Comic Book films-Black Heroes,White Wealth(Part 2 of 2)

Mshindo..

Mshindo Kuumba is an amazing visual artist.  But he’s also a very intelligent brother. In this video(above) he explains the importance of your legacy and not letting others control the narrative.  Be sure to check out his work on the internet. He’s also on Facebook and Instagram. https://mshindo9.deviantart.com/

Regine Sawyer...2.

There are also a lot of black women that are independent artists and creators.  This video(above) is of Regine Sawyer.  She is at the Black Comic Book day convention.  She believes that it’s important that young black girls see positive images of themselves.  She has her own production company as well.  These are the type of artists and graphic novel writers we should be supporting.  Instead of throwing our money at white owned films like Black Panther. Here’s the link to her page: http://www.lockettdown.com/

So I wanted to take the time to list a few talented artists and writers.  These are independent creators writing and drawing from the black experience.  Not white-owned companies like Marvel and DC comics.  They may not have the big machine behind them but they are really gifted individuals.  So be sure to check out their links.  Many of them are selling books and their artwork.

Ian Wade2...

Ian Wade..

https://www.artstation.com/dracanima-art

Marcus Williams2...

Marcus Williams...

https://www.instagram.com/marcusthevisual/?hl=en

Saina Six2..

Saina Six...jpg

https://sainasix.com/

Comics8...

Tuskegee Heirs...jpg

Jennifer Crute..

http://www.theartistcrute.com/

N. Steven Harris..

http://nstevenworks.com/

Jaycen Wise..

Comics4...

Miles Away..

This video(above) features freelance graphic designer Imani Lateef.  Lateef is the creator of Peep Game Comix. Peep Game Comix is a digital comics platform that features black themed comic books.  It’s good to see a black person that owns and creates their own vision.  Be sure to check out his site. http://peepgamecomix.com/

Peepgame2..

New comics2..

Peepgame3..

Chris Miller..

Aya..

Mkize2..

Mkize1...jpg

Loyiso Mkize is the creator of Kwezi Comics. Mkize is a graphic designer/artist from Butterworth,South Africa. http://kwezicomics.co.za/

Support Black Artists...jpg

A lot of black film goers and book fans don’t realize there are so many black men and women out there writing scripts and drawing black characters.  There are so many out there creating black heroes with Afrocentric themes and storylines.  Many of us tend to forget how powerful the media can be.  Little black boys and girls want to see themselves as heroes too.  Our children are bombarded with white superheroes that push the idea of European power.  And this is all by design to keep us in a state of inferiority.  Like Mshindo Kuumba said in the interview,we can’t let others control our narrative.  We need to tell our own stories from our perspective.  A lot of black children are excited to see the film Black Panther film. But we must remember that he superhero was created by Marvel Comics founder Stan Lee and artist Jack Kirby.  This great African hero was created by two white men. This is the way Europeans operate.  They create a black character then they can make him be what they see as a “good black man”.  That film should be very interesting.  But I would say if you like comic books,graphic novels,afrofuturism and science fiction  then you should support the people I listed on this post.  If you have children that like comic books then tell them about these artists and creators. At least that way your money will be recycling the black dollar.  We have to start speaking with our collective wallets.  If you really want to see the Black Panther film then download it on the internet.  There are plenty of sites out there where you can get new released films.  Another option is to watch it on bootleg.  But we have to stop giving these people our money.  It’s time to support our own.  This is just a short sample of black creators and artists. There’s a lot more out there. Here’s some links to creators in the US and Africa as well.  If you want to see more check out a few of these sites:

https://www.blacksci-fi.com/

http://www.africomics.com/

http://www.blackageofcomics.com/Store.html

http://afrofuturism.net/

http://youneekstudios.com/join/

http://www.letiarts.com/

http://blacksciencefictionsociety.com/

Black heroes matter..

Yes Black Heroes do matter!  Take care family.

What do Jesse Williams and Colin Kaepernick really have in common?

colin1

Colin Rand Kaepernick was born on November 3rd, 1987 in Milwaukee, Wisconsin. His mother, Heidi Zabransky Russo, gave birth to him when she was 19 and living in poverty. Colin’s father, an African-American man, was not in his mother’s life when he was born.
After Heidi gave Colin up for adoption, he was placed with Rick and Teresa Kaepernick, who had previously lost two sons due to their children’s heart defects. And until age four Colin lived in Wisconsin, until the family relocated to Turlock, California.
After Colin’s family settled down in Turlock, he began playing youth football at age 8. By age 9, Colin was the team’s quarterback. Once he was in high school, Colin excelled academically and athletically. He maintained a 4.0 GPA and was nominated for all-state citations in football, baseball and basketball in his senior year. After receiving an athletic scholarship from the University of Nevada, Colin began excelling amongst his sporting collegiate peers.
Colin earned the Western Athletic Conference’s (WAC) Freshman of the Year award, and as a sophomore, became the fifth player in NCAA history to pass for 2,000 yards and to rush for over 1,000 yards in a single season. Colin graduated from Nevada University in 2010, with a bachelor’s degree in business management. And while attending college, he became a member of the ‘Kappa Alpha Psi’ fraternity. And I’ll tell you why that’s important later.

colin1
Fast forward to April 29th, 2011. On this date, the San Francisco 49ers selected Colin in that year’s NFL Draft season.
And in August 26th, of this year, before a preseason game against the Green Bay Packers, Colin refused to stand for America’s National Anthem. During a post-game interview, he was asked why he didn’t stand, and stated: “I am not going to stand up to show pride in a flag for a country that oppresses Black people and people of color. To me, this is bigger than football and it would be selfish on my part to look the other way. There are bodies in the street and people getting paid leave and (are) getting away with murder.”
And in keeping with this theme, on July 4th of this year, I wrote about the actor Jesse Williams and the infamous speech he gave at the 2016 BET Awards. And anyone who remembers Jesse’s speech, can pretty much recognize how his sentiments were the same as Colin’s.
So it seems like a new breed of Black Nationalist has come to the fore. Cause as more of these half-bred, olive-skinned Black men talk like revolutionaries, the more I hear spokespersons for the Black ‘conscious’ community say these types of brothas can get this message out better than a ‘pure-bred’ Black person can. And this is due mostly to their skin color. Cause not only will brainwashed Black people be more receptive to their message because of their complexions, but non-Blacks will as well.
But before we accept these ultra-light, latte-skinned brothas as the new pro-Black vanguard, I’d like to give you the straight dope on who they’re really reppin’…
Now, if you’re a Black man or woman reading this, you should already know that celebrity is a white fascist construct used as a means of population control. Period. So when stars sing, dance, act, excel at sports, etc., this is just the medium for their brainwashing message.

jesse1
So what does that mean in regards to Jesse and Colin’s messages?
Well, to clarify that, let’s fit their diatribes into the context of the white fascist agenda.
Now, the white elite want contemporary Black men to be either one of two things: One, a homosexual. Or two, a man who’s married, mating and having children with a non-Black woman. And if you’re in the latter category, white elites know your offspring will have less of the genetic power that you, a pure-bred Black man, already has to breed them out of existence. And I’ll state again, as I’m writing this, white birth rates have been falling below replacement levels for more than a quarter century.
So long story short, Colin and Jesse have been tasked to convince Black America that the realest Black power, is in being half-white.
Now you might be pursuing your lips and thinking, bruh—that’s more of that conspiracy theory non-sense…besides, why the hell would white fascists choose an actor and an athlete to get out that message?
Well, one very telling clue is in Colin’s fraternal affiliations. Remember I told you that Colin was a member of ‘Kappa Alpha Psi’? Welp, I did a little digging into who other members of that frat were, and these are just a few of the names I came up with…

Cedric ‘The Entertainer’ Kyles John Singleton—movie director of ‘Boyz n’ the Hood’, ‘Rosewood’ Sam Greenlee—novelist who wrote ‘The Spook Who Sat by The Door’ Tavis Smiley-TV show and radio host Lawrence Brownlee—Opera singer Montel Jordan—R&B Singer (song:‘This is how we do it’) Marvin Sapp—Gospel singer Tom Bradley—Mayor of Los Angeles Michael B. Coleman—Mayor of Columbus, Ohio

Adrian Fenty—Former Mayor of Washington D.C. Johnnie Cochran—Defense attorney (Yes, O.J.’s lawyer) Eddie Long—Pastor of New Birth Missionary Church Wilt Chamberlain—NBA Hall of fame player Archie Alexander—Governor of the U.S. Virgin Islands

But the names that struck me most were these two: Reginald Lewis and Robert L. Johnson. Here’s why…

I remember reading about Reginald Lewis in his autobiography, ‘Why Should White Guys Have All the Fun?’ He was the Black man who held the title of CEO of TLC Beatrice International. And this was the first Black-owned company to have more than a billion dollars in sales. After I finished that book, I beamed with pride at how Reggie overcame so many obstacles to accomplish what was pretty much a superhuman feat in the business world. Cause a Black man in America was never supposed to be able to manage that successful a business. I still hold his accomplishments in the highest regards, but now I see how his fraternity helped him maintain his business without white fascists destroying it. However, Reggie did die of a sudden brain ailment. Just like Johnnie Cochran and Khalid Muhammad. Coincidence?
Robert L. Johnson, who founded Black Entertainment Television (BET), is noted as becoming America’s first Black billionaire. And a few years back, I remembered hearing he was the only Black member of a hyper-exclusive investment firm called the ‘Vanguard Group’. This firm is the largest provider of mutual funds in the world, and it manages 3 trillion dollars in assets. And while doing some research on this company, I noticed its Wikipedia page held a link for an ‘anarchist’ political group, who also used the name Vanguard. This isn’t coincidental, and let me explain why…
Now, for those who are unfamiliar with the anarchist’s philosophy, let me give you a bit of a primer as to what this actually means.

colin2
‘Ordo Ab Chao’ is a motto followed by white fascist freemasons at the 33rd degree level. And this is said to be the highest level of freemasonry, but there’s actually a 33 and a third degree level reserved for the most elitist white masons. Now, this motto is a latin term meaning ‘Order out of Chaos’. So what that means is simply this, in order to control any organism or organization, its best to destabilize the intended target, by throwing it into a state of chaos. (Look up the ‘Hegelian Dialect’ sometimes)
Case in point, several years ago, I was in a 7-11, and after I told a white clerk that they were out of coffee cups, he got pissed and walked off in a huff to get them. After he got the cups, he made a gesture towards the soda fountains and asked: “I wonder why the smaller drinks are more expensive that the larger ones.” To which I replied: “Well, call up your regional manager and ask them.” Now, telling me that he recognized this was his feeble attempt at showing me he was supposedly smarter than I was. But unlike him, I understood why the smaller sized sodas were more expensive that the larger ones. I just didn’t want to tell him right then, cause I only wanted my coffee so I could get the hell outta’ there. 
But, what this inbred failed to realize is, the larger sodas are less expensive ‘cause white fascists running the medical industry know that the increased sugar content in them will get the working classes sicker. Thus, they’ll make more money. See, these trailer park types don’t want to think their people are as intrinsically wicked as they are, ‘cause that would reflect badly on them. It’s bad enough this clerk was a nearly middle-aged white guy working at a 7-11. And I’m always mystified when I see a poor white guy in America. I’m like, how the hell does that happen?
But back to Colin and Jesse…
Black men especially should take note that Barack Obama, Jesse Williams and Colin, all have white mothers. From this, elites are telling us directly that we should be with white women. Cause remember, as Black men, we’ll always be more of a threat to white fascism cause not only do we have the most genetic power to breed whites out of existence, but the elites know that the nature of a woman, especially our women, is to seek out some sort of security or stability. So 9 out of 10 times, they’ll conform to the white fascist status quo. 
Now, putting this into the context of Colin and Jesse’s messages, says they’re white fascist freemasons who are intent on keeping the Black family destabilized. And they intend to do this by influencing Black men and women to date, marry and procreate with anyone but another ‘pure-bred’ Black man or woman. So they too can produce another militant, half-bred celebrity…like Jesse and Colin.
So if you’re a Black man or woman reading this, a Black man especially, and you’re thinking that Colin and Jesse are really down for the Black Diaspora, you now know the game they’re running on us for their white fascist handlers. And as a Black man or woman, you should understand why it’s imperative that we choose a right-thinking Black person to date, marry and procreate with. Cause every aspect of the white fascist social order is fighting against the birth of ‘pure-bred’ Black children. Ya’ know, the ones who’ll have the most power to breed their white asses out of existence.

Article written by MontUHURU Mimia   

How did Major Record Companies take control of Black Music?(Part 3)



Groups and artists such as the Original Dixieland Jazz
Band; Paul Whiteman labeled the
King Of Jazz; Tommy Dorsey called the King Of Swing;
Elvis Presley promoted as the King
Of Rock n Roll; along with Pat Boone, The Rolling Stones,
The Beatles, The Osmonds,
Kenny G, Herb Alpert, David Sanborn, Jeff Lorber, Teena
Marie, Michael McDonald, are
only some of the White artists and groups, who in the past
or present, play(ed) black
music.
White artists have been copying black music since the
Spirituals, during the time of
slavery. It was not until the 1970s that music by black
artists was accepted as a stable
financial endeavor. Evolving beyond the race records of the
1920s, and Rhythm & Blues
recordings of the 1950s, which were distributed mainly in
black communities. It was
around the time of the study that the record industry began
to make heavy financial
investments into black music: making more album
commitments, rather than singles,
promoting it to pop stations, investing more marketing
dollars and making stronger
efforts in international distribution.
Mr. Barnes concludes: So he said their key then, If we
cannot make black music without
black people, then we must have a way of controlling the
black music industry. One way
of doing this, with the use of the study, was to expose the
techniques in which a successful
black business, such as Stax Records, was operating. For
example, when Al Bell, owner of
Stax Records read the study, he revealed this about his
companys business operatives:

…the Harvard report was an excellent study of our
approach at Stax on operating a black
phonograph record company, in total…Prior to that study,
our business methodology was
unknown. So as a result of that, we had very little
competition. No one knew what we were
doing. We were able to build a business at our own pace.
Subsequent to revelations in that
study, the competition became much more intense.
Not only did the competition proliferate, CBS sued Stax in
order to stop the business
agreement between Al Bell and Clive Davis (who was later
fired from CBS). In effect, the
suit served to legally exhaust Stax, a common corporate
tactic used in battling an
opponent in court. As a result, Stax was not financially able
to compete with CBS in court,
and ultimately ceased doing business.
Bell tried to fight back: We filed an anti-trust suit against
CBS for $67,000,000, alleging
violation of the Sherman-Patton Anti-Trust Act. Bell said,
We alleged clandestine activities
on their part to try to stop it (the agreement). That’s a part of
the court records. So I
suppose that its fair to say, and I want to be really clear on
this, I suppose its fair to say
that some of the people, the executives in CBS, and
employed by CBS at the time, played a
very significant role in the demise of Stax.
Larkin Arnold, former Senior Vice President of Artist and
Repertoire Black Music – CBS
Records, and a long time veteran in the music business,
disagrees: I doubt anyone, any
corporation or any group of corporations made a concerted
effort to extinguish black
companies, black record companies. Its like any other
aspect of business life. If a major
corporation decides to enter into a market place, its only a
very, very strong smaller
company that can survive. Whether were talking about
mom and pop grocery stores, or
little gasoline stations. If Gulf comes in there, they’re going
for the market aggressively, in
which they should do. If you cant compete, you are going to
go by the wayside.
We may never know the full effect the demise of Stax
Records, the suit against Solar
Records, compounded with the purchase of Motown
Records, had on the development
of black music, or the desire to develop a full service black owned
record company. Some
things are evident, there still is not one black-owned full
service record company in
America (production, manufacturing, distribution). This
would take us from being
consumers to owners/investors, the root of financial power,
leading to political power.
The deeper effect may not be just the control of black
music, but control of the black
intellect and black culture. Since major record companies
captured control of black
music, especially the huge explosion of black youth music
(rap/hip hop) the proliferation
of profanity and sexism against black women has
enormously expanded. So-called
conscious or meaningful black music seems to have faded
in the background or garners
very little radio airplay. If there were no blues, jazz, reggae,
and a very small hand full of
conscious commercial black music artists in America, there
would be no substance or
uniqueness in black music at all.
If ever there is another research effort like the Harvard
study, let the black record labels
and radio station entrepreneurs get together with some
black colleges and develop not
only sound business practices and self defense in
business, but explore how the ancient
Afrikans in the Nile Valley built those great empires, and
use that as a template to do the
same. Strong black-owned institutions are needed for the
music the world is dancing to.
If not, good, solid, meaningful black music may sorrowfully
become a thing of the past.
Some feel that has already happened. The generations to
come may be left with the same
discussion many debate today, what happened to that
really good black music of the 60s
and 70s, or even the conscious rap of the 80s?
This is an excerpt from the book “Star Holocaust”.

How did Major Record Companies take control of Black Music?(Part 2)


In order to approach the situation scientifically, CBS
Records commissioned the Harvard University Business
School to do a study. Westbrooks served as the
coordinator. The title of the study was, A Study of the Soul
Music Environment Prepared for Columbia Records Group.
The Harvard team was officially titled the “Columbia
Records Project Group.” In his book The Anatomy Of A
Record Company: How To Survive The Record Business,
Westbrooks outlined some of the key rationales for the
study.
First, CBS wanted to determine the profit potential, so they
would not forfeit any market share. Second, CBS wanted to
examine the crossover potential (crossover indicating
crossing over from the Soul chart to the Pop chart in the
music industry trade magazines, or as many described it,
from the black chart to the White chart). Charts contribute
heavily to records being played on radio.
In 1972, when the study was conducted, CBS Records had
only two acts they felt could effectively penetrate the black
market: Sly Stone and Santana. “The following
recommendations were suggested to correct this: purchase
already developed talent rosters from companies like
Philadelphia International Records, Stax Records; revive
and re-establish proven talents (Isley Brothers, O’Jays, Lou
Rawls); take breaking groups and break them bigger (Earth
Wind and Fire, Harold Melvin and the Blue Notes); buy into
breaking trends (Jazz Fusion through Miles Davis and his
‘alumni’: Weather Report, Headhunters, Mahavishnu
Orchestra), and perpetuate success, Michael Jackson.”
Westbrooks.
The results of the study were quite striking. For instance,
CBS Records developed a black Music Marketing Division
that was copied throughout the industry by every major
record company doing business in black music. CBS
increased its artist roster from two progressive black oriented
acts in 1972, to one hundred and twenty-five in
1980 – the largest roster of black artists in the industry.
Michael Jackson broke all previous sales records with his
album “Thriller,” anticipating another big one with his next
album, “Bad.” At that time he was the number one music
artist/entertainer in the world. The bittersweet side of this, it
institutionalized black popular music, but it caused other
forms of music: blues, jazz and folk music to suffer virtual
elimination on most radio play lists and concert bills.
According to the study, it created more jobs for blacks, a
point that must be clarified. Though dozens of blacks were
employed to capitalize on this new found market, if the
discontinued black-owned record companies had survived,
hundreds of blacks would have been employed.

Ironically, Clive Davis, President of CBS Records during the
time of the study, denies ever having used it, “I went ahead
on creative feel, intuitive reasoning and common sense, not
because I had any study or blueprint. I’ve never read that
study, I’ve never seen it, and I’ve certainly never used it as
a blueprint. [The study] did not form the basis for any move
that I made,” Westbrooks.
According to Verdine White, bass player for Earth Wind and
Fire, “Columbia did a Harvard study on black music. Clive
followed the Harvard study in terms of the viability of black
music. He really made black music his goal. By signing us,
Philadelphia International, Bill Withers, and Herbie Hancock
(Miles was already on the label), they wanted to make a
change.” Mr. White said that since the 1920s and Bessie
Smith, Columbia had not been successful with black music.
Ray Barnes, a successful record producer at the time (late
1980s), suggests that there
may have been a hidden agenda behind the Harvard study.
He speaks of a conversation
he had with a top black executive associated with the study
(Westbrooks): I met with him
and he had just left the major company that he was working
with (CBS). He said, Im going
to tell you something about this industry that will probably
surprise you. He said, when I
was working for the major company, they had me do a
study on what it was that enabled
black people to make the kind of music that they do. He
said, the industry realized that
black people influenced from 75 to 90 percent of all music
made in America and the world. So that meant that these
people, black people, have the influence which influenced
almost all the music. The danger that was happening at
that time was: you had Motown, you had Stax, you had
Sussex. You had these black record companies at that time
who had the majority of the black acts.
He told me that CBS, Warner Brothers, Atlantic, Polygram,
all of them got together to do
this study. They wanted to find out what it is that makes
black music what it is. The idea is
that, if we can find the ingredients, then maybe we can
make the music without black
people. Then we wont have to have them. We can make
the music ourselves.

How did Major Record Companies take control of Black Music?(Part1)

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To understand how major corporate record
entities manipulated control of black music, we have to go
back in time to dissect an elaborate, complex, financial and
legal methodology.
It is the common story of large businesses swallowing up
smaller businesses, but in this instance, there are some
unique peculiarities needing closer inspection.
This story begins in the 1980s with the sale of Motown
Records, a once black-owned record company, to MCA
Records and Boston Ventures Limited Partnership. The
Afrikan American community felt a great loss of one of its
cherished institutions. Around that same period it seemed
like war had been declared against the survival of black owned
record companies. Solar Records was involved in a
suit, counter-suit with Warner Brothers Records for control
of its assets. Sussex Records, a once fast growing black owned
record company, was forced to cease doing
business for tax reasons. Philadelphia International
Records, a quality black-owned record company, was
under the distribution control, lifeline to its financial survival,
of CBS Records (also known as Columbia Records).
These are mammoth events virtually placing the dominance
of recorded black music in the hands of major record
companies. The hidden agenda may have been the closing
of all doorways towards the development of full service
(production, manufacturing, distribution) black-owned
record companies in America. Had this occurred, as improbable
as it seems today, it is possible that black
record companies would have ultimately controlled a larger
or equal percentage of the music business, competing with
major record companies.
It was told to me by Dave Parker (oldest promotion man in
the business at that time), that of the $500 million dollars
made in 1987 by CBS Records, approximately 80% was
from black music. black-owned record companies were
obviously seen as a potential threat to the control of the
music market.
The battle to control market share can best be understood
by looking into the case of Stax Records. In the 1970s, it
was the largest, most diverse black-owned record company
in the music industry. Stax artists roster included such stars
as: Isaac Hayes, Otis Redding, Al Green, Rufus and Carla
Thomas, The Staple Singers, Booker T. & the MGs, and
more. It also had a jazz label, blues label, gospel label, and
even a comedy label where such artists as: Bill Cosby,
Richard Pryor and Jackie “Moms” Mabley launched their
careers.
This era paralleled the turbulent 60s, with the social,
cultural, political and musical climate being fueled by the
black Consciousness Movement and the Viet Nam Peace
Movement. The financial profits generated by black
recording artists and the phenomenal success of black
films and soundtracks caused black entertainment
businesses to be closely monitored.
Stax Records reached several peaks with the
overwhelming success of “Wattstax.” The live concert of
Stax artists in the Los Angeles Coliseum attracted some
one hundred and twelve thousand black people, without
incident. It produced a film of the same event that was seen
worldwide, and was the first to get into the revolutionary
technique at the time, video production.
The success continued when Isaac Hayes, one of Stax top
artists, won the Oscar for best original film score for “Shaft.”
This was during a time when black record companies (Stax,
Sussex, Motown) had the lion’s share of black artists. The
major record companies, not to be left behind, sat up, took
notice, determined to find a way to control the lucrative
black music market.

CBS Records took an aggressive lead by hiring Logan
Westbrooks, a pioneer in black music marketing, to
maximize their profit margin in black music. When
Westbrooks joined CBS, he was unhappy with the way
records by black artists were being marketed. “There was a
vice-president of pop promotion, and the person that
headed the black music division would report to that
individual.
My position was that we should have a complete and
separate marketing division reporting directly to the Vice President
of marketing, which is the same way that the
White side was structured. That also was on the premise
that CBS realize that the black market is a separate entity
and should be approached from a black marketing
standpoint as opposed to the way it had been done in the
past. They bought it.