Monday, March 5, 2018

Marvin X reviews Black Panther

Marvin X reviews the film Black Panther

Image result for image of Black Panther film

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

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

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

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

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

Addendum:The Psycholinguistic Deconstruction of the word Nisa as per Women in the film Black Panther

In the Arabic language, Nisa has two meanings depending on syllable stress. Nisa means woman in one definition and another syllable stress Nisa means forget her, i.e., to forget the woman. We are thankful for ancestor Imam Warith Din Muhammad for his lecture on Nisa, chiding men for forgetting women. Of course in the patriarchal mythology women are booty at best, i.e., the spoils of war. Females were often buried in the desert sands because they were of no value in the patriarchal society.

And yet, how ironic it was that the wealthy trade woman Khadijah economically uplifted the budding prophet Muhammad Ibn Abdullah when she put him over her resources and most importantly was the one who comforted him when the Angel Gabriel gave him divine revelations that overwhelmed him. He sought refuge in her and she encouraged him to pursue his divine mission.

Still, in the patriarchal society, Muhammad did his best to teach respect of women or Nisa, and taught men not to forget women. Although,  as per family, he admonished believers that Allah is first and foremost, "If your wives, children and the wealth you acquire are dearer to you than Allah, then wait until His command comes, and He guides not the unjust!"

As per plural marriage or polygamy, he said if you can't give justice and equality (and he said you never can) don't even try it. I bear witness the Prophet was right because I could not be just and equal in my polygamous marriages that were a total failure, especially  when I realized the women would never love each other. They didn't even like each other. One wife told me she would have loved her co-wife if I wasn't in the picture, since they were on a similar spiritual vibration. And even after I was separated from them both, they bought and sold from each other at the Berkeley Flea Market.

From the beginning of my polygamous life,  I focused on making my children of three mothers love and respect each other, even if the mothers could not do so, and in fact, taught hatred to my children in the typical manner of mothers in plural marriage no matter in America or Africa and elsewhere.

No matter, my children are closer than I know and are even secretive in their loving sibling relationships. Alas, often they keep hidden from me their deep love and respect for each other. My oldest son Marvin K said long ago, "We're all smart!" He thus acknowledges the DNA or genetic connection between his siblings. 

As per women in the film Black Panther, I neglected to note the most wonderful role they played.. Imagine, a woman military general, a woman scientist, an independent woman seeking to discover her bliss in the best manner of Joseph Campbell,  even though she was loved by and loved the king, but only submitted to him after he had his Osirian resurrection  Women were repeatedly shown as warriors, not to mention their awesome communal ritual powers as dispensers of wisdom. Their physical beauty alone was overwhelming, especially bald headed and locked and their costumes were an antidote to the dress of our women addicted to European-colonial dress.

For sure, African women executed power, beauty and intelligence that should inspire North American African women and all women to transcend the patriarchal mythology, whether African or European!
--Marvin X/El Muhajir
3/8/18


On Thursday, March 8, 2018, 6:49:50 PM PST, Marvin X Jackmon jmarvinx@yahoo.com [blackantiwar] wrote:


 


On Thursday, March 8, 2018, 6:05:02 PM PST, Marvin X Jackmon jmarvinx@yahoo.com [blackantiwar]
wrote:


 

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

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

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

Askari X

Askari X

Biography

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

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



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


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

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

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

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