Racism is Taught By Aspects of Environment, Like Media… Thus, Can Be Untaught…By Media…
Does white Kids Wearing Black Panther Costumes Mean Something Significant to Race Relations?
The Many Meanings of Black Panther’s Mask
We Get Movies Like ‘The Black Panther’ From People Who Know African History and Who Love Their Blackness…Like Ta-Nehisi Coates, Writer of The Black Panther.
Ta-Nehisi Coates, is a national correspondent for The Atlantic, award winning author, and writer of Marvel’s The Black Panther comic book.
How did he do it?
Well, Coates’ father was actually a Black Panther.
And, is the owner of Black Classic Press, the primary punisher of Afrocentric books since at least 1960’s.
Coates, therefore, was raised around the original Afrocentric scholars… John H. Clarke, Tony Brower, Molife Asante, etc.
Thus, his home environment was informed by Classical African History…since birth. It’s in his intellectual blood.
The movie, Blank Panther, is an example of what we can produce when, and only when, we know and have internalizedthe essence of Africa’s 30 million year history.
So, let’s teach all our children…and watch them soar… in ways whites can’t… them being Eurocentrc and patriarchal.
We really need know and understand..that being Afocentric is one thing we can have a monopoly on. whites can’t create “a” movie like Black Panther…an Afrocentric creation that requires an indigenous African perspective of which whites are incapable ideologically.
The Afrocentric arena is one in which whites can not!!! compete, try as they usually do and will most probably try.
You have to love being Black, love Black people, love African history, love Africa, and love/live African culture….which whites don’t.
Presley publicly cited his debt to African American music, pointing to artists such as B. B. King, Arthur “Big Boy” Crudup, Ivory Joe Hunter, and Fats Domino. In 1956 interview, he named blues singers who “obviously meant a lot to him; how he tried to carry on their music”; also said, “The colored folks been singing it and playing it just like I’m doin’ now, man, for more years than I know. They played it like that in their shanties and in their juke joints and nobody paid it no mind ’til I goosed it up. I got it from them. Down in Tupelo, Mississippi, I used to hear old Arthur Crudup bang his box the way I do now and I said if I ever got to a place I could feel all old Arthur felt, I’d be a music man like nobody ever saw.”
Little Richard said of Presley: “He was an integrator. Elvis was a blessing. They wouldn’t let black music through. He opened the door for black music.”
White male patriarchal culture uses ‘entertainment racism’ in various ways to destroy Black/African culture. As occurred with Rock N Roll, one way is to ignore what’s indigenously Black/African/Nubian; devalue it; subordinate it as ‘heathen’, ‘savage’, ‘gross’. An exception to the rule, rare is it that a white person, like Elvis, gave full credit to Blacks as the originators of the music he played. He even went further to admit that the music didn’t become acceptable until he, a white man, began to play it.
…his birth date, May 26, 1926 (…the same day as my grandmother’s birth day); his home in Alton, Ill.; his affluent childhood, his family even had a ranch (…my grandmother’s paying for me to go to a horse riding camp this summer at Grace United Methodist Church’s horse camp in Ft. Washington this summer ); his father was a dentist and mother a ‘closet’ blues pianist; at age 13 (…a year older than me)… he got his 1st trumpet; and 5 years later he was playing with Billy Eckstine, Dizzy Gillespie and Charlie Parker (…man, he must have really been good); and the same year, he even went to Julliard but dropped out because ‘the’ music was too white (…I understand that…).
Mr. Cheadle didn’t do a good job, at all, telling Miles Davis’ story, he was really much more than a ” dead beat drug head’.
My grandmother tell me, all the time that African philosophy is Ubuntu…’the golden rule’. She says, African Americans who’re in the position to influence Black youth, like me, “…are obligated to seek opportunities to show the full [Ubuntu] humanity of Blacks (Leonard Pitts Jr. Ebony, October 2015).”
So, though Mr. Cheadle had the opportunity to show that Miles Davis was great and a genius, he didn’t…he showed Mr. Davis as a drug user, self-centered, and stupid because he let people, white people in his home who stole his music.
According to the ‘golden rule’, I don’t think Mr. cheaply would like his life story told like this, minus the good thing he did and his talent.
My grandmother was really mad because she wanted us to learn about Miles Davis but the movie (Miles Ahead), didn’t teach us much of anything about him. So, she had to tell us, herself.
Whites, Allys, Notwithstanding, Do What Whites Do, Package Information, Even Anti-Racism Information…Goal: To Sell…Not To Help Black & Brown People Heal
SirusXM Urban View…Give Us Black/African Experts Who’re About Helping Us Learn & Heal
Peripheral information about racism/white supremacy, maybe…helpful to whites and maybe Black & Brown people but nothing to help ‘us’ heal.
Information, for sale, that helps Black & Brown people learn their history (color-consciousness, included) and heal.
Just listening to Coates is educational in a way that’s healing in that it let’s us know, on a personal , intimate, and legitimate level that (1) ‘we are not imagining things’ and (2) there is a systematic reason for our plight.
Others of us, not only write but encourage us to learn but to also, work-thru our pain.
If Sirius XM Radio is interested in helping Black & Brown people, they will introduce us to our experts, we really don’t have a lot of time to waste…beating arounf the bush getting to the point via white allys.
Tim Wise Admits, Whites Don’t Know Black/African History, Maybe That’s Why His Lectures Are Restricted To, Not Patriarchy, But Only Racism/White Supremacy In The Modern Era, Doesn’t Discuss The European Origin of Patriarchy & How It Birthed Sexism, Classism, Racism, etc. Black & Brown people need to know the ‘totality’ of their history…as do whites…which includes the European origin of patriarchy (the core of white male supremacy) & how it birth the systematic tool of racism/supremacy. Lisentening to Wise, he doesn’t seem to know that racism/white supreamcy are variable of patriarchy or that Black/African social sturcture is ‘matriarchy’
Black & Brown People Need To Know The Totality Of Their History And When & Where Patriarchy (the core of white male supreamcy) & It’s Tool, The System of Racism/White Supremacy Has Impacted Us Historically, Even Before Colonialism
Tim Wise Doens’t Know This But Tony Browder & Ta-he Coates Can Cover The Totality Of The Topic..Let’s Use Our Experts, PLEASE
White allys, like Wise, Dara Silverman, and Zoe Williams codify anti-racism and make money off it…sell Black & Brown people how to kits, lesson plans, expensive workshops & trainings.
…his birth date, May 26, 1926, the same day as my grandmother’s birth day; his home in Alton, Ill.; his affulent childhood, his family even had a ranch…my grandmother’s paying for me to go to a horse riding camp this summer; his father was a dentist and mother a ‘closet’ blues pianist; age 13, a year older than me… he got his 1st trumpet; and 5 years later he was playing with Billy Eckstine, Dizzy Gillespie and Charlie Parker…man, he must have been good; and the same year, he even went to Julliard but dropped out because ‘the’ music was too white…I understand than…
He died, September, 21 1991
Mr. Cheadle didn’t do a good job, at all, telling Miles Davis’ story, he was really much more than a ” dead beat drug head’.
In the age of tweets and soundbites, candid conversations about white supremacy’s clutch on the lives of people of color rarely occur outside of black circles, perhaps out of fear that white people might be offended. Local activist Kymone Freeman, however, says that forcing Caucasians to confront this elephant in the room will heal the nation and save humanity.
Freeman, a self-described “angry black man in therapy,” plans to make audiences across the D.C. metropolitan area uncomfortable this spring in “Whites Only,” a one-man play in which he reflects on the bitter lessons he learned about white supremacy’s seemingly innocuous yet pervasive reach during his coming of age. Freeman said that while this performance may upset both black and white people alike, he has no qualms about telling the truth.
“I’m doing this for me and my sanity,” said Freeman, program manager at We Act Radio in Southeast. Throughout the month of March, Freeman has performed “Whites Only” for audiences at local Bus Boys & Poets restaurants with the hopes of bringing the play to the Mosaic Theater Company of DC in Northeast later this year.
The March 12 show at the 5th and K Streets location in Northwest attracted nearly two dozen people, three of whom were white. Freeman said that while black audiences have enjoyed his material, he looks forward to the day that he can express his unfiltered thoughts before an all-white crowd.
“I’ve committed my life to telling the lion’s story. I attempt to do that through We Act Radio, testimonies at D.C. council hearings, and in the streets,” said Freeman. “We live in a system that has determined one rule of law for one group of people and one rule of law for another group. Do you think that if black cops were shooting white children that the end result would be the same? No one has answered in affirmation. Our silence is approval of the situation.”
In “Whites Only,” Freeman stands onstage sporting a black shirt with “Don’t Shoot” emblazoned across the front. The two-hour show starts with his plea to guests to understand from where their long-held beliefs and traditions originated. He later regales guests with stories from his adolescence and adulthood while sipping wine.
Each of Freeman’s anecdotes touch on his interaction with family members, friends, employers, and old beaus, with a critique of America serving as the common thread. At times, he holds up a large white sign with a smiley face — representative of what he describes as the façade black men often have to put up in a white-dominated society — drawn in the middle.
Freeman leaves no stone unturned in his assault against American capitalism, the military industrial complex, gentrification, police brutality, and corporate media. Some stories, like one about an argument with a woman who wore weave, drew chuckles. Other stories, like one in which he had to comfort a young woman traumatized by a sexual assault at the hands of a drunk white man brought the room to complete silence. Guests later shook their heads in disbelief as Freeman reminisced about his violent encounters with police officers in Georgetown and Northern Virginia.
“I’ve never said any of this stuff out loud,” Freeman said. “You can’t walk around with all this rage pent up. Writing this play has given me a lot of clarity about what has happened in my life. There’s an empathy that white people don’t feel for black production because they don’t think it’s for them. That’s part of the problem. I think we need to challenge white and black people to be honest with themselves.”
Natalie Molinaro, a white woman from Chevy Chase, Maryland and guest at the March 12 viewing, shared Freeman’s sentiments. Molinaro said that “Whites Only” compelled her to think more deeply about the United States’ race problem and her experiences with white and black people.
“I learned so many facts that made me even angrier about the situation unfolding in this country,” said Molinaro, 19. “I feel a little embarrassed for my race but I don’t represent all white people. I went to a Catholic school in Maryland and had classmates who teased me about being Italian. I have friends who are black, including one who’s from Kenya. People who are racist are behind the times and I didn’t even realize those kind of people existed until I went to college.”
“Whites Only” has already found a fan in Roger Moulden II, a local minister and guest at the recent viewing. Moulden said that hearing Freeman articulate his frustrations as a black man emboldened him to do the same in his life.
“It was phenomenal and liberating to hear the things that I knew in my journey,” Moulden, 27, said. “Kymone broke down how white supremacy’s fascination with monsters comes from white people wanting others to not see them as villains. Everything he said from start to finish caught my attention. It’s important to tell the truth and let the world know that we have a point of view. We’re telling our story,” said Moulden, a Temple Hills, Maryland resident.
Freeman’s newest project comes on the heels of two previous productions and a trip to Cuba in the months after the United States changed its foreign relations status with the island nation. As a founding member of protest group DC Ferguson and frequent guest commentator on TV One’s News One with Roland Martin, Freeman has made a name for himself as an agitator of the status quo.
“I had an opportunity to go on the big stage, do some damage and contribute to the Black Lives Matter movement,” Freeman said. “If this play becomes a financial success, I will become more of a threat to the system but it will take some outside support. People in our community who are interested in seeing something different should come out. People often place a different value on white stuff than black stuff and that’s the white supremacy I’m attacking, not white people.”
We missed the play…when will it return?