TYRESE BASHES BLACK WOMEN FOR BUYING THE LONG STRAIGHT HAIR HE ADORES ON WOMEN

Years ago, I read about Tyrese Gibson (of FAST AND FURIOUS movie fame) helping a black male friend choose a bunch of women for that friend's music video.

They didn't seem to be picking any black women at all. Once these two black "men" had picked a dozen or so, some black women said, "Hey! What about us?"

As I recall Tyrese said something like, We're only picking the most beautiful. "No special favors."

In other words, white and light bright = beautiful. Black women need special favors to be chosnen placed among the most beautiful.

Correction: White and maybe latina = beautiful for Tyrese because I don't think he even chose light-skinned women. I could be wrong as I only saw the chosen women in a photograph taken from some distance. But if any of the women were black, they were that pale.

Tyrese was 10 minutes into his career when he said, 'No special favors.' So, I've pretty much always read him for trash.

The only difference between Tyrese and other black men who talking out of both sides of their mouth, running down black women about their weaves is that Tyrese is ever so slightly dumber.

Somebody should tell Tyrese and his hotep cousins that the color of their skin isn't fooling anyone either. You can't be down for black folk and ONLY be down for black men only.

Please tell non-feminist black women to stop listening to black men who try to tell black women how to be black women. Tyrese and Steve Harvey are successful because they fell into careers that are mostly based on luck, not intelligence.  And Ben Carson has proved intelligence is over-rated.

So there's no reason to listen to any black man on how black women  should perform black womanhood. Any man that tries should be looked upon as suspect and told that he needs to check himself.

Let us all keep in mind that every group, including black men, have problems enough of their own to keep them busy for a couple of centuries or more.
 
* * * * *

from LisaAlamode.com

“YOUR WEAVES AREN’T FOOLING MEN” TYRESE BLASTS BLACK WOMEN FOR TRYING TO EMULATE THE FEATURES HE FINDS ATTRACTIVE

Read More:

http://lisaalamode.com/2017/03/18/weaves-arent-fooling-men-tyrese-blasts-black-women-trying-emulate-features-finds-attractive/

MUHAMMAD ALI AND MALCOLM X

One of the things that makes a man a man is the ability to admit he was wrong, especially when he's messed up very badly.  I admired him so much for admitting what happened between him and Malcolm.

I didn't see Will Smith in "Ali."  I wonder if this part of Muhammad Ali's story is there, the real strength in vulnerability part?


Feeling Rebloggy

"Malcolm had been declared persona non grata by the Nation for what they saw as self-aggrandizement. He was also criticized for revealing that the Nation's revered founder, who was addressed as "the Honorable Elijah Muhammad," had fathered several out-of-wedlock children with his secretaries. Furious at being questioned by an underling, Elijah Muhammad suspended Malcolm and forbade him to speak publicly. Malcolm left the Nation soon after the rupture. 

He thought Ali would go with him.

He was wrong.

...Both men were in Africa, in Ghana, when they met in the plaza outside the Ambassador Hotel in the capital city, Accra.

And what happens, recounts Smith, is this:
"Ali and Malcolm, their eyes meet. And at that moment, Malcolm says, 'Brother Muhammad! Brother Muhammad!' He wants to engage with him, say hello. He doesn't know Ali is mad at him, that they're no longer friends. He's got this half-smile on his face. And Muhammad Ali, just stone-faced, says, 'Brother Malcolm, you shouldn't have crossed the Honorable Elijah Muhammad.' And he essentially walks away from him."

Ali was accompanied by Elijah Muhammad's son, and he could hardly have been seen to embrace the man whom the Nation had declared its mortal enemy.

A marked man, Malcolm was assassinated early the next year.

Randy Roberts says, "One of Ali's greatest regrets — and he said as much — is that he never patched things up with Malcolm, that he never told Malcolm how important he was to him." Interestingly, Ali would also eventually leave the Nation of Islam to convert to Sunni Islam, the same orthodox Muslim faith his former mentor had embraced after leaving the Nation"

~NPR 

Read More:http://www.npr.org/sections/codeswitch/2016/02/25/467247668/muhammad-ali-and-malcolm-x-a-broken-friendship-an-enduring-legacy

FAKE DEEP by Cecil Emeke

"If I hear one more poem
written by a man telling women
how to live their lives
by policing their clothes,
bodies,
sexuality,
make up use,
reading habits,
exercise regimes
and cooking skills,

I’m going to slap somebody…

GO TELL IT ON THE MOUNTAIN Ikard about Baldwin on Black Female Patriarchy

A REPOST FROM NEW BLACK MAN BLOG
http://newblackman.blogspot.com/2009/07/book-review-breaking-silence-toward.html

A pivotal moment in James Baldwin’s novel Go Tell It on the Mountain (1952) sees the churchman and patriarch Gabriel being confronted by his sister Florence over a devastating past infidelity.

James Baldwin

Upon fathering a child with his mistress Esther, Gabriel stole the savings of his first wife Deborah and gave it to Esther to hush up the matter. Deborah wrote a letter to Florence testifying to Gabriel’s ruinous behavior, which left her neglected, isolated, and economically dependent on him.

When Florence musters up the courage to confront Gabriel, ten years after having received the letter, the effect on his psyche is profound:

“It had lived in [Deborah’s] silence, then, all of those years? He could not believe it…And yet, this letter, her witness, spoke, breaking her long silence, now that she was beyond his reach forever” (212).

Confronted with the suffering wrought by his patriarchal authority, Gabriel reels from the memory of Deborah as it is framed by Florence’s criticism of his actions. As if to underscore the power of speech in these women’s intertwined voices, Baldwin has Florence rebut Gabriel’s power over her by uttering,

“When I go, brother, you better tremble, cause I ain’t going to go in silence” (215).

****************************

David Ikard

Ikard’s chapter on Go Tell It on the Mountain is exemplary in this regard because it introduces the idea that both men and women have a stake in black patriarchy—a dynamic that underscores the need for genuine intergender dialogue (rather than, say, a feminist critique of male oppression as “ONLY” an issue of men dominating women).


On the one hand, Ikard shows how the novel’s patriarch, Gabriel, consistently shores up his sense of masculine identity by compelling the black women in his life to submit to his religious and familial authority.

When his mistress Esther is left on her own with their unborn child, she is “virtually at Gabriel’s mercy” because she is a “poor pregnant woman of disreputable social standing” (64). Esther might reveal Gabriel’s infidelity to the church, but Ikard understands this as an impossible choice, given the practices of community policing which downplay such infidelity in the name of securing strong black male leaders.


In this way, Gabriel’s sense of himself as “the chief victim of white oppression and the burden-bearer of his family” continues to justify his ill treatment of black women.


Yet in his chapter on Baldwin, Ikard is also keen to show how the novel “disrupts the victimization discourse that allows black men like Jones and Gabriel to explain away their subjection of black women” (50).



                                         *    *     *    *   *


Crucial to this narrative disruption, according to Ikard, is black women’s recognition of and rebellion against their complicity with black patriarchy.

In the figures of Elizabeth (Gabriel’s current wife) and Gabriel’s mother, Ikard identifies how “women unknowingly support patriarchy in their relationships with men,” particularly through the“internalized…expectation of black female self-sacrifice” (50, 67).

1) Elizabeth buttresses Gabriel’s authority by assuming guilt for being a “bad mother” and having had sex prior to their marriage.

2) Gabriel’s mother is a more resonant example of black female patriarchy in that she “rears him to believe that as a man he should expect black women to cater to his every emotional, physical, and material desire” (55).


In both cases, Ikard outlines a convincing case to extend the study of black patriarchy to women who support its ideological and institutional viability.

Importantly, this perspective does not cast judgment on black women for supporting patriarchy but instead seeks to understand

1) how their stake in it is conditioned by white supremacy, and

2) how a more inclusive politics of resistance would overturn both racists and gendered structures of oppression.


Ikard’s perspective is echoed in the character of Florence, who emerges as the novel’s privileged witness to the range of patriarchy’s harms precisely because she has also suffered from black women’s (her mother’s) investment in patriarchy.

***************************



FROM A NEW BLACK MAN A PARTIAL REVIEW OF
"BREAKING THE SILENCE: TOWARD A BLACK MALE FEMINIST CRITICISM"  by David Ikard. Read More -  http://newblackman.blogspot.com/2009/07/book-review-breaking-silence-toward.html



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