#African American Legacy Series

[onenakedfarmer]

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Don Flemons DON FLEMONS PRESENTS BLACK COWBOYS

[dcdreamblog]

This is probably getting a little outside your purview, but the same book of Weird War Tales I read about the Creature Commandos in also had an entry on something called the Haunted Tank, a WW II tank crew lead by a man named Jeb Stuart, who claimed to be advised by the ghost of his ancestor, Civil War general J.E.B. Stuart.

Is there any credence or proof to this? I know the Spectre is a thing and the JLA had someone who claimed to be an actual angel on it, but I can’t tell if this is stretching things or not.

There's an absence of evidence, but that doesn't by itself prove an evidence of absence as any good scientist will tell you. Let's break it down. There's two general stories surrounding the Haunted Tank, the WWII version and the less well known modern version.

(Movie poster for The Haunted Tank, WB Pictures, 2009. It was ok. OOC: u/thejedibugs on Reddit)

The original WWII version of the Haunted Tank story followed the crew of an M3 Stuart light tank commanded by Sgt. Jeb Stuart. Stuart claimed until his dying day that he was guided by the spirit of his grandfather, Confederate general J.E.B Stuart. Sgt. Stewart claimed that he received advise from his military ancestor. Painting the words "Haunted Tank" across his machine in white paint and hanging a Confederate Flag from the turret while the tank and its crew served with distinction across North Africa and Western Europe, including Operation Torch, the Normandy Landings, and the Battle of the Bulge.

Sgt. Stuart's crew have gone on record saying they never heard or saw the spirit in the flesh as it were and Stuart's insistence made him seem slightly off his rocker to his comrades BUT having complete faith in their commanding officer's combat ability they played along and many of them have recounted tales of events that they could not otherwise explain in the heat of combat. (Such as multiple occurrences of the tank aiming and firing itself at the correct moment to save their lives without anyone being in the vehicle)

Records at the time are slim. The tank was successful in its missions and as such was rarely questioned by commanding officers.

A reconstruction of the tank (the original was destroyed near the end of the war) is on display at the American Heritage Museum in Hudson, Massachusetts.

(Image of the second Haunted Tank produced for the History Channel's "War that Time Forgot" series)

The second Haunted Tank was and is an M1 Abrams deployed during the 1st Iraq War. This tank was commanded by one of Jeb Stuart's own grandchildren, Sgt Jamal Stuart. (The WWII Jeb Stuart actually has 2 living Grandchildren, the other a woman named Jen Stuart who is also a lieutenant in the armed forces).

Their tank was rescued by the spirit of J.E.B Stuart during an ambush by raiders after falling behind an American convoy due to mechanical failure.

Jamal Stuart has been much colder in his take on his ancestors interference. Since, as the name implies, Jamal Stuart is a black man. (Technically mixed race, his mother is African American) and has spoken at length about having to come to terms with the legacy of his ancestor appearing right in front of him. Whatever actual agreement they came to is ultimately a private matter but Sgt' Stuart's Abrams also became known as The Haunted Tank and also flew a Confederate Flag out of the vehicle's turret for the length of their deployment.

No generation of modern Stuarts seems ecstatic at the associations their stories create (The WWII Stuart had a black soldier among his crew despite official rules against army integration, one of his own children married a black woman and his grandson IS black). And yet the story is what it is, whether you or I or anyone else like it or not.

[crooked-wasteland]

The rapresentation of abusers in helluva boss is something that particularly frustrates me, Stella in particular, it seems to be done just to victimaze certain characters not to show the complex dynamics of those relationships. It seems to me the writers aren't mature enough to handle these topics properly.

Abuse and Vivienne Medrano

Christmas 1962, a man renowned the western world over for his revolutionary approach to animation sat in a withering melancholy as he watched what could only be called a cinematic masterpiece based on a novel classic. Walt Disney, now in the twilight years of his life, saw the walls closing in and his legacy coming to a close. This man, who pioneered the animated feature film, saw his greatest accomplishment as his greatest obstacle. The man responsible for the tales brought to life of Cinderella, Snow White, Pinocchio, and Dumbo felt trapped in his achievement. “I wish,” Walt lamented, “I could make a picture like that.”

To Kill a Mockingbird was a piece that challenged its audience. The discussion of a white man defending a black man in southern America, years before the civil rights movement. The movement that, at the time the movie hit cinemas, was in its infancy. Released during the height of the historically revisionist counter movement taking place to combat the rising push of African Americans towards their human rights. The last film Walt Disney ever saw the production of before his death in 1966 was The Jungle Book, a movie that was the epitome of “Safe” and a message that upheld the status quo of segregation.

It wasn’t until 1972 that the media of animation became raucously adult with those political and challenging concepts Disney felt were unattainable. Fritz the Cat was an X-rated animated film composed of vignettes that were unapologetically perverse, violent, and aggressively political. Critical of politicians and the police with a sympathetic if exploitative lens towards the LGBT and racial minority communities Brooklyn-based director Ralph Bakshi grew up around. Bakshi proved that animation was not strictly a child-friendly media and that adult animation could be financially and critically successful.

(For more on Ralph Bakshi's career and animation history)

If one has ever had the opportunity to listen to a Brad Bird (director of Ratatouille and The Incredibles) interview, it is clear to see that the success of Bakshi was generally quite limited. That animation is considered a genre and not a medium of art has resulted in animated films being knee-capped in the box office. There is far more potential to animation, highlighted by Howard Ashton in his collaboration with Disney studios during the Renaissance. Responsible for resurrecting the feature-length animated movie through The Little Mermaid and credited for the monumental success of Best Picture Award winner Beauty and the Beast, Ashton once said that the potential animation was ideal for musical theatre. The limitless possibilities given the medium gave the possibility of introducing Broadway to the common folk who didn’t live in New York and otherwise couldn’t afford the theater. He was quoted saying that live action musical films were “an exercise in stupidity,” highlighting the freedom that comes with a blank page.

However, the success of animation, and media in general, comes down to the message the media wishes to send. The reason the Disney Renaissance films have enjoyed their position as cornerstones of pop culture and creativity was because it did introduce the artform of musical theater into homes and made them readily accessible to everyone with an even heightened sense of fantasy that revitalized Walt’s ethos of making films for the child in everyone.

With Bakshi, it was the loud and violently political message of a revolution taking place. This continues in adult animation with the Simpsons, a series critical of hyper-capitalist America and the fallout of Reagan’s economic disaster that the effects of which are still being felt today and a satire of toxic masculinity and abusive family dynamics.

So, ultimately, the value of a piece of media is a cross between its social artistic influence and the message the creators are intending to make. While Medrano’s influence on the field of indie animation is often mischaracterized as a “pioneer”, the fact is that indie animation and pilots have existed and been funded before Spindlehorse existed. It is simply that Medrano has had the spotlight handed to her for the myth surrounding the production and subsequent success of his indie projects. Artistically, her influence can be summarized as a double-edged sword. For some, she is the motivation for inspiring artists to connect with the community to one day, hopefully, create their own work. On the other hand, she is the cautionary tale of why investing in an indie project is a financial risk for an audience member and a risk to the community as a whole that poses a real danger of making the indie sphere financially cannibalistic, as her public persona is off-putting to “normies” and her show is simply not good.

Much like Disney, the man in 1962, and Disney the company circa 2023, the revolution of animating "because you can" loses its luster very quickly. Without something profound to say, an entire company, regardless of its social influence, can fade into irrelevance despite still being "successful". The story of Disney is a cautionary tale for Indie animation as a whole and Spindlehorse in specific.

And that is the other axis on this chart. Her narrative lacks a message worth telling, and that’s very much due to her not having anything worthwhile to say.

“I really liked when things and shows and stories allow the characters to be flawed, and allow them to grow and to change. And I think that’s something that’s, you know, the world is not black and white. And I like things that explore the gray and that and the complexity, of life and mistakes and of things like that.” - Vivienne Medrano

It is not for want of mockery that I carefully transcribe Medrano’s words in her interview. To read the words aloud tells the story just as clearly as I have set out to do here. This is someone who is highly inspired by better media, who has ideas and a belief that she has something to say. But that is where the belief ends. There is no conclusion to that thought any more than there is one in the unfocused and run-on sentences she rambles along throughout the interview. She talks of “Things” without clarity, because she herself is a fundamentally incurious individual who has never once spent the time critically analyzing herself, let alone the work of others to better grasp what about it resonated with her. She merely consumes art insatiably and without any substance. Like a diet of fruit, it has a superficial veneer of positive value. Fruit would be considered healthy as it is “natural”. However, it is the nutritional equivalent of candy, lacking vital components that are necessary to sustain basic life, it is pure sugar. Her work, similarly, lacks any value of depth that would qualify as meaning.

Which comes back to what the message is in her work.

When it comes to others in the field of indie animation, Medrano does not have many friends. In response to the Lackadaisy situation, creator Tracy explained why she returned Medrano’s donation. For one, the donation was not Medrano’s money, but money she crowd sourced from her employees. While the $5k for the producer spot of the fundraiser would have not been a dent in her personal wallet, Medrano is so uninterested in supporting fellow creators while presenting an impression of camaraderie that she instead took money from the people she is in charge of the paychecks for to get her name in the credits of another creator’s work. In regards to why Medrano was declined her support, it was due to numerous individuals who had such an awful experience working for Medrano that they did not want her involvement associated with the project to any extent. When the money was returned, she made the situation extremely public and encouraged harassment by liking tweets attacking Tracy and the Iron Circus team.

A well-known member of Medrano’s crew, Hunter B, was leaked speaking crassly of other animation projects that were still in the process of production, met with support from other members in the discord. One of these creators being Ashley Nicoles from Far-Fetched. A former friend and creative partner on the Hazbin Pilot whose podcast streams featuring Edward Bosco and Michael Kovach single-handedly maintained interest in the show until the winter of 2021, free of charge. Ashley once spoke of how Medrano would speak disparagingly of an employee to her, saying that this individual was “Too unstable to work with”. Which, regardless of whether or not that is Medrano’s honest opinion, counts as defamation by an employer. It is the exact reason why most previous employers will not give a negative, detailed review of a former employee, maintaining instead to verify facts of the employment. If Erin Frost was more experienced and less involved in social media exposed culture, they could have easily sued Medrano and Spindlehorse for damaging their reputation in their field of employment.

Which circles back to Medrano’s self-assigned message of her show:

“Abusers rely on your silence. They rely on knowing you can’t retaliate without consequence. That they can tell any lies and vague around without getting called out. But we see you, and you don’t have the power you think you do anymore. A message I put into my work. “Fuck you!” - Vivienne Medrano

Medrano, who has vague and sub tweeted individuals like Lackadaisy Tracy, The Diregentlemen, Michael Kovach, and Ashley Nicoles. Medrano who has instigated and incited harassment campaigns knowing that no one can call her out without severe and relentless backlash from her cultish fanbase that she personally encourages through positive reinforcement of liking the tweets of fans. Medrano who relies on the silence of other creators in the field due to the fear of her ire collapsing their projects before they even have a chance to begin.

Vivienne Medrano with an extensive abusive history that continues to this day, has something to say about abuse.

What Medrano has to say about abuse comes from someone who has the position of superiority in all of her relationships, but feels like she’s the outcast and bullied loser. Her self insert that is repeatedly expressed in every character at one point or another is how easily they abuse those around them just because they can, but that the narrative justifies their “acting out” because they are sad. According to the National Coalition Against Domestic Violence, “An abuser externalizes the causes of their behavior. They blame their violence on circumstances.”

Indeed, the lists of abusive characteristics and traits, according to the National Coalition Against Domestic Violence, overwhelmingly encompasses the characteristics shown by characters like Loona, Blitz and Stolas that Medrano repeatedly has attempted to rationalize, justify and minimize. Which, “An abuser often denies the existence or minimizes the seriousness of the violence [including emotional and mental abuse] and its effect on the victim and other family members.”

It is not surprising, then, that the conversation of abuse in Helluva Boss is often infuriating. The narrative underplays the harm done by characters we are supposed to see as “good”. Not allowing for them to grow or change, but ignoring and minimizing the behavior, justifying it through circumstances and perpetuating the false belief that victims are not, themselves, abusers.

One of the first blog post rants I ever made about mental health and abuse was the affirmation that not all victims of abuse are survivors. I wholly stand by that. Victims of abuse perpetuate abuse. A victim and an abuser are one in the same, whereas a survivor is someone who has actually done the difficult work of being self-critical. And the one thing we all are very aware of is how much Vivienne Medrano rejects criticism.

[vague-humanoid]

Welcome to Abolition Week 2024. 

This year, our focus is Empire, its endless expansion, and the carceral technologies that make it possible. We have invited incarcerated and other systems-impacted writers to explore how the combined forces of Western imperialism and plantation legacies produce carceral logics globally, creating the conditions that fuel genocidal arrangements in the US South, Palestine, and other parts of the world. 

Our intimate connection to the South allows us to hold sharpened perspectives on the many ways that carcerality and antiblackness are integral to the white supremacist capitalist imperialism at the very heart of Empire. Therefore, we are always interested in the things that connect us, the ties that bind us together in solidarity in the shadow of that dark heart. 

We read about how the corpses left decomposing in the streets of Sudan have changed the migration patterns of eagles, and we can't help but remember that sharks altered their migration routes during the Transatlantic slave trade, trailing the ships and feasting on the flesh of the stolen Africans thrown overboard. We condemn the welcoming of Israeli police by the Georgia International Law Enforcement Exchange (GILEE) program to train US police in the same tactics used against Palestinians on the other side of the world, and we recall that Georgia also houses the Western Hemisphere Institute for Security Cooperation (WHINSEC)—once known as the School of the Americas—where Latin American dictators, soldiers, and police are trained to quell resistance against US imperialism in their countries through human rights abuses. We witness the organized effort to roll back child labor laws across the US—particularly in the South—with children discovered working long hours around dangerous machinery in Alabama and Mississippi, and we cannot forget the many thousands of children mining Cobalt for the lithium-ion batteries in our gadgets under "modern-day slavery" in the Congo. 

The afterlives of chattel slavery and Indigenous genocide can be glimpsed in deadly exchange programs and torturous conditions, not only in the shared counterinsurgency tactics of global policing forces and military institutions but also in the shared cultures of repression necessary to accumulate capital and, by extension, imperial expansion. Book bans, repeals of LGBTQIA+ rights, police violence, anti-protest policies on university campuses and in their surrounding communities, abortion bans, the erosion of public health infrastructure, and exacerbating environmental degradation are all rooted in past epochs that, when revealed, remind us that the sun never sets on imperial violence. 

Because of these connections and many others, the pieces in this series intentionally defy the logic of borders—and, by extension, containment—as writers consider the endless nature of Empire and its sinister violence. 

[ausetkmt]

Lynching victim Rubin Stacy’s story being told by his family in film screening at NSU

Anne Naves knew something bad had happened to her uncle when her male relatives came home from fishing, each wearing a pall of silence. Dad wasn’t cracking jokes like usual. Grandfather looked grave. And her uncle, Rubin Stacy, hadn’t come back. The next day, someone from the funeral home said a body had been dropped off.

Naves, 8 years old at the time, only discovered the full gruesome truth about her uncle years later. On July 19, 1935, acting on an unproven accusation from a white woman, a masked lynch mob strung up Stacy under a Fort Lauderdale tree, hanged him and shot him 17 times as spectators gawked and children laughed.

The brutality and silence of Stacy’s lynching is revisited in the new documentary, “Rubin,” which will screen on Tuesday, Oct. 3, at Nova Southeastern University. In the hourlong film, the farmhand’s death is recounted through the eyes of his surviving descendants, but mainly through Naves, who was the last living eyewitness to the trauma — and to the secrecy — that followed.

The film, the first to be made by relatives of Stacy’s family, also chronicles the history of lynchings in America, used as a tool of punishment and to foster silence.

“I think (my family) knew that, without telling us (kids) what really happened, they would save us a lot of trauma,” Naves says in the documentary. “The neighbors and our church members respected our silence, too, because they knew that if it could happen to our family, it could happen to theirs.”

For “Rubin” director Tenille Brown, who is a cousin of Rubin Stacy, the film has in recent weeks also morphed into something else: a posthumous tribute to Naves. After filming her interviews for the documentary, she died on Sept. 18 at age 96, leaving behind a strong legacy: She was a Broward County educator for 25 years, teaching at Pines Middle and other schools.

“The biggest piece of the film was Anne,” Brown says in an interview with the South Florida Sun Sentinel. “Without her, there’s no story. She’s the driving force. She was ready to talk. She told me to record her. She really pushed me when I didn’t feel confident and said, ‘Record me anyway. Just go.’ ”

The rest of America witnessed the cruelty of Stacy’s lynching long before Naves did. A series of photos immortalize the moment when a white crowd gathered around Stacy’s body hanging from a tree. These images ran in newspapers nationwide, were published by the NAACP, Life magazine and National Geographic, and are now archived in the Library of Congress.

It was a tale of Jim Crow-era racism that Fort Lauderdale would’ve rather forgotten — the brother of a corrupt Broward County sheriff participated in the lynching — but city officials have made strides in recent years to acknowledge the tragedy by placing memorial markers around Fort Lauderdale. One is on Davie Boulevard and Southwest 31st Avenue, also known as Martin Luther King Jr. Avenue, near where Stacy took his last breath. There’s another on the 800 block of Northwest Second Street, where he lived, and a third at Woodlawn Cemetery, his final resting place. In February 2022, a section of Davie Boulevard was renamed Rubin Stacy Memorial Boulevard.

“I’m glad they acknowledged it,” says Brown, of Pompano Beach. “These stories make some people in the state uncomfortable, but if they are based on fact, we need to tell the truth. You can’t turn your head. These are things you can’t ignore.”

For Brown, it was these memorials — and Naves’ willingness to break her silence — that motivated her to reconstruct Stacy’s story. To do so, she also interviewed Ken Cutler, Parkland commissioner and historian, and Tameka Bradley Hobbs, library regional manager of Fort Lauderdale’s African American Research Library and Cultural Center.

“My family didn’t want to talk about it out of fear for years,” Brown says. “There was shame. There’s an element of hurt, and you can hear that emotion in Anne’s voice. Now it feels freeing. This is a story that was suppressed for years and by sharing it, this is how we overcome.”

Michael Anderson, a producer for “Rubin,” says the film also tackles what too many school textbooks don’t stress enough: the history of Black lynchings.

“For Black youth to know their stories, they have to know the history of lynchings,” Anderson says. “They still don’t know how lynchings were used as a weapon to keep a community quiet. That’s exactly what it did to Rubin Stacy’s family.”

IF YOU GO

WHAT: “Rubin”

WHEN: 7 p.m. Tuesday, Oct. 3

WHERE: NSU’s Rose & Alfred Miniaci Performing Arts Center, 3100 Ray Ferrero Jr. Blvd., Davie

COST: Free, but tickets must be presented for entry

INFORMATION: 954-462-0222; MiniaciPAC.com

[archaeocommunologist]

I'm sorry, are we really hyping up the American Colonization Society as a "utopian nationalist movement" based on a "rejection of assimilation" in order to defend Israel? We're really going to defend Americo-Liberians, who set up a segregated ethnostate that was ultimately overthrown in a series of bloody civil wars?

The reason people don't bring up Liberia is because it's a case study of colonial failure and brutality. I almost can't believe Zionists are stupid enough to invoke the legacy of the ACS here. The entire project of deporting Black Africans to create colonial states in Africa was an abject failure, rejected by the majority of Black people and white abolitionists alike, and abandoned after the end of the Civil War.

I agree Liberia is the best comparison for Israel, and that fact condemns Israel.

[kemetic-dreams]

A manbo (also written as mambo) is a priestess (as opposed to a oungan, a male priest) in the Haitian Vodou religion. Haitian Vodou's conceptions of priesthood stem from the religious traditions of enslaved people from Dahomey, in what is today Benin. For instance, the term manbo derives from the Fon word nanbo ("mother of magic"). Like their West African counterparts, Haitian manbos are female leaders in Vodou temples who perform healing work and guide others during complex rituals.

This form of female leadership is prevalent in urban centers such as Port-au-Prince (the capital of Haiti). Typically, there is no hierarchy among manbos and oungans. These priestesses and priests serve as the heads of autonomous religious groups and exert their authority over the devotees or spiritual servants in their hounfo (temples).

Manbos and oungans are called into power via spirit possession or the revelations in a dream. They become qualified after completing several initiation rituals and technical training exercises where they learn the Vodou spirits by their names, attributes, and symbols. 

The first step in initiation is lave tèt (head washing), which is aimed at the spirits housed in an individual's head. The second step is known as kouche (to lie down), which is when the initiate enters a period of seclusion. Typically, the final step is the possession of the ason (sacred rattle), which enables the manbos or oungans to begin their work. One of the main goals of Vodou initiation ceremonies is to strengthen the manbo's konesans (knowledge), which determines priestly power.

The specific skills and knowledge gained by manbos enable them to mediate between the physical and spiritual realms. They use this information to call upon the spirits through song, dance, prayer, offerings, and/or the drawing of vèvès (spiritual symbols). During these rituals, manbos may either be possessed by a loa (also spelled lwa, Vodou spirits) themselves, or may oversee the possession of other devotees. Spirit possession plays an important role in Vodou because it establishes a connection between human beings and the Vodou deities or spirits. Although loas can "mount" whomever they choose, those outside the Vodou priesthood do not have the skills to communicate directly with the spirits or gods. This is because the human body is merely flesh, which the spirits can borrow to reveal themselves via possession. manbos, however, can speak to and hear from the Vodou spirits. As a result, they can interpret the advice or warnings sent by a spirit to specific individuals or communities.

Cécile Fatiman is a Haitian manbo famously known for sacrificing a black pig in the August 1791 Vodou ceremony at Bois Caïman—an act that is said to have ignited the Haitian Revolution. There are also notable manbos within the United States. Marie Laveau (1801-1888), for example, gained fame in New Orleans, Louisiana, for her personal charm and Louisiana Voodoo practices.

Renowned as Louisiana's "voodoo queen", Laveau's legacy is kept alive in American popular culture (e.g., the television series America Horror Story: Coven).ne Mama Lola is another prominent manbo and Vodou spiritual leader in the United States. She rose to fame after the publication of Karen McCarthy Brown's ethnographic account Mama Lola: A Vodou Priestess in Brooklyn. Mama Lola's success provided her with a platform to challenge Western misconceptions of Haitian Vodou and make television appearances

[afrotumble]

Sherman Alexander Hemsley was an American actor and comedian, best known for his portrayal of the character George Jefferson on the popular television sitcoms "All in the Family" and "The Jeffersons." He was born on February 1, 1938, in Philadelphia, Pennsylvania.Hemsley''s career began in the theater, where he honed his acting skills and comedic timing. His breakthrough came when he was cast as George Jefferson in the 1973 spin-off series "The Jeffersons," which centered around the lives of an African-American family who moved to a luxury apartment in Manhattan.Hemsley''s portrayal of George Jefferson was iconic, with his larger-than-life personality, sharp wit, and memorable catchphrases. The character became one of the most beloved and enduring in television history, earning Hemsley critical acclaim and a loyal fan base.

Beyond his role as George Jefferson, Hemsley had a versatile career, appearing in various television shows, films, and stage productions. He showcased his comedic talents in projects like "Amen" and "Dinosaurs" and demonstrated his acting range in dramatic roles.

Hemsley''s impact on television and popular culture cannot be overstated. He broke barriers by portraying a successful African-American character on television during a time when representation was limited. His comedic timing and ability to bring laughter to audiences made him a beloved figure in the entertainment industry.

Sherman Alexander Hemsley passed away on July 24, 2012, but his legacy as an accomplished actor and his contributions to television continue to be celebrated. His portrayal of George Jefferson remains an iconic and cherished part of television history.

Written by Lamar

[mademoisellefantasy]

" There has never been another Steve Rogers,has there? " | Captain Ameri...

Actually, this is soooo trueee!!!!!

As much as I like Sam Wilson as a character, it just wasn't the right decision for Marvel to replace Captain America. Maybe it makes sense in the comics where, because the storylines literally continue over decades, passing on the mantle of certain characters to others is narratively helpful and refreshing.

But in the MCU, it feels totally wrong. The whole point of Captain America being Steve and vice versa is that NO ONE ELSE had the moral integrity and strength of Steve Rogers. That's the reason he was chosen and no one else, no matter how great of a character they might be on their own right, could ever feel in his role.

Kinda how no one else is as brilliant, eccentric, and self-sacrificial as Tony Stark, thus no one but him can be Iron Man. I think that Steve and Tony were kinda supposed to be mirrors of each other, the one the heart and the other the brain of the Avengers. And so both should be irreplaceable.

I also think that it would have been much more honorable for Sam to accept that his old friend left a legacy behind that shouldn't be changed or affected by anyone (including himself), and go make his own arc focus on the future of America, symbolized by him AS THE FALCON.

In previous movies, because Steve (and Bucky, tbh) was always the main focus, we never got to see the full potential, backstory, motivations, etc. of the Falcon, just vague mentions. He was just a loyal friend and sidekick to Steve.

Imagine if the Falcon FINALLY had an arc that didn't center Steve Rogers, imagine if he was allowed to keep his core hero identity but also evolve in it. It would have been SO MUCH BETTER.

Additionally, I think that most of that passing on the mantle stuff, is just pandering to minorities, which in of itself isn't bad AT ALL, but they were SO LAZY about it in TFATWS.... Seriously, the script was mostly trash (apart from the more intimate Bucky and Sam interactions and Zemo's storyline), and it didn't allow Sam, the AFRICAN AMERICAN MAN THE WHOLE SERIES IS ABOUT!!!! to actually evolve in his own right and be a truly good protagonist.

Anyways, after TFATWS it became apparent to me that Marvel is no longer interested in good storytelling, character development, and representation. So, at least for me, Captain America in the MCU will forever only be Steve Rogers.

[zoot-marimba]

I want to take the time to remember the late Isaac Hayes, soul music singer, songwriter, musician, arranger, score composer, actor, and of course the voice of Chef, who would have turned 82 yesterday.

Where do I even begin with this man? One of the principal songwriters, musicians, and producers for so much of Stax Records' heyday, co-writing several hits for the likes of Sam & Dave with Dave Porter as well as contributing organ, piano, saxophone, and horn arrangements to several records and becoming a critical figure in Southern soul in the process.

He would then went on to cut solo records of his own like Hot Buttered Soul, Black Moses, and the soundtracks for films like Shaft and Tough Guys, on top of headlining the iconic Wattstax Festival. In a time when soul music was largely driven by the three to four minute singles to crossover to the pop charts, Isaac crafted soul epics that demanded the listener's attention. Rather it be through originals or reinterpretations of others' songs, any song Isaac sang was instantly his. Besides pioneering progressive soul, Isaac would also foreshadow the rise of hip hop with his series of monologues known as "Ike's Rap".

Having grown up in poverty and having been friends with people such as Dr. King, Isaac always sought to not only deliver words of empowerment for black people but also make the world a better place. As the co-founder of the Black Knights, Isaac helped fight police brutality and discrimination, and would also establish food banks within Memphis and help black voters get registered. He would also establish the Isaac Hayes Foundation in 1999 to assist vulnerable populations in realizing their fullest potential in areas such as health care, economics, and environmental and human development. As an Ambassador for the World Literacy Crusade, Isaac would be crowned an honorary king of Ghana's Ada district for his work in supporting literacy. It was also in Ghana that Isaac opened a school designed to link African children with those in American inner cities through the internet.

So when two guys in Colorado were creating a show and came up with the idea of a soul singing school cafeteria chef, Isaac ended up being just what the doctor ordered. Beyond the credibility of having an actual soul singer voice the character, Isaac gave Chef so much more beyond that. Rather it be the wacky, surreal Kid's-Show-Gone-Amok or the greater emphasis on social commentary, Chef provided a strong anchor to the madness that surrounded him. He was the rock that the boys could always fall back on, the confidant when things go awry. Through Isaac, Chef had humor, joy, warmth, conviction, and ultimately, love. And that is both of their greatest legacies above all else.

[uzumaki-rebellion]

The World-building of Wakanda: Black Panther and Afrofuturism

I've been revisiting the Wakanda Syllabus that an educator associate of mine Dr. Walter Greason put together when the first Black Panther movie came out, and also reviewing old discussions about the significance of that era as a cultural moment and movement at the same time.

The fact that I still write Black Panther fanfics is a testement to the love I have for that fandom and its importance to Afrofuturism and Black Diaspora Futurism. I'm always happy when I see other Black writers out here still churning out plots and series fics because it is a digital archive for how we perceive a fictional future where as Killmonger once annouced "We're on top."

These works are important and specifically center the Black experience. And we don't have to fit our characters inside of white story spaces where we are usually the sidekick or fetish characters. I had an interesting talk with a friend of a friend and she wanted to argue that Black characters in the MCU who were not in the Black Panther/Wakanda Forever films should be included in the discussions of Afrofuturism, and I said they didn't belong in it fully because those characters are not centering Black people's futures. They center the non-Black white leads and their American/American adjacent interests (I'm talking about War Machine, Nick Fury, Sam Wilson, Valkyrie etc). It was a good back and forth because I am always questioning how Black people can build Black solidarity/communities by always working in white spaces in the service of white global agendas.

Writing Killmonger's journey (and his parents) for over six years (Lawd six years!!!!) with numerous books has taught me a lot about my role in preserving our fandom legacy as Black fanfiction writers and as readers. Afrofuturism has allowed me to explore not only Black Liberation, but Black Queerness, ATR's (African Traditional Religions), Black Matriarchy and Black Patriarchy. I've written about things I love and participate in, and also got to play pretend like I'm a kid again playing with my Barbie dolls and action figures. Black sex. Black music. Black art. Black philosophy. Blackety Black and unapologetic.

All this to say that I hope others out there like me keep writing and reading and reblogging these free little digital seeds we are planting that will truly blossom in the future when others discover our work. I know many Black writers lament that we don't get the same traction or BNF notoriety that white writers do. However, there is joy and divine calling when one simply sits and writes a Black Panther tale to give to other Black people for free all over the world. It still boggles my mind that there are people who have read my stories for years and they live on the other side of the world. People I will probably never meet, but they read and sometimes leave sweet comments that feed me to keep going.

Keep writing y'all. Keep reading and sharing and creating. You are making Afrofuturism fanfiction that is a time capsule for Black folks who aren't even here yet. Academics are secretly reading your stuff and using it to formulate academic studies on a fictional world ! Your Black Panther creations are beautiful no matter where you live on the planet!

Pat yourself on the back and keep worldbuilding and reading.

Here is a link if you want to check out some Wakanda Syllabus stuff that has been collected for the public to use.

[thats-so-erik]

Essay Title: Electrifying Legacy: Why Jefferson Pierce/Black Lightning Deserves an Extended Superhero Family

Page 1: Introduction

Jefferson Pierce, aka Black Lightning, has been a beacon of hope for his community and a symbol of empowerment for the African American community. As a metahuman with electrical powers, he has fought tirelessly against corruption and injustice. However, his legacy deserves to extend beyond his solo heroics. It's time for Black Lightning to have his own extended superhero family, just like the iconic Superman, Wonder Woman, Bat, and Green Arrow families.

Page 2: The Power of Family

Family is a cornerstone of superhero narratives. It provides a support system, a sense of belonging, and a legacy to pass on. Black Lightning's story is deeply rooted in family, with his wife Lynn and daughters Anissa and Jennifer being central to his journey. Expanding his family to include more superheroes would enrich his narrative and create new possibilities for character development and team-up adventures.

Page 3: Representation Matters

Black Lightning's solo series was a groundbreaking moment for representation in comics and television. An extended Black Lightning family would further amplify diverse voices and perspectives, providing role models for underrepresented communities. This would be a significant step forward in the superhero genre, promoting inclusivity and reflecting the complexity of the real world.

Page 4: Anissa and Jennifer - The Next Generation

Anissa (Thunder) and Jennifer (Lightning) have already demonstrated their potential as superheroes in their own right. They embody the spirit of their father's legacy while forging their own paths. Expanding their roles and introducing new family members would create a dynamic, intergenerational team, showcasing the passing of the torch from one generation to the next.

Page 5: The Pierce Family's Unique Dynamic

The Pierces are a family of strong-willed individuals with a deep sense of justice. Their interactions are filled with warmth, humor, and a deep understanding of one another. This familial chemistry would translate perfectly to an extended superhero family, allowing for heartwarming moments, humorous banter, and a sense of unity in the face of adversity.

Page 6: New Characters, New Possibilities

Introducing new characters to the Black Lightning family would bring fresh perspectives and abilities to the table. This could include allies, mentees, or even unexpected relatives, expanding the narrative possibilities and allowing for exciting team-up combinations and conflicts.

Page 7: The Black Lightning Family's Mission

The Black Lightning family's mission would be to protect Freeland and its people from threats both magical and mundane. They would stand as a beacon of hope, inspiring others to take action against injustice. This mission would be a natural extension of Jefferson's original crusade, now amplified by the collective strength of his family.

Page 8: The Electrifying Legacy of Black Lightning

Black Lightning's legacy deserves to be cemented in the superhero pantheon, alongside the likes of Superman and Batman. An extended family would ensure his impact is felt for generations to come, inspiring new heroes and continuing the fight for justice and equality.

Page 9: The Potential for Crossovers and Team-Ups

An extended Black Lightning family would open doors to exciting crossovers and team-ups with other DC heroes. Imagine the dynamic interactions between Black Lightning and Superman, or the strategic teamwork between Thunder and Wonder Woman. These possibilities would enrich the DC Universe and create unforgettable moments for fans.

Page 10: Conclusion

Jefferson Pierce/Black Lightning has earned his place among the iconic superheroes of the DC Universe. It's time for his legacy to expand and for his family to take their rightful place alongside him. An extended Black Lightning superhero family would be a triumph for representation, storytelling, and the superhero genre as a whole.

Page 11: The Future of the Black Lightning Family

The possibilities are endless for the Black Lightning family. New characters, new storylines, and new adventures await. It's time to electrify the DC Universe with the power of family and legacy.

Page 12: Join the Movement

Let us rally behind Black Lightning and his family, demanding more stories, more characters, and more adventures. Together, we can create a brighter future for the DC Universe and cement the Black Lightning family's place in superhero history.

[heavenboy09]

Happy Birthday To The Hottest And Most Bodacious Geeky Nerdy Bad@$$ Actress of Many Favoritable Movies and Shows of the 21st Century. The Awesome Latina Wonder Woman👩🏾🇵🇷🇨🇺🤎🧡 herself.

She is an American actress. She made her feature-film debut in the 1995 independent drama Kids. Her subsequent film roles include He Got Game (1998), Josie and the Pussycats (2001), Men in Black II (2002), The Rundown (2003), Rent (2005), Sin City (2005), Clerks II (2006), Death Proof (2007), Seven Pounds (2008), Percy Jackson & the Olympians: The Lightning Thief (2010), Unstoppable (2010), Zookeeper (2011), Trance (2013), Top Five (2014), Zombieland: Double Tap (2019), and Clerks 3 (2022). Dawson has provided voice-over work for Disney/Marvel, Warner Bros./DC Comics, and ViacomCBS's Nickelodeon unit.

Rosario Dawson was born on May 9, 1979, in New York City. Her mother, Isabel Celeste, is of Puerto Rican, Taíno, Cuban and African ancestry. Isabel was 17 years old when Rosario was born; she never married Rosario's biological father, Patrick C. Harris. When Dawson was a year old, Isabel married Greg Dawson, a construction worker. Isabel and Greg moved into a reclaimed building on East 13th Street after being approved as members of an affordable housing plan. The family later moved to Garland, Texas.

As a child, Dawson made a brief appearance on Sesame Street. At the age of 15, she was discovered on her front-porch step by photographer Larry Clark and Harmony Korine, with Korine deciding that she was perfect for a part he had written in his screenplay for the controversial 1995 film Kids. 

Dawson had several roles in film and television adaptations of comic books. These include Gail in Sin City (2005) and Sin City: A Dame to Kill For (2014), Claire Temple in five of the Marvel Netflix series (2015–2018), and providing the voices of Diana Prince / Wonder Woman in the DC Animated Movie Universe and Space Jam: A New Legacy and Barbara Gordon / Batgirl in The Lego Batman Movie. In 2020, she portrayed Ahsoka Tano in the second season of The Mandalorian and The Book of Boba Fett, and stars in Disney+ original series Ahsoka. In 2021, she had a recurring role in the Dwayne Johnson autobiographical comedy series Young Rock and a main role in the Hulu miniseries Dopesick.

I always thought she was Afro Latina. Oh well

PLEASE WISH THIS MOST AWESOME & BAD@$$ LATINA AMERICAN ACTRESS OF MANY FORMS OF ENTERTAINMENT & HOT NERD 🤓 🔥

A VERY HAPPY BIRTHDAY 🎂 🥳 🎉 🎈 🎁 🎊

YOU KNOW HER

YOU SEEN HER MOVIES 🎥 , TV APPEARANCES 📺 & GEEK OUT ON SUPERHERO FILMS 🎥

& SHE IS STILL RADIANT TO THIS VERY DAY

THE 1 & THE ONLY

MS ROSARIO ISABEL DAWSON👩🏾 🇵🇷🇨🇺🤎🧡

HAPPY 45TH BIRTHDAY 🎂 🥳 🎉 🎈 🎁 🎊 TO YOU MS. DAWNSON👩🏾🇵🇷🇨🇺🤎🧡 & HERE'S TO MANY MORE YEARS TO COME

#RosarioDawson

[grishamanimationstudios102]

Ronald Raccoon and Pals

Set in a colorful, 1970s-inspired world, Ronald Raccoon and Pals follows the adventures of Ronald Raccoon and his close-knit group of friends as they navigate teenage life, explore their individuality, and celebrate their differences. Packed with humor, groovy aesthetics, and heartfelt moments, the series is a nostalgic tribute to the era’s cultural vibrancy.

The Cast

Ronald Raccoon:

A free-spirited teen with a love for adventure and self-expression. Ronald is the son of Rack Raccoon, a retired slapstick cartoon star. While he respects his dad’s legacy, Ronald prefers spending his time exploring music, skateboarding, and hanging out with his eclectic group of friends. His charisma and natural leadership often inspire his pals, even if his impulsiveness sometimes leads them astray.

Rack Raccoon:

Ronald’s dad, Rack, was a legendary slapstick cartoon star from animation’s golden age. Now retired, Rack enjoys telling stories about his old Hollywood days, occasionally demonstrating his over-the-top cartoon antics to help Ronald and his friends solve problems. Despite their generational differences, Rack and Ronald share a strong bond.

Bernie Bear:

A mellow, soulful bear with an African-American accent. Bernie is the group’s voice of wisdom and an aspiring funk musician, often jamming on his bass guitar. He brings a cool, laid-back vibe to the crew, always ready to share life advice or a funky tune.

David Dog:

A lovable, easygoing American Greyhound of Latino descent, David is known for his relaxed personality and sharp mind. Despite his lazy demeanor, he’s an excellent problem-solver with a knack for turning chaos into opportunity. David loves sharing food from his culture with his friends, often introducing them to dishes like tacos, tamales, and churros. His kitchen skills and culinary knowledge make him a cherished member of the group.

Ricardo Rat:

The grumpy but lovable Italian-American rat with a heart of gold. Ricardo is the realist of the group, quick to point out flaws in their plans but always willing to lend a hand. He’s passionate about cooking, especially pizza, and dreams of owning his own pizzeria. Despite his sourpuss attitude, Ricardo’s loyalty to his friends runs deep.

Philip Fox:

The sophisticated British fox with a love for poetry and drama. Philip often adds a theatrical flair to the group’s adventures, narrating events in rhyme or offering dramatic commentary. While his refined demeanor sometimes clashes with the others’ casual attitudes, his poetic insights and wit make him an invaluable friend.

Rita Raccoon:

Ronald’s girlfriend and an independent, outspoken feminist. Rita is a passionate advocate for equality and environmental causes, often organizing community events and protests. She’s not afraid to stand up for what she believes in or call out the boys when they’re being immature. Rita’s fierce determination and clever humor make her an inspiring role model.

The Show’s Style and Themes

With its psychedelic 70s aesthetic, funky music, and warm humor, Ronald Raccoon and Pals blends slapstick comedy with heartfelt storytelling. The show celebrates cultural diversity, individuality, and friendship while addressing timely themes like activism, self-discovery, and community. Episodes often feature a mix of goofy hijinks, meaningful moments, and a touch of nostalgia, making it a perfect blend of humor and heart.

The animation style mirrors the charm of Hanna-Barbera classics with a touch of Schoolhouse Rock!’s vibrant design, while the dialogue reflects the slang and cultural vibes of the 1970s. The series’ mix of timeless themes and retro fun ensures its appeal to audiences of all ages.

[mogai-sunflowers]

MOGAI BHM- Day 10!

happy BHM! today i’m going to be talking about the harlem renaissance and its significance! the harlem renaissance itself is a huge topic to cover, so this post will be more of an overview, with discussions of art and theater during the movement, and in future posts i will go through literature and music during the harlem renaissance!

Background and Context-

[Image ID: A black-and-white photograph of a group of Black people organized into two lines in a field. At the front of the two lines, there is a table and a few white people administering medical tests/attention to the Black people in the lines. End ID.]

Part of what sparked the Harlem Renaissance was a series of factors that compounded each other in the early part of the 1900s in America. Urbanization was one of these factors, and it describes the process of populations shifting from rural to city/urban environments. Early 1900s America saw a huge increase in the production of metal, the drilling for oil, and other industrial factors, which led to a large amount of skyscrapers being built and cities being developed.

Urbanization is not just the building of cities, though. It’s the population, economic, and cultural shifts that come with the building of cities. The environments people live in influence their financial situation, their culture, their education, and their access to certain resources and opportunities.

When mass urbanization happens, it’s usually accompanied by mass migrations, which is exactly what happened with what is now called the Great Migration, which lasted about 6 decades starting in 1910. The earlier part of the Great Migration was characterized by a huge amount of Black southerners migrating to the rapidly urbanizing North.

The Great Migration of Black people out of the South also coincided with a growth of new, revolutionary ideas about race and culture. The horrible legacy of white supremacy in America had completely severed Black Americans from their individual cultures in Africa. It caused, and continues to cause to this day, a difficulty for Black people to connect to cultural and racial pride- but in the early 1900s, that began to change. 

A lot of Black people began striving to create racial pride out of the racial oppression they were experiencing- since many Black people didn’t know which culture they descended from, a movement to create the ‘New Negro’, as it was then called, out of a pan-African identity, began to grow. New, revolutionary ideas of what it meant to be Black in America- ideas rooted in pride and celebration rather than shame, took root as huge populations of Black people moved northward to growing cities.

In 1919, a series of deadly race riots, later known as ‘Red Summer’, combined with the renewed outrage many Black people had towards their inhumane treatment after experiencing much better treatment overseas at war, led to increased awareness of a racial reckoning in America, and the Harlem Renaissance was afoot.

The Harlem Renaissance-

[Image ID: A black-and-white photograph of a large crowd of Black people all standing in front of a theater. The theater has a glitzy, light-up sign that says “LAFAYETTE” and is strewn with a few signs that say “HALLELUJAH!”. End ID.]

Centered in the city of Harlem in New York, the Harlem Renaissance was a Black cultural revolution. It was a national rebirth of Black pride and it involved the birth and growth of Black literature, art, music, culture, and pride. 

Black music thrived through the international boom of jazz music. Black art and literature grew through publications like The Crisis and Opportunity. Black sociology thrived and defined the movement. 

The Harlem Renaissance influenced the Civil Rights Movement, the Black Power movement, and all areas of Black culture, and it had and continues to have international influences.

Harlem buzzed with the opening of many new, ritzy clubs where people enjoyed vibrant performances, and Black night life became a staple of the Renaissance.

Visual Art During the Harlem Renaissance-

[Image ID: A colorful painting by Aaron Douglas. The background is vibrant streaks of golden, yellow, and orange, and the subject of the painting is a Black man in a brown suit, wearing a hat. End ID.]

Visual arts flourished during the Harlem Renaissance. Formal art education institutions were very hostile to Black people, so they very rarely could attend them, meaning that mainstream art movements ignored and excluded Black people, Black artists, and Black art. The Harlem Renaissance challenged that.

Often called the “Father of African-American Art”, the most famous visual artist of the Harlem Renaissance is Aaron Douglas. Influenced by movements like Cubism, Douglas had four of his works, a series which he called the “Aspects of N*gro Life”, commissioned. They became very popular for combining modern art styles with indigenous African styles mainly from West African countries, and they depicted Black people in different areas of life, especially music and other movements which flourished during the Harlem Renaissance.

Considered to be the first Pan-African-American artwork, a sculpture called ‘Ethiopia’ was created inspired by Egyptian culture by artist Meta Warrick Fuller, who made the art dedicated to the contributions of Black Americans to the world of art. Printmaking also flourished as an art form during the Harlem Renaissance with artists like James Lesesne Wells, whose style combined both European and African influences.

Photography helped sustain the Harlem Renaissance- historically, documentation of Black experiences had only been about pain and suffering- and while remembering those experiences is important, they are not the whole story. Famous photographer James Van Der Zee captured never-before-seen Black joy, Black pride, in his thousands of beautiful photographs of the Harlem Renaissance.

Theater During the Harlem Renaissance-

[Image ID: A small, blurry, black-and-white photograph of a large crowd of Black people standing and cheering outside of a theater called the Savoy Ballroom, which has a big, lit sign advertising its name and shows names of shows playing there beneath that sign. End ID.]

In media like plays and stage performances, Black identity had always been extremely limited- racist legacies of minstrel shows and racist stereotypes in performances meant that Black people were only ever portrayed in horribly demeaning roles, usually not even by Black actors, and when they WERE portrayed by Black actors, those actors were treated terribly and were forced to demean themselves in their performances.

The Harlem Renaissance began to challenge that by giving Black Americans the opportunity to represent themselves in their own stage performances- instead of the minstrel stereotypes they’d been reduced to for a long time, many began writing their own roles, allowing themselves to give depth and humanity to Black characters, allowing Black characters to be the good guys, allowing them the ability to have complex stories and lives outside of stereotypes.

Black Americans established such famous theaters as the Savoy Ballroom and the Apollo Theater, eventually becoming just south-adjacent of the white-dominated Broadway. Famous writers like Langston Hughes began writing plays like ‘Mulatto’ and ‘The Sun Do Move’, and famous Black actors like Billy King and Theophilus Lewis became stars.

One of the most influential stage works to come out of the Harlem Renaissance was a play called Shuffle Along, and it challenged the racist exclusion that many Black actors faced on Broadway by becoming the first Black play in over a decade to reach Broadway. It portrayed Black people living their lives and gave them the ability to express the humanity that white Americans were trying to ignore.

Sources-

https://magazine.artland.com/art-movement-harlem-renaissance/#:~:text=The%20Visual%20Arts%20of%20the%20Harlem%20Renaissance&text=Douglas%20was%20influenced%20by%20modernist,from%20Benin%2C%20Congo%20and%20Senegal. 

https://www.britannica.com/event/Harlem-Renaissance-American-literature-and-art/Visual-art

https://macaulay.cuny.edu/seminars/henken08/articles/r/e/n/Renaissance_and_Theatre_d0e4.html#:~:text=These%20performances%20were%20often%20shown,and%20The%20Sun%20Do%20Move.

https://historyoftheharlemrenaissance.weebly.com/the-apollo-theatre.html https://www.history.com/topics/roaring-twenties/harlem-renaissance

tagging @metalheadsforblacklivesmatter​ @neopronouns​ @genderkoolaid​ 

[star-trek-pop-quiz]

Star Trek POP-QUIZ #15

( 13 / 01 / 2024 )

Question 1. Which actor was personally asked by Martin Luther King ( a self-proclaimed Trekkie ) to stay on Star Trek? a. Nichelle Nichols. b. Walter Koenig c.Michael Dorn. d. Whoopi Goldberg.

Bonus Question: What is their character, series and rank in Star Trek?

Question 2. TRUE OR FALSE The first African-American woman ( Dr Mae Jemison ) to travel into space appeared on Star Trek.

Bonus Question: If so, in which series did she appear?

Question 3. In the Star Trek episode "Far Beyond the Stars" we follow Avery Brooks ( Benjamin Sisko's actor ) playing a sci-fi writer in the 1950s. What was the name of Benjamin Sisko's "alter-ego"? a. Benji Nichols b. Benny Russell c. Ben Nova d. None of the above, his name was still Benjamin Sisko.

Question 4. What does Uhura's first name mean? a. Freedom b. Star c. Revolution d. Universe

Bonus Question: What is Uhura's first name? Spelling Counts!

Question 5. Fill-in Question! Excluding voice-acting, which actor has appeared in the most Star Trek episodes/movies?

Score: __/ 5 + 3 bonus ( Answers under cut )

Question 1. a. Nichelle Nichols.

+ Nichelle Nichols appears in The Original Star Trek Series, as Lieutenant Commander Nyota Uhura, the Communications Officer. For Additional Information, consider searching up the interview: https://www.npr.org/2011/01/17/132942461/Star-Treks-Uhura-Reflects-On-MLK-Encounter

Question 2. TRUE

+ She appears on The Next Generation, S6 - E24 ( "Second Chances" ).

Question 3. b. Benny Russel.

Question 4. b. Star.

+ Nyota is her given name. It means star in the African languages Swahili and Lingala.

Question 5. According to most sources, Michael Dorn ( who plays Worf in TNG, DS9, PIC and several Star Trek movies ).

On the 15th of January, Dr. Martin Luther King Jr.'s legacy is honored through Martin Luther King day. ✊🏿

Consider reading up on current issues, reading the stories of many black individuals ( including the ones listed here: casting stories, their history, how has Nichelle Nichols influenced black women and actors, etc. ), and helping where you can.