Thursday, March 8, 2018

Film Screening: The Rise of Black Business in America by Anthony Brogdon of Detroit, MI

san francisco flyer.jpg

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Save the date: Respect Hip Hop Exhibit at the Oakland Museum of California, March 24-August 12, 2018



 

Bay Area folks, don't miss the Respect Hip Hop Exhibit at the Oakland Museum of California, March 24-August 12, 2018. As per the Black Arts Movement as the foundation of Hip Hop, the archives of Marvin X and the Black Arts Movement will be displayed. FYI, the Museum is planning a permanent exhibit of the Black Power Movement, including the Black Arts Movement. The museum is discussing a partnership with Oakland's Black Arts Movement Business District, CDC, of which the museum is a venue in the district and a permanent exhibit of Oakland's Black radical political,cultural and economic history is vital to uplift those stuck in the low information vibration, says Marvin X. As a BAM/BAMBD co-founder, Marvin has begun meetings with the Oakland Museum to make the Black Power Exhibit a reality and homage to all those freedom fighters who gave selflessly their sweat, blood and tears. Marvin X says, "Oakland is one of the most radical cities in America, similar to Fallujah, Iraq, a city of resistance that was decimated by US forces. Oakland suffered the same decimation vie Cointelpro, Army, Navy, Marines, National Guard, local police, agent provocateurs and snitches. There were snitches who told of planned rebellions and simply reported on the Black Mood.   

".....Marvin X is a teacher of primeval knowledge, a knower of both street poetry and book poetry. In fact, he combines the two in a powerful way. Each verse is a teach act, each stanza--a class. His use of alliteration, rhymes, assonance, dissonance and free rhymes indicates he has absorbed the teachings of the academy. Yet, the street consciousness lying in the cut of its content links him directly to the poets of the new idiom called Rap." Of course critic James G. Spady placed Marvin X at the very foundation of Rap, whether conscious or unconscious, "When you listen to Tupac Shakur, E-40, Too Short, Master P or any other rappers out of the Bay Area of Cali, think of Marvin X. He laid the foundation and gave us the language to express black male urban experiences in a lyrical way!"--James G. Spady, Philadelphia New Observer Newspaper

Marvin X says, "Of all the rappers in the Bay who absorbed my spiritual energy, only Askari X can claim my crown! Askari, no matter his mental condition, took the torch of Black Islam and ran to the mountain top shouting, "Laeelahah, elaillah, Elijah Muhammad rassululah!" Askari X went on to honor his master teacher, Master J founder of the Ansaru Allah. But Askari recognized me as the reincarnation of Marcus Garvey and addressed me as Marcus Garvey. I recognized his talent as superior to Tupac or any other rappers. Not only could he sing but he had the Islamic mythology that made him stand taller than other rappers stuck on the low information vibration.

Askari X

Askari X

Biography

Askari X, aka Ansar El Muhammed and Ricky Murdock, is a hip-hop artist from Oakland, California. He has 3 albums and is on many compilation albums and as a guest on several albums. He is famous for coining the term RBG. Stic.man and M-1 of Dead Prez talk about Askari X often in music and credit him as one of their main musical influences.
Askari X is known for black power messages combined with spiritual Islamic themes. His lyrics have a message similar to Fred Hampton, Bobby Hutton, Marcus Garvey, Huey P. Newton, and Malcolm X, including the Black Panther mentality and political manifesto of Malcolm X: "by any means necessary." His sound is characterized by slow powerful drum beats and a flow similar to Tupac. His message is similar to rap artists Dead Prez, X-Clan, Immortal Technique, Public Enemy, and Steve B.I.K.O.
Askari X espouses a mixture of ideologies, one being that of a revolutionary, who uses carnal weapons and guns to obtain freedom, along the lines of the Black Panthers and the African People's Socialist Party. The other being that of s/c Black Islam (Teachings of thee Nation of Islam) as taught by Ansar El Muhammad, Thee Select One, thee ALLAH Master J, which is foundated on the teachings of Thee Messenger, Thee Glorious Most Honorable Elijah Muhammad, which strictly forbids the use of or even possession of guns or carnal weapons of any sort. Askari X also mixes in various levels glorifying the Thug culture, slang, even drug use at times, all with an intent of capturing the imagination of African American youth with audio imagery similar to the conditions they grow up in. As any movie script writer, director, or producer, Askari X without double standard could be innocent of any negative influence his songs may have on those who listen to his songs.
Askari X stands out from other revolutionary underground hip-hop artists with his powerful, blunt, and direct message in support of the black liberation struggle and for being one of the first artists of the RBG movement. Taking anti-racism to a militant level, Askari X supports a revolution against violent racism that matches the notorious aggression of the white supremacist movement. His genre could be identified as a conscious rap artist.

Black Bird Press News and Review Popular Posts 3/8/18



On Thursday, March 8, 2018, 1:33:06 PM PST, Marvin X Jackmon jmarvinx@yahoo.com [blackantiwar] wrote:


 
cover photo Alicia Mayo
cover design Adam Turner
INTRODUCTION
By Nathan Hare

With the return of “white nationalism” to the international  stage and the White House and new threats of nuclear war, the black revolutionary occupies a crucial position in society today. Yet a black revolutionary of historic promise can live among us almost unknown on the radar screen, even when his name is as conspicuous as Marvin X (who may be the last to wear an X in public view since the assassination of Malcolm X).
This semblance of anonymity is due in part to the fact that the black revolutionary is liable to live a part of his or her life incognito, and many become adept at moving in and out of both public and private places sight unseen. For instance, I didn’t know until I read Marvin X’s  “Notes of Artistic Freedom Fighter” that when he put on a memorial service for his comrade and Black Panther leader Eldridge Cleaver, 1998, he was unaware that Eldridge’s ex, Kathleen Cleaver, had traveled from the East Coast and slipped into the auditorium of the church with her daughter Joju. As one of the invited speakers I had noticed her curiosity when I remarked that I had been aware of Eldridge before she was (he and I /had had articles in the Negro History Bulletin in the spring of 1962) and had met her before Eldridge did, when I was introduced to her while she was working with the Student Nonviolent Coordinating Committee at Tuskegee institute, but luckily for Eldridge I was happily married to the woman who years later would escort Kathleen around San Francisco in what I recall as a failed search for a black lawyer to take his case when he returned from exile in France.
Like many other persons across this promised land, I also thought I knew Marvin X. I can clearly recall seeing him walk into the offices of The Black Scholar Magazine, then in Sausalito, with a manuscript we published in the early 1970s... However, his reputation had preceded him. For one thing, then California Governor Ronald Reagan had publicly issued a directive to college administrators at UCLA and Fresno State University to get Angela Davis and Marvin X off the campuses and keep them off.
Then over the years I continued to encounter him: when he organized the First National Black Men’s Conference, 1980, Oakland Auditorium, that drew over a thousand black men (without benefit of media coverage) to pay their way into a conference aimed at getting black men to rise again.  I was a member of his Board of Directors. I also attended a number of other conferences he organized, such as the Kings and Queens of Black Consciousness, San Francisco State University, 2001, and the San Francisco Black Radical Book Fair, 2004, as well as productions of his successful play, “One Day in the Life,”  with a scene of his last meeting with his friend, Black Panther Party co-founder, Dr. Huey P. Newton, in a West Oakland Crack house.
I will never forget the time he recruited me and the seasoned psychiatric social worker, Suzette Celeste, MSW, MPA, to put on weekly nighttime workshops in black consciousness and strategies for “overcoming the addiction to white supremacy.” On many a night I marveled to see him and his aides branch out fearlessly into the gloom of the Tenderloin streets of San Francisco and bring back unwary street people and the homeless to participate in our sessions, along with a sparse coterie of the black bourgeoisie who didn’t  turn around or break and run on seeing the dim stairway to the dungeon-like basement of the white Catholic church.
But when I received and read Marvin’s manuscript, I called and told him that he had really paid his dues to the cause of black freedom but regretfully had not yet received his righteous dues.
As if to anticipate my impression, the designer of the book cover has a silhouetted image of Marvin, though you wouldn’t recognize him if you weren’t told, in spite of the flood lights beaming down on him from above like rays directly from high Heaven, as if spotlighting the fact that Marvin ‘s day has come.
You tell me why  one of the blackest men to walk this earth, in both complexion and consciousness, is dressed in a white suit and wearing a white hat; but that is as white as it gets, and inside the book is black to the bone, a rare and readable compendium of Marvin’s unsurpassed struggle for black freedom and artistic recognition.
Black revolutionaries wondering what black people should do now can jump into this book and so can the Uncle Tom: the functional toms find new roles for the uncle tom who longs for freedom but prefers to dance to the tune of the piper; the pathological tom, whose malady is epidemic today, as well as the Aunt Tomasinas, can be enlightened and endarkened according to their taste in this literary and readable smorgasbord.
“Notes of Artistic Freedom Fighter Marvin X” is a diary and a compendium, a textbook for revolutionary example and experience, a guide for change makers, a textbook for Black Studies and community action, including city planners who will profit from his proposals and experiences in his collaboration with the mayor and officials of Oakland to commercialize and energize the inner city, with a Black Arts Movement Business District (BAMBD) that could be the greatest black cultural and economic boon since the Harlem Renaissance.  No longer just talk and get-tough rhetoric, his current project is cultural economics, Oakland’s Black Arts Movement Business District, an urban model evolving in real time in the heart of downtown Oakland, where people like Governor Jerry Brown once tried their hand before they turned and fled back into the claws of the status quo.
I can’t say everything is in this book, just that it reflects the fact that  Marvin, for all he has done on the merry-go-round of black social change, is still in the process of becoming.
Readers from the dope dealer to the dope addict to the progressive elite, the Pan African internationalist, the amateur anthropologist, the blacker than thou, the try to be black, the blacker-than-thous, the try to be white (who go to sleep at night and dream they will wake up white) and other wannabes; in other words from the  Nouveau Black to the petit bourgeois noir and bourgie coconuts, “Notes of Artistic Freedom Fighter Marvin X” is a fountainhead of wisdom, with a fistful of freedom nuggets and rare guidance in resisting oppression or/and work to build a new and better day.
Dr. Nathan Hare
3/8/18

 Dr. Nathan Hare, Father Black and Ethnic Studies, with his student, Marvin X
photo Adam Turner 

Notes of Artistic Freedom Fighter Marvin X
Introduction by Dr. Nathan Hare
Black Bird Press, Oakland, April, 2018
limited edition, signed
paperback
500 pages
$29.95
Pre-publication discount price $19.95
To pay by credit card, call 510-200-4164
email: mxjackmon@gmail.com
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Black Bird Press News & Review: The Public Career of Marvin X by James G. Spady

Black Bird Press News & Review: The Public Career of Marvin X by James G. Spady



....Marvin X is a teacher of primeval knowledge, a knower of both street poetry and book poetry. In fact, he combines the two in a powerful way. Each verse is a teach act, each stanza--a class. His use of alliteration, rhymes, assonance, dissonance and free rhymes indicates he has absorbed the teachings of the academy. Yet, the street consciousness lying in the cut of its content links him directly to the poets of the new idiom called Rap.
--James G. Spady, Master Critic
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Black Bird Press News Popular Posts 3/8/18

Black Bird Press News and Review Popular Posts 3/8/18

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International Women's Day Summit: The Art of Embodying the Feminine

Date and Time



Location

4799 Shattuck Avenue
Oakland, CA 94609

International Women's Day 2018 "The Art of Embodying the Feminine Summit is a gathering for ambitious, driven, incredibly passionate women (like you!) to come together in the community and connect with powerful role models - women who are not afraid to be fierce without sacrificing their feminine. At a time where women are proclaiming ‘Time’s Up’ and ‘MeToo,’ and celebrating the recent images of Wonder Woman and the Dora Milaje in popular culture, this gathering is created with the intention to give back to the amazing women who stand for and lead their communities, yet never have a place where they can truly be themselves, where they can rest and recharge.

Through this gathering, you'll walk away feeling powerful not despite being a woman, but BECAUSE you are a woman. The evening will begin with a panel of incredible speakers on the topics of fierce femininity in career, relationships and motherhood, and end with a powerful collective experience that will leave you feeling empowered. Come connect and discover how to apply the power of the feminine in all areas of your life, and watch your world transform!

Order your tickets NOW or at the Door$20 - $50. see you there "March 9th" No one will be rejected because of ticket fees!

Date and Time



Location

4799 Shattuck Avenue
Oakland, CA 94609
View Map


 

For the Women, a poem by Marvin X

 

Black Arts Movement artist Elizabeth Catlett 


For the Women by Marvin X

 

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_LpNH5FrHbpOwwQ9wjikD2WuUotekSpn14mk9Ag-ibr1ebz3FnR83-mPmo_z9stw9KwHNRxmJ1g57C4j4VzvXIYjaFS2lOivefejhCRhfqPfcxF6y1Oim69aO7SQfiCd9iGUS91V7pzx5/s1600/FullSizeRender(1).jpgWomen Writers Panel at Black Arts Movement 50th Anniversary Celebration, Laney College, Oakland, Feb. 7, 2015. L to R: Elaine Brown, Halifu Osumare, Judy Juanita, Portia Anderson, Kujichagulia, Aries Jordan. Standing: Marvin X, BAM producer
photo South Park Kenny Johnson

                                          For the Women

For the women who bear children
and nurture them with truth
for the women who cook and clean
behind thankless men

for the women who love so hard so true so pure
for the women with faith in God and men
for the women alone with beer and rum
for the women searching for a man at the club, college, church, party
for the women independent of men
for the women searching their souls
for the women who do drugs and freak
for the women who love only women
for the women who play and run and never show
for the women who rise in revolt in hand with men
who say never, never, never again
for the women who suffer abuse and cry for justice
for the women happy and free of maternal madness
for the women who study and write

for the women who sell their love to starving men
for the women who love to make love and be loved by men
for the women of Africa who work so hard
for the women of America who suffer the master
for the women who turn to God in prayer and patience

 Dr. Ayodele Nzinga, Marvin X and Hunia

for the women who are mothers of children and mothers of men
for the women who suffer inflation, recession, abortion, rejection
for the women who understand the rituals of men and women
for the women who share
for the women who are greedy
for the women with power

for the women with nothing
for the women locked down
for the women down town
for the women who break horses
for the women in the fields
for the women who rob banks
for the women who kill
for the women of history
for the women of now
I salute you
A Man.
--Marvin X

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Dr. Nathan Hare's Introduction to Notes of Artistic Freedom Fighter Marvin X

cover photo Alicia Mayo
cover design Adam Turner
INTRODUCTION
By Nathan Hare


With the return of “white nationalism” to the international  stage and the White House and new threats of nuclear war, the black revolutionary occupies a crucial position in society today. Yet a black revolutionary of historic promise can live among us almost unknown on the radar screen, even when his name is as conspicuous as Marvin X (who may be the last to wear an X in public view since the assassination of Malcolm X).
This semblance of anonymity is due in part to the fact that the black revolutionary is liable to live a part of his or her life incognito, and many become adept at moving in and out of both public and private places sight unseen. For instance, I didn’t know until I read Marvin X’s  “Notes of Artistic Freedom Fighter” that when he put on a memorial service for his comrade and Black Panther leader Eldridge Cleaver, 1998, he was unaware that Eldridge’s ex, Kathleen Cleaver, had traveled from the East Coast and slipped into the auditorium of the church with her daughter Joju. As one of the invited speakers I had noticed her curiosity when I remarked that I had been aware of Eldridge before she was (he and I /had had articles in the Negro History Bulletin in the spring of 1962) and had met her before Eldridge did, when I was introduced to her while she was working with the Student Nonviolent Coordinating Committee at Tuskegee institute, but luckily for Eldridge I was happily married to the woman who years later would escort Kathleen around San Francisco in what I recall as a failed search for a black lawyer to take his case when he returned from exile in France.
Like many other persons across this promised land, I also thought I knew Marvin X. I can clearly recall seeing him walk into the offices of The Black Scholar Magazine, then in Sausalito, with a manuscript we published in the early 1970s. However, his reputation had preceded him. For one thing, then California Governor Ronald Reagan had publicly issued a directive to college administrators at UCLA and Fresno State University to get Angela Davis and Marvin X off the campuses and keep them off. The Fresno Bee Newspaper quoted Reagan as he entered the State College Board of Trustees meeting in his capacity as president of the board, "I want Marvin X off campus by any means necessary!"
Over the years I continued to encounter him: when he organized the First National Black Men’s Conference, 1980, Oakland Auditorium, that drew over a thousand black men (without benefit of media coverage) to pay their way into a conference aimed at getting black men to rise again.  I was a member of his Board of Directors. I also attended a number of other conferences he organized, such as the Kings and Queens of Black Consciousness, San Francisco State University, 2001, and the San Francisco Black Radical Book Fair, 2004, as well as productions of his successful play, “One Day in the Life,”  with a scene of his last meeting with his friend, Black Panther Party co-founder, Dr. Huey P. Newton, in a West Oakland Crack house.
I will never forget the time he recruited me and the seasoned psychiatric social worker, Suzette Celeste, MSW, MPA, to put on weekly nighttime workshops in black consciousness and strategies for “overcoming the addiction to white supremacy.” On many a night I marveled to see him and his aides branch out fearlessly into the gloom of the Tenderloin streets of San Francisco and bring back unwary street people and the homeless to participate in our sessions, along with a sparse coterie of the black bourgeoisie who didn’t  turn around or break and run on seeing the dim stairway to the dungeon-like basement of the white Catholic church.
But when I received and read Marvin’s manuscript, I called and told him that he had really paid his dues to the cause of black freedom but regretfully had not yet received his righteous dues.
As if to anticipate my impression, the designer of the book cover has a silhouetted image of Marvin, though you wouldn’t recognize him if you weren’t told, in spite of the flood lights beaming down on him from above like rays directly from high Heaven, as if spotlighting  the fact that Marvin ‘s day has come.
You tell me why  one of the blackest men to walk this earth, in both complexion and consciousness, is dressed in a white suit and wearing a white hat; but that is as white as it gets, and inside the book is black to the bone, a rare and readable compendium of Marvin’s unsurpassed struggle for black freedom and artistic recognition.
Black revolutionaries wondering what black people should do now can jump into this book and so can the Uncle Tom: the functional toms find new roles for the uncle tom who longs for freedom but prefers to dance to the tune of the piper; the pathological tom, whose malady is epidemic today, as well as the Aunt Tomasinas, can be enlightened and endarkened according to their taste in this literary and readable smorgasbord.
“Notes of Artistic Freedom Fighter Marvin X” is a diary and a compendium, a textbook for revolutionary example and experience, a guide for change makers, a textbook for Black Studies and community action, including city planners who will profit from his proposals and experiences in his collaboration with the mayor and officials of Oakland to commercialize and energize the inner city, with a Black Arts Movement Business District (BAMBD) that could be the greatest black cultural and economic boon since the Harlem Renaissance.  No longer just talk and get-tough rhetoric, his current project is cultural economics, Oakland’s Black Arts Movement Business District, an urban model evolving in real time in the heart of downtown Oakland, where people like Governor Jerry Brown once tried their hand before they turned and fled back into the claws of the status quo.

I can’t say everything is in this book, just that it reflects the fact that  Marvin, for all he has done on the merry-go-round of black social change, is still in the process of becoming.
Readers from the dope dealer to the dope addict to the progressive elite, the Pan African internationalist, the amateur anthropologist, the blacker than thou, the try to be black, the blacker-than-thous, the try to be white (who go to sleep at night and dream they will wake up white) and other wannabes; in other words from the  Nouveau Black to the petit bourgeois noir and bourgie coconuts, “Notes of Artistic Freedom Fighter Marvin X” is a fountainhead of wisdom, with a fistful of freedom nuggets and rare guidance in resisting oppression or/and work to build a new and better day.
Dr. Nathan Hare
3/8/18


 Dr. Nathan Hare, Father Black and Ethnic Studies, with his student, Marvin X
photo Adam Turner 

Notes of Artistic Freedom Fighter Marvin X
Introduction by Dr. Nathan Hare
Black Bird Press, Oakland, April, 2018
limited edition, signed
paperback
500 pages
$29.95
Pre-publication discount price $19.95
To pay by credit card, call 510-200-4164
email: mxjackmon@gmail.com
Pre-publication discount price $19.95
pay by credit card, 510-200-4164
email: mxjackmon@gmail.com
Marvin X is now available for interviews and
readings coast to coast.
mxjackmon@gmail.com


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Tuesday, March 6, 2018

Dr. Oba T'Shaka comments on Marvin X's review of film Black Panther



Hey Marvin,

I'm in the middle of writing my sixth book on African and African American "Mastery Systems" that are basically the same I took time to read your comments on the film Black Panther.  This is just one part of our magnificent culture that you referred to and your art is an expression of.  I haven-t viewed the movie yet.  Your comments are interesting and insightful.  Your comment about the period of chaos in Kemet (Egypt) was the First intermediate period the 6th through 11th dynasties where the rich oppressed the poor, even to the point of denying them (as though they could) the right to eternal life (Osirian rebirth which until then the Pharaoh claimed exclusively).  In general the African collaborators with the European and Euro-American slave traders were state societies, especially Dahomey whose economy was based on slavery.  There were those states that resisted slavery like Queen Nzinga of Angola, and the Swazi whose kings said we will not sell our people because they are not cattle. Ethiopia the oldest Christian nation on earth successfully resisted slavery and colonialism, except for a brief period during World War II.  The African societies that were must resistant to slavery and were preyed upon by African states and Europeans were stateless societies where the people ruled directly.  Whether state or stateless societies the resistant societies were those where what I call "Twin-Lineal" societies existed where males and females shared power.  While neo-colonialism is one of the main reason that Africa is oppressed by a brainwashed African elite, Africa's primary problem is that with so-called independence Africans inherited the European nation state model––a model designed for oppression.    I will forward my reaction to the film whenI see it this week.  

 Thanks, T'Shaka
Marvin X reviews the film Black Panther

Image result for image of Black Panther film

Let me begin with praise to ancestor Sun Ra and his Myth-Science philosophy. Throughout watching Black Panther, I kept thinking of Sun Ra's film Space is the Place in which  his space ship lands on earth and he deplanes dressed as an Egyptian god, or shall we say Supreme god Ra. I imagined how Sun Ra would have expressed his Myth-Science philosophy with the resources of Disney. But have no doubt Sun Ra would have much praise for the Afro-futurist mythology of Black Panther. He claimed he was from space  via Egypt or Kemet. Black Panther was a myth-science film that clearly projected Ra's teachings, even to the point of the "Negro" (he was half Wakandan) Killmonger identifying with his maternal ancestors who refused to be victims of the European-American  slave system, instead they jumped ship rather than suffer oppression. The Qur'an says, "Persecution is worse than slaughter!" Sun Ra used to say that Africans must pay reparations to North American Africans for selling us to Europeans. Killmonger's final statement redeemed him from his reactionary behavior, especially as a running dog for American imperialism. His body was covered with marks of his life as a killer for imperialism, aka, globalism. We recall a veteran Special Forces Marine who would not read my writings too long because my words made him angry for all the killing he was forced to do throughout the world. He said America should be bombed every day for her murderous deeds throughout the world. Killmonger was a similar victim, although he becomes the villain whose main focus was to seize the throne in a succession struggle, after the old king killed his father in Oakland, of all places, although the Black Panther Party was born and died in Oakland after being labeled by the FBI as the number one threat to the internal security of the USA.

The film's focus on the struggle for succession tackles a constant theme of African or Kemetic culture and history, from the early days of Nile Valley culture. Chancellor Williams writes about struggle over succession rites as a chief reason for migrations when African kingdoms fell into chaos, along with invasions and ecological factors. Aside from being blessed with a precious metal, the above factors may explain the Wakandan xenophobia, or tribalism or narrow minded nationalism. Some critics have called the Wakandans reactionary because they were for themselves first and foremost, rejecting Pan Africanism outright, or any degree of internationalism.  Although after the rebirth of King T'Challa, and his return to the throne, he attempts to change the political ideology of his nation.

Many or perhaps millions who have seen Black Panther and thoroughly enjoyed it as a Hollywood fantasy from the Disney world of make believe, do not want to hear any discussion of the deeper nature of Black Panther. After all, it's not a documentary. But Chairman Mao taught us all art is propaganda and reflects the values and mission of one class or another, either the bourgeoisie ruling class or the oppressed masses. Disney's Black Panther primarily gave us a film glorifying the African ruling class, a class many African revolutions fought to eliminate, especially for their role in the slave trade, in which they accumulated surplus capital along with the Europeans, not to leave out the Arabs. Even after independence, the African ruling class morphed into neo-colonialism. When the white man was called colonizer in Black Panther, the audience laughed. The Wakandans were never colonized but most African nations suffered colonization which morphed into neo-colonialism that Kwame Nkrumah told us was, "Colonialism playing possum."

While the film is a political disaster by projecting African royalty with its tainted past and/or present, those enamored of African culture will enjoy a boost of cultural consciousness. We Africans are a beautiful people, a cultured people, a people of genius in science and technology. If Black Panther replaces sagging pants with Dashikis, surely, the film must be applauded. If it forces women to throw off their wigs as the woman did in the film, it must be applauded. The music, the chants, the communal dancing, the most colorful costumes and traditional ritual face makeup, should help Africanize a starving population of North American Africans. The technology seemed excessive although we need to see African people utilizing science, technology, artificial intelligence, time travel.

Again, the negative is that the only two North American Africans in the film were killed for reactionary behavior, suggesting Black Americans are villains or not "real Africans," which prompted a North American African  woman to depart the cinema shouting "Killmonger for life!" I translate her statement as, "I'm a Nigga fa life!"
--Marvin X
3/4/18



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