Saturday, February 17, 2018

Hollywood Panther fiction and Black Panther Party reality

Power to the people on the b day of Dr. Huey P. Newton, co-founder of the Black Panther Party in Oakland, California. Oakland, City of Resistance to US domestic colonialism, no matter your numbers, we call upon you to be inspired to stand on the shoulders of the BPP and be fearless in the face of US domestic colonialism and globalism. Huey said I was his teacher, and maybe I did teach the BPP some theatrical techniques as per costumes and art as propaganda. And as he noted, many BPP comrades came through my black theatre, e.g., Bobby Seale, Emory Douglas, Eldridge Cleaver and Samuel Napier. But for me, Huey taught fearlessness, the most important lesson in revolution. Once the fear of death, jail, prison, exile is expelled from the heart of the revolutionary, the show beings and ends in death or freedom. I'd rather be dead than a slave to any man. Long live Dr. Huey P. Newton and all the BPP comrades, especially the often forgotten rank and file! Power to the People. --Marvin X/El Muhajir, co-founder of the Black Arts Movement
and Oaktown's Black Arts Movement Cultural and Business District.
2/17/18

FRIDAY, FEBRUARY 16, 2018
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'Panthers' fiction, and the harsh Black Panther reality

Nayaba Arinde | 2/15/2018, 8:44 a.m.
Sumptuous scenes and luscious garments quietly screaming African strength and pride in every seam and fold worn by stoic warriors ...
(Above) Former Black Panther Political Prisoner of War, 
Sekou Odinga
 
Sumptuous scenes and luscious garments quietly screaming 
African strength and pride in every seam and fold 
worn by stoic warriors with powerful speeches is the Marvel 
Studios-Walt Disney production of “Black Panther.”
 
“With all the excitement around the ‘Black Panther’ film, we’d like to 
acknowledge the real Black Panthers,” said veteran Black Panther activist 
Sadiki "Bro. Shep" Olugbala, noting names such as Mumia Abu Jamal, Mutulu 
Shakur (Tupac’s father) and Jalil Muntaqim.
Dequi kioni-sadiki explained, “Hollywood already knows it will make tons 
of money from the marketing of the iconic-named ‘Black Panther’ movie. 
What isn’t as equally known is that 13 members of the real-life Black 
Panthers are serving indeterminately long prison sentences and repeated 
parole denials in federal and state prisons across this country as U.S.-
held political prisoners from the 1960s and ’70s war on Black liberation.”
Kioni-sadiki, the chair of The Malcolm X Commemoration Committee, 
continued, “These real-life Black Panthers, like their fictionalized movie 
namesake, are committed to and struggled for Black self-determination 
against imperialism, colonialism and capitalism. These real-life Black 
Panthers also have pride in the glories of African history, identity and 
culture, serving and defending the Black nation with a legacy of free 
breakfast programs, health clinics, drug abuse treatment, food pantries, 
clothing drives, challenging of police terror and murder of unarmed Black 
people and other survival programs since co-opted by the government. 
Sadly, many of them have paid for protecting Black people with their 
lives, freedom and multiple generations of family separation. For these 
real-life Black Panthers, the struggle for Black/New African independence 
and self-determination is anything but a ‘feel-good’ moment of Hollywood 
fiction. Perhaps, we ought to be asking our real-life Black Panthers their 
thoughts on this movie, and the irony of a much-maligned, demonized, 
distorted and threatening to the status quo name and idea like the Black 
Panthers now being so very mainstream.”
There is most definitely a burgeoning excitement surrounding this already
 pre-ticket sale record-breaking movie featuring Chadwick Boseman, Lupita 
Nyong’o, Angela Bassett and Michael B. Jordan in the fictional African nation of Wakanda.
Reports state that there were at least 100 #BlackPantherChallenge 
campaigns to bring African-American youth to see the movie cost-free. 
Tuesday, Feb. 13, 2018, Sen. Jesse Hamilton and his The Campus 
initiative partnered with Reel Works to take students from Brownsville’s 
PS 284 to a pre-screening at the Academy of Motion Picture Arts and 
Sciences.
Some of those students have already stated that they felt inspired seeing 
an all-Black cast and a fiercesome Black superhero. This accompanied by 
a palpable Black pride flowing throughout this city and beyond makes for 
fervent conversations on social media and vibrant dialogue in the real world and digital and print media. All hail journalists such as WPIX 11’s Ojinka Obiekwe, who wore 
beautiful Topefnr African print and velvet headties several times this week. 
While interviewing the cast on the red carpet at Tuesday’s Manhattan 
premiere, she asked, “Did I mention that it is Black Panther week? All 
week.”
There is a new energy vibrating. Observers are asking will all this trending 
pride with African warrior symbolism translate into action—education 
curriculum, political and cultural exchanges?
Sekou Odinga describes himself as a former political prisoner of war. 
He explained, “Although fictional, the new film ‘Black Panther’ is a 
reminder that there was in our recent history some real live heroes 
known as Black Panthers. Black men and women who were members 
of the Black Panther Party. Who took it upon themselves to feed our 
Black children before they went to school, who created free health 
clinics, who protected our elderly from those who would rob or mistreat 
them. Soldiers who fought to protect our Black community from abusive 
and murdering police across this nation. Many of those heroes now are 
political prisoners still being held captive after 25, 30, 40 and more years 
for fighting back. We Black and justice-loving people owe it to our political 
prisoners and to ourselves to work to free them and to make sure they 
are never forgotten. Free all our political prisoners and prisoners of war!”
“As people go to see this fictional movie on the big screen, we hope they 
will be inspired to learn about the real Black Panthers, many of whom are 
our political prisoners, who have been incarcerated for 40 years,” said 
Brooklyn Assemblyman Charles Barron, who often describes himself as 
an elected revolutionary and still a Black Panther. He continued, “I hope 
they are inspired to join our struggle to fight for our liberation. As they 
enjoy the film, they can be encouraged to learn about Imam Jamil Abdullah 
Al-Amin, Assata Shakur and Sundiata Acoli—and so many of our other 
political prisoners and prisoners of war behind the wall in America. They 
fought for us. For that some of them have been in prison for 40 years. 
We want them home.”
Former New Black Panther Party Youth Minister Divine Allah said, “As 
another display of the ‘carrot-on-a-stick’ or ‘worm-on-a-hook’ trick is 
presented to the [Black] masses, many who have a real-life connectedness 
to the backstory of fighting to defend and fighting to liberate, our people 
are left scratching their heads. I can recall a scene from the classic martial 
arts film, ‘Enter The Dragon,’ when a Black actor, yet real life martial artist, 
was confronted by another character and main villain in the film, who 
ironically fought with a clawed hand. In the onset of a fight scene between 
the two, the Black actor Jim Kelly fires off a verbal display of coolness 
before they engage in battle. With his self-styled sharpness he utters 
the words, ‘Man you come right out of a comic book!’ Although his 
character in the film would lose against this fight with his enemy Mr. 
Han, Jim Kelly went on to become one of the baddest Black martial 
artists in the world. Due to the inner workings of Hollywood and its 
treatment of Blacks, to a degree his legend is/was overshadowed by 
the likes of Bruce Lee and David Carradine. These individuals are 
imprinted upon the minds of a lot of people…Here we are in 2018 
faced with a sprinkle of the same magic dust that leaves us only 
connected to the screened character and not the real-life thing. Yes, 
we had Wesley Snipes, but we also had Robert Townsend. Throughout 
their careers, both of these actors gave us a glimpse of how working in 
and around the industry could be utilized for Black empowerment. One 
was a comical sketch of the shuffling—Hollywood shuffle—that goes on 
in the industry, and another was a real-life walk, the great and mighty 
walk, with one of our ancestors, Dr. John Henrik Clarke. In my assessment,
their goal was to present imagery and a true-to-life narrative for viewers 
to connect with, making it clear that in real life/real time we have the 
opportunity to connect with living examples of greatness.” 
Saying that people have become “event junkies devoid of analysis,” Allah 
said, “The images have always been here. All one has to do is read, 
research and study beyond the want for an industry-backed and driven 
symbolic view of our collective greatness, our collective power, our 
collective strength and heroism. As we flock to the cinema over the next 
few days, hopefully we go in and come out looking to connect with real 
life Black Panthers. Hopefully we go beyond the screening of ‘greatness’ 
and work to embody and inspire greatness in our communities.”
Olugbala remarked, “As an advent reader of Marvel during my youth I 
can distinctly remember great feelings of Black pride when the Black 
Panther comic-book character debuted in a Fantastic Four issue during 
the summer of 1966. In the autumn of the same year while using the 
Lownes County Black Panther logo as the symbol for SNCC, Kwame Tore
 aka Stokley Carmichael gave his famous Black Power speech at U.C. 
Berkeley, which was then followed that October in Oakland when Huey 
Newton and Bobby Seale named their movement the Black Panther Party 
for Self-Defense. Then, as with today’s Marvel ‘Black Panther’ movie, 
there was and is a need for more positive and intelligent Black images, 
which cannot only help bring pride of self to our Black youth but which 
hopefully will inspire them to do as I did at the age of 19, when I joined 
the Black Liberation movement as a member of the Black Panther Party. 
Hopefully this film will also answer the call for its producers to give back 
a substantial amount of the profits to the Black community and to remind 
this nation that there are still real-life Black Panthers being held captive 
as U.S. political prisoners.”
Olugbala also said that fellow “veteran members of the original New York State 
Chapter of the Black Panther Party will be present along with comrades, friends, 
family and other concerned community activists at the ‘Black Panther Movie Red 
Carpet & Special Fans Opening Night’ at the AMC Empire Theater in Times Square…
and at other selected NYC wide theaters throughout this upcoming holiday weekend 
to provide information on the real-life Black Panther exiles and U.S.-held Panther 
political prisoners who still, after over 50 years, collectively and unjustly remain 
behind bars long after the Black Panther comic book character was introduced by 
Marvel in 1966, which was the very same year that the Black Panther Party was born.”
As New Yorkers celebrate the 50th anniversary of the New York State Black Panther 
Party, Olugbala concluded, “We are also in complete unity with the petition and efforts 
which are demanding that Marvel Studio and Walt Disney righteously give back at 
least 25 percent of its well anticipated ‘hundreds of millions of dollars’ in ‘Black 
Panther’ movie profits to help support the many needs of our Black and oppressed 
communities.” 

  Image may contain: 1 person, smiling, standing and shoes 
If you would like to come join us this weekend to help "Free The Panthers" 
please contact:
 FreeThemAll2016@gmail.com  ~  mxcc519@verizon.net  ~  Panthershepcat@aol.com  ~  nycjericho@gmail.com

Coming soon Notes of Artistic freedom fighter Marvin X


Black Bird Press News & Review: Parable of the Pit Bull by Marvin X

Black Bird Press News & Review: Parable of the Pit Bull by Marvin X

Friday, February 16, 2018

Black Panther and Afrofuturisim



What The Heck Is Afrofuturism?




ILLUSTRATION: GABRIELA LANDAZURI/ HUFFPOST IMAGES: GETTY IMAGES WALT DISNEY PICTURES
Many of us blerds (black nerds, to you) who have read the Black Panther comics 
never thought the day would come when we would finally see this story adapted for the 
big screen. With the movie’s already profound effect on pop culture, it is provoking 
deeper discussions around reimagined worlds with black politicians, spiritual 
leaders and monarchs at the helm. We’re hearing the word “Afrofuturism” a lot.
But what exactly is Afrofuturism?
Afrofuturism is the reimagining of a future filled with arts, science and technology 
seen through a black lens. The term was conceived a quarter-century ago by white author Mark Dery in his essay “Black to the Future,” which looks at speculative 
fiction within the African diaspora. The essay rests on a series of interviews with 
black content creators.
Dery laid out the questions driving the philosophy of Afrofuturism:
Can a community whose past has been deliberately rubbed out, and whose energies have subsequently been consumed by the search for legible traces

of its history, imagine possible futures? Furthermore, isn’t the unreal estate of

the future already owned by the technocrats, futurologists, streamliners, and

set designers ― white to a man ― who have engineered our collective fantasies?
What makes Afrofuturism significantly different from standard science fiction is 
that it’s steeped in ancient African traditions and black identity. A narrative that 
simply 
features a black character in a futuristic world is not enough. To be Afrofuturism, 
it must be 
rooted in and unapologetically celebrate the uniqueness and innovation of black 
culture.
The biggest proponent of this cultural movement, even before it had its name, was musician Sun Ra, who infused elements of space and jazz fusion in his work as a musical artist. Prolific science fiction author Octavia E. Butler explored black 
women protagonists in novels like FledgingDawnParable of the Sower and 
Lilith’s Brood, set in the context of futuristic technology and interactions with the supernatural. In the contemporary music world, singers like Erykah Badu, with her eccentric and experimental imagery in videos and album covers, promote the intersection of art 
and futurism. Artists like Janelle Monae, with her android alter-ego and electronica sounds, and films like “Brown Girl Begins,” a post-apocalyptic tale set in 2049 and directed by Sharon Lewis, pay a huge homage to Afrofuturism.


WALT DISNEY STUDIOS


“Black Panther” stars Lupita Nyong’o (Nakia), Chadwick Boseman (T’Challa) and Letitia Wright (Shuri), among others.

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Then there’s “Black Panther.” The film wears themes of Afrofuturism proudly on its sleeve. Tech genius Princess Shuri is not only the smartest person in the fictional 
world, but she’s responsible for the creation and maintenance of sophisticated 
gadgets 
for her brother T’Challa, a.k.a. Black Panther.
A prosperous alternative afro future can be seen in their fictional East African 
home of Wakanda, a small country the size of New Jersey that has never been colonized 
and is steeped in its blackness. It’s a utopian society that also boasts one of the 
world’s 
richest resources, vibranium. Because white supremacy never intruded on 
Wakandan 
culture and its people, ancient African traditions remain common practice there.
But this movie is more than just a glorious film ― it’s the expression of a movement.
Black Panther is a superhero who is for us by us. We can claim him.
Africans and African-Americans have full autonomy as Afrofuturists. A community 
of people can take a piece of visual art or notes from a song and develop an entire universe and say, “This is ours.” And that’s what this film represents to so many 
excited fans. Black Panther is a superhero who is for us by us. We can claim him.
In addition to the predominantly black cast filled with Hollywood stars and starlets, “Black Panther” also had a black production team spearheading the 
shaping of this story. The writer, filmmaker and executive producer are African-American. Production designer Hannah Beachler, who was influenced by 
for this world. The African regalia and elaborate costumes by famed wardrobe 
designer Ruth E. Carter created a Wakandan couture that would give New York 
Fashion Week a run for its money ― 
just look at her use of kimoyo beads as both a fashion accessory and a 
communication device.
This intersection of sci-fi and African pride is what we’ve come to know as Afrofuturism. For many of us in the blerd community, the film with its love for 
technology, science, visual art and music (if you haven’t checked out the “Black Panther” album, you should make it a priority) is what we’ve been hungry for.
I hope, for all of our sakes, that this is also just the beginning. I hope that “Black Panther” can prove that stories permeated in blackness have crossover appeal. 
I hope we get more and more stories of black people who have agency, who are 
free and subservient to no one. Black people deserve to see themselves leading 
the way in real or abstract futures.
Jamie Broadnax is the editor-in-chief and creator of the online community for 
black women called Black Girl Nerds.