(Akiit.com) Antiabortion advocates are claiming that Black women are being specifically targeted for abortions in an effort to keep the Black population down-a conspiracy against the Black population.

This comes after several antiabortion billboards popped up in Atlanta stirring up the race issue.

The billboards feature the face of a Black baby and the words “Black children are an endangered species.”

The billboards direct people to a website called toomanyaborted.com, which says for African-Americans, abortion has become a crisis. Nearly 40% of all Black pregnancies end in induced abortion, the website says, which is more than three times the rate of white women and two times the rate of all other races combined.

Now that you’ve read the fiction, let’s talk about the facts.

Fact-Just like with the Mormons and Proposition 8, Black people are not the architects of this campaign but for the right price you’ll find some of us willing to serve as spokespersons for the campaign. Just don’t believe the hype.

Fact-the biggest conspiracy against the Black population was the exporting and importing of Blacks from Africa to the now United States of America-not abortion. The Middle Passage claimed more Black lives than abortion doctors.

Fact-next to slavery, the second biggest conspiracies working against Black people continue to be the U.S. Justice system and the effects of Post Traumatic Slave Syndrome.

Fact-if abortions were such a conspiracy against Black people in particular, they’d be free and there’d be a clinic next door to every Black church, nail shop, beauty supply, and liquor store in the community.
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(Akiit.com) I just won’t give John Mayer a pass on his racist’s and misogynistic comments in a recent Playboy interview. You gotta draw the line somewhere and he’s definitely crossed it.

When asked if black women interested him he commented, with a few choice expletives for emphasis, he said he doesn’t open himself to black women because his genitalia “is sort of like a white supremacist.” In that same interview he also said he has a Benetton heart but David Duke genitals – he actually used another word but I won’t.

Obviously he is obsessed with his genitals and obviously he felt free to evoke his white supremacist card as he snuggled into the interview. After all, it was just Playboy Magazine and who reads that anyway? It was a rambling and revealing look into the mind of this artist. The light is on . . . and you know the rest.

He may have recorded a catchy hook in his Grammy Award winning anthem “Waiting on the World to Change,” but he’s on the hook for this remarks. He has branded himself with a new label – supremacist. Way to go John-Boy.

I got a few questions to ask. Is he truly crazy! Is he on drugs? Has he lost his freaking mind?

Could you characterize this as a tongue and cheek unguarded moment where loose lips ran wild?

Au contraire mon cheri! Now you know this has gotten under my skin when a sistah starts throwing in some French to make her point.

My mom always says, and this is a quote loosely translated from the Bible, “Out of the abundance of the heart the mouth speaks.” And I appended that once you say it, you can’t take it back because you meant it. That statement was in his heart, part of his fiber, infused in his marrow. That’s why it slid out of his month with such ease. You can’t blame it on the alcohol Mayer.
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(Akiit.com) Speaking on ABC’s “This Week”, House Speaker Nancy Pelosi commented, “I think everybody wants affordable health care for all Americans. They know that this will take courage.

It took courage to pass Social Security. It took courage to pass Medicare. And many of the same forces that were at work decades ago are at work again against this bill.”

There is that word again. What exactly does affordable mean? The left tosses the word about but never bothers to define exactly what they mean by affordable. It could mean anything and everything and no doubt it will.

Affordable is a political term that is unassociated with actual costs, only addresses price and means, “you pay according to the amount of political capital you have.” For instance if you belong to the SEIU you pay less than if you didn’t. But I digress.

I dare say that the only reason it takes courage to pass Obamacare is because a majority of Americans oppose it. According to a recent CNN poll only 25% of Americans want congress to pass this Healthcare bill. It is particularly telling that the new left continues to depict the 75% of Americans that oppose their efforts to nationalize healthcare (which is the end game) as ignoble, uncompassionate, ignorant racists. More annoying is that they portray themselves as visionary, compassionate champions of good.

I suspect that the truth is that Americans do not like the substance of the healthcare bills – all 4000 pages! Nor are they enamored of the back room deals this administration cut in order to secure the votes of their own party. Frankly, the stench of bribes like the latest appellate-judgeship-for-yes vote is more reminiscent of B.S. than it is of hope and change.

It is also likely true that Americans have weighed the fiscal promises of huge government programs like Social Security against their reality and decided they would like to find other avenues towards reforming healthcare- other than putting it in charge of Washington bureaucrats.
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(Akiit.com) Director Antoine Fuqua has been chasing the shadow of his biggest hit-to-date, Training Day, for almost a decade. After that breakout success, (for which Denzel Washington won a much-deserved Academy Award for best actor) Fuqua’s subsequent films have disappointed either commercially (King Arthur), critically (Shooter) or both (Tears of the Sun). With his latest, Brooklyn’s Finest (which opens Friday, March 5), Fuqua is finally back in his comfort zone–the police thriller–and although this work doesn’t come close to surpassing Denzel’s classic–it is at times a worthy successor.

Working off a script by first time writer Michael C. Martin, Fuqua weaves three stories of three veteran cops–one retiring (Richard Gere), one undercover (Don Cheadle) and another hopelessly corrupt (Ethan Hawke)–all based in Brooklyn. The common thread all three men share besides location is that while they are all inherently decent men they are also morally compromised and challenged in one way or another.

From the opening shot until the final frame–this film grabs you. It’s beautifully shot (on location in Brooklyn) and once they get going each one of the main storylines manages to really hold your interest and build in tension. Gere’s Eddie Duggan is lonely, suicidal and derided by his fellow officers as a “burnout“. He is forced to mentor unreliable rookie officers during his last week on the job. When all he wants is to be left alone, Gere’s character keeps being drawn back into perilous situations. Hawke’s Sal is struggling to make ends meet with a sick wife pregnant with twins and several other children to provide for. He finds himself stealing drug money to finance a new home. Finally there’s Don Cheadle who has taken on the alter-ego “Tango” and has gone deep undercover to help bring down a drug kingpin named Caz (played by Wesley Snipes) who has recently been released from prison. His eagerness to attain promotion within the police department has isolated him from not just his colleagues but from his family as well.

While the film is never boring, Fuqua takes a lot of time to set up his three protagonists. This is a good thing. He is aiming for the film to be a parable about flawed men forced to make difficult choices and there are a lot of religious overtones–from a darkly funny confessional scene featuring Hawke to a cameo from a black Jesus–but it’s the pulse pounding, cross-cutting suspense sequences that keep you on the edge of your seat.
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(Akiit.com) Slam Simpson and Dennis Rodman, if you must, but a black man in drag is no disgrace to black history.

Far be it from me to parse the motivations of the California schoolteachers who presented portraits of O.J. Simpson, Dennis Rodman and RuPaul during a Black History Month parade. Perhaps they were well-meaning, albeit misguided, in their efforts. Probably not. At any rate, there’s been (predictably) a great hue and cry from those charging that the contributions of black folks were being mocked.

I’d be the last person to defend O.J. (I’m convinced that he did it) or Dennis Rodman (clearly he’s got, shall we say, issues).

But I will, however, defend RuPaul, drag diva/author/singer/actor and host of Logo TV’s RuPaul’s Drag Race. Why lump him in the same category as a convicted felon and a fallen basketball star who’s pled no contest to domestic abuse? Sporting stilettos and a blond wig while possessing no small quantities of testosterone does not prevent one from qualifying for black hero status.

Drag does not equal disgrace.

The outcry over RuPaul’s inclusion in the Black History Month parade has a lot to do with the black community’s continued issues with homophobia and outdated notions of rigidly defined black masculinity. As The Root’s Natalie Hopkinson noted in her excellent dissection of the Sidney Poitier syndrome, our yearning for “positive imagery” means that, more often than not, we like to see our heroes wrapped in neatly inoffensive packages, superheroes “slaying racial stereotypes.” An Amazon armed with tucking panties, corsets and platinum lace-front wigs doesn’t fit neatly into our pre-assigned notions of race and gender.

“I’m not convinced this was an accident. Three white teachers pick Simpson, Rodman, and RuPaul … arguably the three worst picks for black personalities, for their Black History showcase? Not buying it … sounds like they’re smearing the whole practice of the history month,” wrote one Los Angeles Times reader.
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