Runaway Slave is every bit as edgy and as good a documentary as the trailer makes it out to be. The Rev. C. L. Bryant is every bit as down-to-earth as he seems in the movie. So what is wrong? Why aren’t black Americans flocking to see it?
To answer those questions, we need to start with what is right about the movie.
Bryant does a masterful job of uncovering the progressive spin that constantly tries to portray conservatives as white racists. Pointed on-the-street interviews with black marchers demonstrates that like most of the progressive mindset, they just march lock-step with a political line. Revealing the history of the last 100 years of the progressive movement should be enough to open the eyes of anyone and make them take notice.
In my opinion the problem is that the white masters of the progressive movement and the race-hustlers in the black community are going to do everything they can to repress it.
For example, Calvin Lester wouldn’t even respond to my challenge to go see the movie? Why? To ignore the facts and history, means you can continue to keep your base stirred up. It gives you a certain sense of power and leadership. Al Sharpton and Jesse Jackson have made their fortunes doing this very thing.
“You never want a serious crisis to go to waste…the opportunity to do things you could not do before.” — Rahm Emanuel
To be fair, Rahm was speaking about perceived energy and economic policy failures. However, what he stated goes to the core foundation of the progressive movement. With a crisis, you can rally people and influence them. People tend to become vulnerable, especially when they are uninformed. The perceived crisis is the oppression of black Americans by the white man. Without this crisis the black masters have no power.
If God is not for us and against white people, then he is a murderer and we had better kill him. The task of black theology is to kill gods who do not belong to the black community. — Dr. James Cone, Black Power and Black Theology
That is black theology or black liberation theology at its core, and that is very dangerous. This is being taught at the spiritual level in many black churches and community meetings. It is hard core racism. It is the very essence of a self-fulfilling prophesy. It is a serious crisis.
The only way in which your repentance, your forgiveness can be authentic, your reception of it can be authentic, your repentance can be authentic, is that you give back what you took — and white people took a lot from black people. — Dr. James Cone, Black Power and Black Theology
Remember Reverend Jeremiah Wright? One of his biggest influencers was Dr. James Cone.
Of course, most liberals would immediately try to dismiss the Wright controversy as it relates to Obama, but the fact is that Wright had a huge influence over the course of 20 years of Obama sitting in his church. Hmmm. Have you noticed that in the last couple of years, Wright has basically been removed from the spotlight? That is because progressives and the race-hustlers don’t want the dirty big secret of black liberation theology to get out.
Now, has Obama don anything overtly racist as it relates to black liberation theology? Not unless you count the Cambridge Police incident. That was a shining example of black power trying to spotlight a “white man keeping a black man down.” And you might want to count Obama’s comments about Trayvonn Martin: “…he would look like my son.”
But Obama doesn’t have to outwardly project black liberation theology. As long as his is at the top of the pyramid, then he can put others in positions of power while the race-hustlers do the ground work for the progressives.
So what is wrong? Why aren’t black Americans flocking to see “Runaway Slave”?
Ignorance is bliss. As long as the leaders of the progressive movements and the leaders of the black liberation theology and the leaders of race-hustling can ignore the movie and the facts, they can keep the good crisis going…and stay in power.
And therein lies the problem. Right now, the contents of the movie are seen by a lot of conservatives and white Americans. The key is figuring out how to get black Americans in the theater.
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