he was the sole black resident. He was found dead in the Sigma Chi basement on November 22, 2008. Much like LaVena Johnson, Kendrea Johnson, Khalid Flimban and Lennon Lacy... Mr. Johnson's death was deemed a suicide. To quote Quentin Tarantino, "No one who'll be missed."

The Johnson family was justifiably unsatisfied with the suspicious death of Gregory. They've resiliently pursued the truth, and their examination lead them to query the Federal Bureau of Investigation. FBI officials reportedly denied them further information on the death of Gregory Johnson, Jr. on the grounds that it was "a matter of national security." Consequently, the Johnsons filed a $520 million federal lawsuit against SJSU, the University police and Sigma Chi Fraternity. SJSU is also facing a $5 million suit from Donald Williams. In 2013 Williams was an 18-year-old black freshman subjected to ongoing and unpunished White Terrorism from his roommates; they violently assaulted him and called him "3/5" and fraction.

The election of President Obama preceded both occurrences; neither incident provoked the tsunami of finger-wagging and White hand-wringing elicited by SAE's tacky ditty. Gregory Johnson, Jr.'s family could have benefited from the national wrath and expedience demonstrated in Norman, Oklahoma. If #BlackLivesMatter, Denise Johnson might have a more accurate understanding of why her child is dead. In fact, she'd still have her son.

Founded in 1856 at the University of Alabama in Tuscaloosa, SAE has its roots in the antebellum South. When the Civil War began, almost all its members fought for the Confederacy.

Tuscaloosa is approximately 76 miles from Selma. It seems reasonable that some of the White brutes who murdered Jimmie Lee Jackson and sadistically mauled Congressman John Lewis and dozens more might be descendants of SAE architects.

Norman is 122 miles from Tulsa. It seems equally possible that some of the SAE members or general students compromising a University of Oklahoma enrollment topping 30,000 carry the genetic memory of White ancestors who slaughtered and plundered citizens of Black Wall Street.

The irredeemable Whites who sacrificed hundreds of thousands of White lives in defense of enslaving black people are the irredeemable White Terrorists documented in the 2015 report on the "egregiously underreported" lynchings of black people. This is the stock, the lineage, the foundation of the 21st century, global White collective. To restrict this pathology to SAE offers a disingenuous, inaccurate presentation of Whitefolks, Racism.

The White parents of the expelled kids insist their boys are good, got black friends, and are most certainly not Racist.

Apples and Racists don't fall far from the tree.

Super Bowl 49: Study In Racism

2015-02-04T02:25:00.000-08:00

Tom Brady celebrates with Convicted Racist Mark Wahlberg

In 36hrs. my counter-racist evaluation of Super Bowl 49 became this blog's most popular entry ever. The most watched show in television history has continued to captivate long after the final whistle. New England's conquest of Richard Sherman, Marshawn "BeastMode" Lynch and the Seattle Seahawks illustrates many elements of the ubiquitous, corrosive and all-encompassing nature of White Supremacy. Numerous Suspected Race Soldiers filled the comment section of my post-game dissection. Predictably, they insist the outcome of Super Bowl 49 - much like Tasha Thomas' (John Crawford, III's girlfriend) fatal car crash, Timothy Loehmann being hired and authorized to ~~kill~~ murder Tamir Rice, and the North Miami Beach Police Department using photographs of black males for target practice - had nothing to do with White Supremacy (Racism).

Mr. Neely Fuller, Jr. says, "White people can show you better than I can tell you."

Mom: "the patriots are full of white guys and the Seahawks are full of black guys.... Interesting"
— Mad (@MadSwagMartin) February 2, 2015

— The Worst™ (@likeadeadwolf) February 2, 2015

Seattle Are straight niggers out of Compton most poor sports ever — Alex #DoYourJob (@CyL_Gingerr) February 2, 2015

Seattle looks like a bunch of niggers right now fighting hahaha
— Josh Arthur (@JoshArthur9) February 2, 2015

Nice to see Seattle throw the game away then cry about grow up you bunch of thug niggers— WNYfarmer (@UYfarmer) February 2, 2015

Screenshot of @Matty_Griff_'s now-deleted tweet #TheInternetIsForever pic.twitter.com/2PWDs6Hd3I — Yes, You're Racist (@YesYoureRacist) February 2, 2015

Respect to All the Hawks fans and all the players but fuck that nigga Sherman. — Hawkeye (@Ima_Kill_U_Hoe) February 2, 2015

Screenshot of the now-deleted tweet from Tyler Chicoine (@chicoine14) pic.twitter.com/Vdc3tPkW25
— Yes, You're Racist (@YesYoureRacist) February 2, 2015

More where this came from.

Super Bowl 49: Castrating A Beast

2015-02-02T07:47:00.001-08:00

The most important message in this essay is that in the last 100 years, the white collective simply has moved from the overt sport and entertainment of lynching and castrating Black men (removing their testicles), thereby controlling their “balls,” to a more highly refined series of symbolic representations of the same act…

The Isis Papers Dr. Frances Cress Welsing

The Buck Nigger

5 Time Pro Bowl running back Marshawn Lynch was one yard from brandishing back-to-back Super Bowl titles and MVP hardware to match his gold fronts and African medallions. Three feet. The Seattle Seahawks inexplicably faltered 36 inches from triumph. With a first and goal on the 1-yard line, Lynch wasn’t allowed to touch the ball - or his balls.

Absent a reasonable explanation, it's logical to suspect that powerful Whites may have decided that an obstinate black beast would not be permitted a super-bowl-winning touchdown and the requisite temptation for the most defiant end zone celebration in NFL history. A black male palming three balls.

Fans, players and analysts will offer a wealth of interpretations and a more cogent, transparent investigation of the decisive moments of Super Bowl 49 than the Ferguson grand jury proceedings.

Most of that discourse won’t suggest that another demon(ized) black male was subjected to Racism. If the Empire of White Supremacy obstructs and contaminates grand juries, police departments, McDonalds, and enlisted black female’s ability to maintain healthy, natural hair, why wouldn’t Whites thwart the success of uppity ~~thugs~~ niggers like Lynch and Richard Sherman?

White contempt for Lynch has been thinly veiled, crude, and pervasive. The New York Post’s Bart Hubbuch branded Lynch an “unprofessional dick” and a “childish jerk.” The New York Times’ Juliet Macur channeled her Willie Horton, Central Park Five and George Stinney White angst to indict Lynch as a sexual beast.

He flashed that grin when the gymnast Shawn Johnson — the [White,] tiny and eternally adorable gold medalist from the 2008 Olympics — threw him a bag of Skittles as part of her gig with “Inside Edition.” Lynch blew her a kiss and told her, “You’re sexy, too.” She ran off, blushing. (I cringed, only because I first wrote about Johnson when she was 15 — and she is 23 now, but still looks 15.)

A sabotaged ball game hardly registers when juxtaposed against the macabre mountain of lynched black males and razed black towns Whites have justified (celebrated) in the name of avenging an allegedly defiled pale woman. Lynch had the audacity to munch Skittles and live. The cockiness to disobey master, not speak on command. The Orenthal-James-Simpson-gall to get fresh with a White Woman.

Whites scripted Lynch as a petulant child rejecting White paternal authority by refusing to showcase a golden grin polished with White gratitude. A sassy nigger who needs reminding that his place is with the likes of Bay Area residents Bobby Hutton, Oscar Grant and Nubia Bowe. Whites provided him a plantation of dreams to escape the horrors of Oakland White Supremacy. And now he thinks he can defy White authority and keep his balls?

Black children like Darrin Manning had their balls taken for less:

On January 7th, 2014 Darrin Manning, a 16 year old Black boy, was castrated by a female police officer that found him suspicious. Mr. Manning was a child, a straight “A” student, he was searched, patted down, and then his testicles were squeezed by this woman of the state so hard that they ruptured as indicated by an audible popping.

Maggie Rhodes’ black son Ashton had his genitals mutilated for less.

When he was in the room, he was screaming like life and death like, like there wasn’t no tomorrow,” she said. “When she pulled back the cloth, like [Ashton’s penis] was like gone. She cut up instead of down, instead of cutting around the top of the penis.

White ball games should not be a priority for sane black people. No Super Bowl triumph or athletic achievement will provide permanent or even temporary solutions to black people’s problems with Racism (Whites). At best these institutions reify and reflect the White Supremacy values that make #BlackLivesMatter a hope or a hashtag, not reality.

Racist projections of demon, black beasts (not humans) that White and courageous Tom Bradys and Darren Wilsons must vanquish. ~~Fairy Tale~~ Racist Endings where brash, recalcitrant niggers are neutered by upstanding, hardworking Whites. White Supremacy could not reward Lynch’s weeks of supposed insubordination and genital flouting with an NFL crown. The core aspects of White culture that required the whipping of unruly Marshawn Lynch and the Seahawks fuel the ongoing molestation of Assata Shakur. The rebellious, “buck nigger” is insufferable and must be broken. Broken in a manner that exemplifies how black defiance concludes. White conquest over – often holding – black balls.

William Rhoden master crafted $40 Million Slave and an interesting prelude to New England’s return to glory. He hinted that “by hook or by crook,” Patriot success seemed likely. Maybe he sensed the Arizona showdown was more plantation than coronation of “black heroes.” With Serena Williams confiscating her 19th major championship at the Australian Open a day before the gridiron battle, Whites had already surpassed their tolerance for celebrating melanin accomplishment.

Entire cross-sections of the country prayed for a “white hope” to rescue the title from the “beast” who had stolen it.