Richie Incognito called “honorary Black”


November 8, 2013

Miami Dolphins’ second-year offensive lineman Jonathan Martin made sports news when he abruptly left the team on October 28 due to constant bullying and harassment by his teammates.  Initial stories reported it started when players – pulling a traditional prank – stood up and removed themselves from the table as Martin sat down to join them, causing him to slam his lunch tray and exist the facility. Following stories focused on fellow offensive lineman Richie Incognito allegedly being the main harasser, which was supported via a published voicemail where Incognito called Martin a “half-nigger.”

The Miami Dolphins took immediate action by suspending Incognito indefinitely for “conduct detrimental to the team.”  This daily-developing saga was no longer confined as a sports story; it became a national story regarding race/racism being the topic of conversation.

Knowing of the threatening language and racial slur Incognito left for Martin in a voicemail, some would think that his Black teammates would be offended and denounce such behavior, but that was not the case.  Black players have voiced their support for Incognito, stating the media depiction of him being a racist is untrue and laughable.  Cornerback Brent Grimes stated, “I don’t think Richie is racist”; tight end Michael Egnew added a similar sentiment: “Richie Incognito isn’t racist.”  In fact, since this story made headlines, Incognito’s teammates, majority of them being Black, have shown overwhelming support and have painted a positive picture of him, because he is loved and wide receiver Mike Wallace made that clear:  “I don’t have a problem with Richie; I love Richie.”

Incognito was so loved and respected that his teammates voted him one of the team leaders, despite his troubled past on and off the field.  More surprisingly, he is considered a “brother” by Black teammates and given the license to use “nigga” because he is one of them.

This distorted belief goes even further.  Miami Herald’s reporter Armando Salguero reported that a former Miami Dolphins’ player stated:

“Richie is honorary. I don’t expect you to understand because you’re not Black. But being a Black guy, being a brother is more than just about skin color.  It’s about how you carry yourself.  How you play.  Where you come from. What you’ve experienced.  A lot of things.”

Salguero went so far as to report that many Black players in the locker room consider Incognito a Black person (because he talks/acts like them; thus, he’s culturally accepted) and “more Black” than Martin, who is incorrectly labeled as half-Black by some clowns in the media.

Martin’s father, Clarence Augustus “Gus” Martin, is phenotypically a Black man with a mixed background and shares President Obama’s complexion; whether he had a white parent or biracial parent is unknown.  Martin’s mother, Jane Howard-Martin, is Black. Knowing this, how is Martin half-Black when he does not have a white parent?  Do people also label Obama’s daughters half-Black?  There is no denying Martin’s mixed background via the lineage of his father, but stating that he is half-Black when he has no white parent is ridiculous.

Nonetheless, to understand the mindset of his Black teammates and why they view him as an unauthentic Black man, Martin’s background must be mentioned.  Martin is a Stanford graduate, where he studied ancient Greek and Roman Classics.  Both of his parents are Harvard graduates: his father; Harvard Class of 1978; his mother, Harvard Class of 1979.

Martin’s father holds a position as associate dean of Criminal Justice Administration at California State, Dominguez Hills and specializes in Terrorism and juvenile justice, publishing five books on the subject.  His mother holds a corporate position at Toyota as a lawyer.

The Harvard connection does not stop with Martin’s parents.  His great-grandfather, Harvard Class of 1924, studied at Harvard but was not allowed to live on campus because he was African American.  His grandfather, Harvard Class of 1956, was a professor of International Development with expertise in sub-Saharan Africa. Impressively, his family tree includes nine Harvard graduates and highly educated individuals of lawyers, professors, researchers, and other careers.

There is a long-standing notion within Black society where some believe that one who is educated, speaks/writes well, has a grasp of the English language, and wealthy is somehow not adequately sufficient to be considered Black.

Sadly, some Blacks neither respect nor embrace education – not to mention one’s individuality.  With Martin’s education, background, how he was raised by his parents, and how he carried himself, it is no surprise that he was labeled less than and not Black enough.  Incognito, on the other hand, despite his white skin, was Black in their eyes because he acted like a Black person.  Thus, he was “one of the boys,” a “brother,” and “honorary Black.”

This convoluted and downright pathetic mentality only fosters offensive Black stereotypes.  It shows why Blacks will continue to remain at the bottom of the social ladder and viewed by non-blacks as inferiors, uneducated, feeble-minded individuals, and smiling-jiving buffoons.

These types of Blacks are no different than those who stood alongside slave masters to capture, beat, maim, torture, sell, and murder Blacks for subservient power and acceptance.  These are the worst types of Blacks; these worthless dirt-scums are the real enemy of Blacks.  They detest Blacks who are successful (or those who chase success) because they themselves cannot gain it or refuse to put themselves in a position to obtain it.

Blacks are the only group of people that practice all-inclusiveness.  Jews don’t include Black into their circles and make them “honorary” Jews.  Asians don’t include Black into their circles and make them “honorary” Asians.  Italians, Caucasians and other groups don’t include Blacks into their circle and make them “honorary,” because they respect their cultures, where they come from, and their ethnicities.

Not only do they respect their cultures, they value education because it fosters success and opportunity, something that lacks with a number of clowns in Black society.

When a white girl dances well and has the ability to shake her butt up and down and gyrate uncontrollably to the rhythm, Black girls consider her a “home girl” and a part of their faction. When a white man knows how to shoot a basketball or does tricks, he is given a silly name like white chocolate (e.g., former NBA PG Jason Williams and Street-baller Randy Gill) and placed on a pedestal as if he is some kind of deity.  When a white man knows how to rap and shows his musical skills like Eminem, he becomes the “best rapper” in the world and heavily praised and loved by Blacks – and accepted within the Black culture.  Former President Bill Clinton, Justin Timberlake, Robin Thick, and the like are other examples.

Anything that a white person does that Blacks deem impressive, he/she is instantly loved and accepted as part of the group and/or culture.

Incognito’s Black teammates can call him “nigga” at their discretion; in return, he can use it as a term of endearment with ignorant Black friends that allow him to do so.  Majority of those in his circle can be Black.  He can decide to date, marry, and/or have children with a Black woman.  He can be loved and admired by Blacks of all walks of life.  However, he will never be Black or have a true experience of Black existence.

He does not have to worry about being a target for being in an area that he does not belong.  He does not have to worry about being riddled with bullets and murdered for looking suspicious.  He does not have to worry about being stopped, frisked, and harassed by animalistic law enforcement while walking. He does not have to worry about being pulled over while driving.  He does not have to worry about being questioned for an expensive item purchased with his own credit card.  He does not need to worry about secondary treatment when he enters the emergency room. Obviously, he does not have to concern himself with being called a nigger.

Being Black is not a membership; it is an existence of black skin – an inherited trait.

There is no rite of passage of becoming Black; no such thing exists.  One does not become Black by growing up in a predominantly Black neighborhood, having predominantly Black friends, sharing similar life-experiences, having the same lingo and diction, or wearing clothing in a particular manner.  Black is Black and Caucasian is Caucasian.

Any Black person who believes white people can be considered Blacks because of a lifestyle or any similarities is a twisted-minded fool – and highly dangerous to other Blacks.  Spineless fools of suchlike will easily betray their own kind, plot one’s demise with a smile at the behest of white supremacy, for they lust for white acceptance, power, and companionship.

Whites are not honorary Blacks.  There is nothing honorable about Blacks calling a white man Black.  It is shameful, disgusting, and pure stupidity.


Movie Review: Blood and Bone (2009)


September 7, 2009

Directed by Ben Ramsey, Blood and Bone is a direct-to-DVD martial arts movie, released on September 15, 2009 via Sony Pictures Home Entertainment.  The movie stars Michael Jai White, Julian Sands, Eamonn Walker, Dante Basco, Nona Gaye, and Michelle Belegrin.

Leading character Michael Jai White, assuming the role as Isaiah Bone, delivers a stand-alone and explosive performance like none other.  The tagline of the movie, In A World Without Rules, He Makes His Own, and subtitle, Destroy Your Enemy, say it all and could not be more fitting.

When Bone is released from prison, he rents a small room in a moderate house from Angela (Nona Gaye), a foster mother, and prepares his mission.  He later goes to an underground fight scene and watches from afar.  He makes his way into the car of Pinball (Dante Basco), a fight organizer, and convinces him to put him in a fight with any fighter to prove himself.  The fight is quickly organized and he wins.  Thereafter, Pinball not only becomes his friend but his unofficial manager.

Although Bone wins money through his fights, these fights are not driven primarily by money but rather a “take care of my wife and kid” promise – a promise that he realizes will only be fulfilled if he gets into the underworld of street fighting and befriends and shakes hands with the enemy.  Thus, that is exactly what he does.

Blood and Bone is no doubt one of the best martial arts films in years.  It is not the typical fight movie, where the main character goes to various scenes to fight the best fighters and crowned the champion after he defeats the most-feared/best fighter at the end.  Blood and Bone is much more; it has a story line (that is well written), a purpose (that is driven by reunion), and a promise (that Bone fulfils at the end).

When he completes his mission, he leaves.  Instead of taking a ride from Pinball, he walks down the street and into the sunlight with his backpack on his back like a lone warrior.  This scene resembles the final scene of Street Fighter 2: The Animated Movie, where Ryu takes the same route (until evil Bison comes driving down the road in a semi truck with a wicked smile on his face).  This film ends perfectly and has room for a sequel.

In fact, Blood and Bone typifies a perfect film for White, because he is a professional martial artist who holds seven black belts in various disciplines; again, 7 black belts.  More important, what he shows in this film is something that should not be missed by anyone with an eye.

White lights up the screen with his awe-inspiring fighting style from start to finish.  The first scene (i.e., prison bathroom) of the movie depicts that when he takes out five-plus antagonists in quick fashion, leaving them bloodied, mangled, shocked and confused.  As the storyline progresses, White continues his damage in every fight scene.  Not only does he destroy his contenders, but he obliterates them and leaves spectators dumbstruck and looking at one another with the “who-what-when-where-how” questions:  who is this guy; what is he made of; when did he learn these killer moves; where did he come from; and how in the world did he do that with his hands and feet?  In no way is this an exaggeration; viewers who watch this film will perhaps have the same sentiments and ask the same questions and more.

Besides his prowess in martial arts, White’s acting should not be overlooked, for he delivers his role flawlessly.  He is nefarious when he has to be, kind when he has to be, passionate when he has to be, and cool and subdued when his role calls for it.  He excels in every facet and brings character Bone to life.

Some may assume that White is a newcomer, but he is not; rather, he is a veteran in the movie industry and his filmography speaks for itself with more than 30 appearances (e.g., Spawn, 1997; Universal Soldier: The Return, 1999; Trois 2: Pandora’s Box, 2002; Undisputed 2:  Last Man Standing, 2006; Why Did I Get Married, 2007).  He may not be as famous as Denzel Washington or Will Smith, but he represents a great actor.  When he is featured in a film (or TV series), he does a noble job and delivers; his lastest role is no different.

In closing, Blood and Bone typifies the ultimate example of how a martial arts film should be made, with a passionate storyline and purpose, and not just a fight-only movie that ignores plot and reason.  This movie is bursting with action and entertainment, not to mention, it is the real deal.  Director Ben Ramsey, writer Michael Andrews, and every soul that participated in completing this film did an amazing job by rendering an A+ film.

However, there is one major flaw with this movie; it has nothing to do with the movie itself but rather the movie’s distribution and handling.  Surprisingly, this movie is a straight-to-DVD release and was not shown in theaters.  With so many terrible movies being channeled through movie theaters, it is a shame that this movie, which is directed by a Black man and stars a Black man, did not have that chance.  Movie studios need to get their act together, because this film should not have been allocated straight to DVD.  If studios can waste time and money releasing trash for public view in theaters, there is no doubt that a studio could have given Blood and Bone a proper big-screen presentation. Hollywood needs to wake up.

(This film also features MMA fighters Kevin “Kimbo Slice” Ferguson, Bob Sapp, and the beautiful Gina Carano; the striking new face of “All My Children,” Shannon Kane, makes a brief appearance.)

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Originally published Sept. 7, 2009 via now-defunct

Poetry Analysis: “We Real Cool” by Gwendolyn Brooks


“We Real Cool” definitely has a powerful message behind it.  Gwendolyn Brooks illustrates the essence of troubled teenagers who will eventually suffer the ill-fated possibility that life renders human beings while engaging in the lifestyle of the streets – death.

The teenagers are obviously not too fond about attending school.  Therefore, they skip and find solace and pleasure at a pool facility.  It seems as if the teenagers really don’t care about their education and go day by day living a happy-go-lucky lifestyle.  The happiness that they are feeling by playing pool supports that theory.

They sing.  They drink.  They ignore the seriousness of life and their future.  In all, they do anything to capture that feeling of ecstasy.  A nonchalant attitude about the players’ personas clearly resonates throughout the poem.

The constant usage of the word “We” may indicate that these boys are proclaiming their arrival at the pool facility as if they have been there before.  The bottom line is apparent:  The seven young men find their comfort at the poolroom, rather than school.

For the most part, the tone of the poem is very upbeat, while simultaneously presenting a dark atmosphere.  The entertainment the boys are engaging in presents happiness. However, the actions of the boys present bleakness with the placements of the words “Lurk late,” “Sing sin,” and “Thin gin.”

These words carry unpleasant meanings.  “Lurk” implies sneakiness with the intent of doing something wrong. “Sin” implies a moral and/or criminal wrongdoing. Being that these boys are street people, it is safe to argue that criminal activities may occur via “lurk[ing] late” at night.  “Gin,” an alcoholic beverage, is not an unpleasant term; however, in the context of the poem, it implies that these boys are drinking heavily (via “Thin”) and could possibly become intoxicated, causing an unpleasant outcome.

The unpleasant tone of the poem amplifies dramatically at the end with the following statement:  “We die soon.”  This one line alone does not only present a chilling end but firmly cements their future.

In a more in depth analysis of the final line (which refers to death), the subtitle of the poem states:  THE POOL PLAYERS.  SEVEN AT THE GOLDEN SHOVEL.  The number “seven” has the aura of good fortune while the boys shoot pool.  Moreover, the word “golden” typifies prosperity and happiness, akin to how the boys are feeling.  However, the word “shovel” signifies an ominous sign, relating to death, casket, funeral and later burial.  Brooks implies that street people will eventually die soon.  These young boys are obviously street people because they are not in school.

They live a carefree life and they could not care less about attending school, because they find it tedious.  They lack the presence of mind to grasp the importance of what school offers at the moment and how beneficial it would serve them in the future.  Such carefree mindset will present difficulties as these young boys seek employment.

Their lives have no direction and they don’t really care about anything – not even their wellbeing for the future.  They have no sense of themselves and are not aware of the importance of education, which will sooner or later become their downfall.

Their poor decision serves them no advantages in any way, because they will not be active participants in society.  Without a high school diploma, their journey to find a decent job will be limited.  Such difficulty may possibly turn the boys into criminals to obtain easy money.

Moreover, these young men are clearly dropouts and perhaps Black, supported by the lingo of the poem.  In fact, the title, “We Real Cool,” breaks the rule of proper English because it presents a slang dialect.

Even though the poem was written in 1960, it mirrors the situation of today, for many young boys and even young girls skip school every day – not to mention those who dropout.

Gwendolyn Brooks does an excellent job with this piece.  With its monosyllabic and eight-line stature, the poem is short, straightforward, and to the point.

“We Real Cool” represents an impressive piece that has a profound implication:  No education (i.e., skipping an institution of schooling that provides knowledge) and living a carefree lifestyle as a dropout will most likely lead to an unfortunate end – death.