Archive for the ‘Black Power’ Category

August Wilson’s Pittsburgh – New York Times

Eventually the Civic Arena, which many came to see as a harbinger of the communitys destruction, was torn down and replaced with the modern PPG Paints Arena. Half a block away, the Freedom Corner was dedicated in 2001, commemorating the civil rights leaders of the 1950s and 1960s who sought to maintain the Hill District. It is also a symbolic gateway to the neighborhood.

In 2006, a proposal to build a casino in the lower Hill District was overwhelmingly rejected by residents. To this day, the sphere of influence from downtown generally stops at Crawford Street, which for me was a jarring reminder of how ghosts from the past dont easily dissipate.

Though much of Wilsons Pittsburgh is gone, you could use his words to tour the district. I did so, led by Kimberly C. Ellis, a digital consultant and founder of the preservation-minded Historic Hill Institute, who is also the playwrights niece. The neighborhood has changed a lot, she said, adding that there is a renewed level of pride.

Ms. Ellis took me to 1727 Bedford Avenue, where Wilson lived with his mother and most of his immediate family until he was almost 13. The brick building, listed on the National Register of Historic Places, is ringed by scaffolding. After its renovation, the house is slated to be the site of a multidisciplinary arts center, with an artist-in-residency program. We then saw her brother, Paul A. Ellis Jr., the executive director and general counsel of the August Wilson House. This center is going to be an economic anchor for the entire Hill District, which is huge, Mr. Ellis said. It is a significant undertaking.

Wilson used the house as valuable source material: It was the conceptual basis for Seven Guitars, which begins after a death and focuses on character and mortality.

I walked to the back of the house, to orient myself. In the play, the backyard is a meeting point for the characters, including Vera, who has conflicting feelings about the return of her musician ex-boyfriend, Floyd, and the down-to-earth neighbor Louise. I saw the cellar doors leading to the basement that Wilson described as storage space for the always eccentric Hedley.

Set in 1948, during Wilsons early childhood, the play chronicles a time when many African-Americans were returning from serving in World War II but still faced inequality. Wilson never shied away from this sort of commentary, as it honestly tackled the African-American experience in a northern city, something that was often overshadowed by the overt oppression of the Jim Crow South. Being near the cellar reminded me of one of Hedleys monologues, in which he laments the need to constantly defend his self-worth at a time of rigid racial norms.

Everybody say Hedley crazy cause he black. Because he know the place of the black man is not at the foot of the white mans boot. Maybe it is not all right in my head sometimes. Because I dont like the world. I dont like what I see from the people. The people is too small. I always want to be a big man. Hedley, Seven Guitars

The Bedford Hill Apartments, part of the Hope VI redevelopment plan, are across the street from Wilsons home. The apartments were intended to create mixed-use housing in areas where public housing was predominant. It, too, appeared in one of Wilsons plays. In Radio Golf, which focuses on gentrification, the Bedford Hills Redevelopment, Inc. exists.

Skepticism about the durability of minority political power is a theme in the play. In one scene, Harmond Wilks, an African-American real estate developer with mayoral ambitions, is speaking to Elder Joseph Barlow, known as Old Joe. Old Joe doesnt think a presumptive African-American mayor would be allowed to have as much power as a white mayor. Harmond disagrees, but gives a witty retort: Naw, Im going to have all the keys and theyre going to have to make me some new ones. We are going to build up everything.

Ms. Ellis and I headed to the Upper Hill District and 809 Anaheim Street, where Fences, starring Denzel Washington and Viola Davis, was filmed. It is a private residence, so there arent any tours. The facade is enough. Passing the tidy brick house, Mr. Wilsons depiction of Troy echoed in my head, especially in a heated scene with his son Cory over a desire to play football. See you swung at the ball and didnt hit it. Thats strike one. See, you in the batters box now. You swung and you missed. Thats strike one. Dont you strike out!

In the Middle Hill District, mostly along Centre and Wylie Avenues, are the remnants of the neighborhoods golden age. Several buildings are ripe for renovation, but others have been demolished.

The Pittsburgh Weil School, where Wilson created the Black Horizon Theater with the playwright Rob Penny in 1968, continues to operate as a public school. At Black Beautys Lounge, a huge, colorful mural by Kyle Holbrook of Wilson and his plays is painted on the side of the building.

The building that formerly housed Lutzs Meat Market, featured in Two Trains Running, stands vacant. In the play, an intriguing 1960s-era generational divide between Memphis Lee, who runs a diner, and Sterling, an aimless young man, breaks out in the open. Memphis is skeptical about the black power movement, while Sterling is curious about it. Memphis tells Sterling that African-Americans have to use the system thats currently available and work within it, despite its flaws. Freedom is heavy, he says. You got to put your shoulder to freedom. Put your shoulder to it and hope your back hold up. And if you around here looking for justice, you got a long wait.

The New Granada Theater, originally built as a fraternal lodge and designed by Louis A. S. Bellinger, one of Pittsburghs first African-American architects, has been in disrepair for years. Despite this, its a stunning structure, and as Ms. Ellis noted, the theater often hosted musical legends including Duke Ellington and Cab Calloway.

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August Wilson’s Pittsburgh – New York Times

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August 16, 2017   Posted in: Black Power  Comments Closed

Black Power – Encyclopedia Britannica | Britannica.com

American philosophical movement

THIS IS A DIRECTORY PAGE. Britannica does not currently have an article on this topic.

Black Power became popular in the late 1960s. The slogan was first used by Carmichael in June 1966 during a civil rights march in Mississippi. However, the concept of black power predated the slogan. Essentially, it refers to all the attempts by African Americans to maximize their political and economic power.

The assassination of Malcolm X, eloquent exponent of black nationalism, in 1965 in New York and the espousal of Black Power by previously integrationist civil rights organizations such as the Student Nonviolent Coordinating Committee (SNCC) and the Congress of Racial Equality (CORE) helped to galvanize a generation of young black writers into rethinking the purpose of African…

…in June 1966 during a voting rights march through Mississippi following the wounding of James Meredith, who had desegregated the University of Mississippi in 1962. Carmichaels use of the black power slogan encapsulated the emerging notion of a freedom struggle seeking political, economic, and cultural objectives beyond narrowly defined civil rights reforms. By the late 1960s…

…Malcolm urged his followers to defend themselves by any means necessary. His biting critique of the so-called Negro provided the intellectual foundations for the Black Power and black consciousness movements in the United States in the late 1960s and 70s. Through the influence of the Nation of Islam,…

…Vietnam War for the available money. Despite the Civil Rights Act (1964) and the Voting Rights Act (1965), many African Americans became disenchanted with progress on civil rights. Thus, a Black Power movement arose, hitting into Johnsons popularity even among African Americans. A general crime increase and sporadic violence in the cities raised apprehension in white…

…its members faced increased violence. In response, SNCC migrated from a philosophy of nonviolence to one of greater militancy after the mid-1960s, as an advocate of the burgeoning black power movement, a facet of late 20th-century black nationalism. The shift was personified by Stokely Carmichael, who replaced John Lewis as SNCC chairman in 196667. While many…

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Black Power – Encyclopedia Britannica | Britannica.com

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Crystal Bridges to Debut ‘Art in the Age of Black Power’ Exhibit … – Arkansas Business Online

Crystal Bridges Museum of American Art in Bentonville on Tuesday announced its exhibitions for 2018, including the U.S. debut of “Soul of a Nation: Art in the Age of Black Power.”

Also appearing next year will be the Crystal Bridges-organized exhibitions “Georgia O’Keeffe and Contemporary Art” and “Native North America.”

“Our 2018 exhibitions complement the story of American art shared through our permanent collection,” said Rod Bigelow, the museum’s executive director and chief diversity and inclusion officer.

The museum called “Soul of a Nation,” organized by the Tate Modern in London and debuting in the United States at Crystal Bridges, “a look at how American culture was reshaped through the work of Black artists during the tumultuous 1960s, ’70s, and early ’80s.”

Crystal Bridges is one of only two American venues to host this exhibition. Following its debut at Crystal Bridges, the exhibition travels to the Brooklyn Museum in New York.

The exhibit will feature artworks by more than 60 black artists, including Romare Bearden, Melvin Edwards, Betye Saar, Faith Ringgold, Charles White, Alvin Loving, Alma Thomas and Lorraine O’Grady.

And the art includes a wide range of styles and media, including painting, photography, fashion, sculpture and mixed media work, as well as street art in the form of murals and posters by artists of the AfriCOBRA collective, the graphic art created by Emory Douglas for The Black Panther newspaper and black feminist art.

“Soul of a Nation opens a window into the heart of the Black Power movement in all of its beauty, pride, power, and aspiration,” the museum said.

Soul of a Nation runs Feb. 3 through April 23, 2018.

As for the Georgia O’Keeffe exhibit, Crystal Bridges is building on its collection of major works by O’Keeffe including Jimson Weed/White Flower No. 1 and Radiator Building-Night, New York and is bringing together a selection of O’Keeffe’s most important works.

Alongside the works by O’Keeffe, the exhibition will display artworks by emerging contemporary artists “that evoke, investigate, and expand upon O’Keeffe’s artistic legacy,” the museum said. “This exhibition demonstrates the continuing power of O’Keeffe’s work as a touchstone for contemporary art.”

These contemporary artists include Sharona Eliassaf, Monica Kim Garza, Loie Hollowell, Molly Larkey and Matthew Ronay.

This exhibit will run May 26 through Sept. 3, 2018.

The exhibit “Native North America,” which will be on display Oct. 6, 2018, through Jan. 7, 2019, is the first exhibition to chart the development of contemporary indigenous art from the United States and Canada from the 1960s to the present, the museum said.

The exhibition will present about 75 works of art by important native artists such as Kay WalkingStick, Carl Beam, Fritz Scholder, Andrea Carlson and Kent Monkman and features works in a variety of media, including painting, drawing, photography, videos, sculpture and sound, installation and performance art.

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Crystal Bridges to Debut ‘Art in the Age of Black Power’ Exhibit … – Arkansas Business Online

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The original Black Ranger talks ‘Power Rangers,’ his thoughts on the … – AiPT! Comics

There have been many Power Rangers over the course of 25 years but precious few can say they were a part of the first crew. I was able to chat with Walter Jones, who played the original Black Power Ranger Zack Taylor in season 1 of Mighty Morphin Power Rangers. Jones was able to be a part of something new that changed pop culture forever. Even if you werent a fan of the series, when someone mentions Power Rangers, you know exactly what theyre talking about. I talked with Jones about the original series, the 2017 Power Rangers film, and a new film hes a part of featuring an impressive cast of original Power Rangers from previous seasons.

AiPT!:Did you know anything about the original Sentai series prior to auditioning?

Walter Jones: Ihad never seen the show or had any idea about it.

AiPT!:Was Zack the Black Ranger the role you auditioned for? Or was that the role given to you?

Walter Jones:I auditioned for the character Zack. I had no idea what color Ranger I would be. When I saw the costumes the first time I wanted the Red or the Black. I was happy to get the black costume.

AiPT!:Did you ever think that Power Rangers would last as long as it has?

Walter Jones: I never thought that Power Rangers would still be talked about 24 years later, much less that there would be new merchandise about the original series.

AiPT!:What did you enjoy most about the new Power Rangers movie?

Walter Jones:RJ Cyler was super captivating as Billy. I enjoyed all the actors! Great effects.

AiPT!:Was there anything you didnt like about it? And was there anything you would have changed about the film?

Walter Jones:[It had] no Hip Hop Kido! It was a major motivator for so many fans to explore physical arts, dancing, gymnastics, parkour, etc My character was the only character with that ability. It should have been included in some fashion.

AiPT!:Do you ever get tired of talking about Power Rangers? Is there any moment where you just arent in the mood for it?

Walter Jones:Talking about Rangers doesnt bother me. Im proud of its legacy. Of course, theres a time and place for everything.

AiPT!:One of my favorite comedies of all time is Popstar: Never Stop Never Stopping. While watching this film I noticed that you made a cameo as an angry fan. How did you come across that role?

Walter Jones:I was looping (doing voice over) on the film and the producers decided they wanted to add that part. I auditioned and got it!

AiPT!:Who was the brain behind The Order movie that you and a fantastic cast of former Power Rangers are a part of?

Walter Jones:David Fielding and Karan Ashley are the brains of the order. Its going to be a very exciting project!

AiPT!:When can we see the film and how can fans help support it?

Walter Jones:The Order should be out next year. We still have production to complete.

AiPT!:Youre about to go on a dangerous mission but can only take one other Power Ranger from any season with you. Who do you take?

Walter Jones:The one solid leader has always been Red. Gotta go with the tried and true!

Walter Jones left the Power Ranger series after season 1 and despite never making a return as his character, he did come back to voice various antagonists. Jones was the very first actor to do voice work for any character other than a Ranger (mainly for monsters or villains) on a Power Rangers show after having a role as a Ranger himself. Jones to this day is still acting, dancing and makes Con appearances all over, meeting and greeting the Power Rangers fans that he helped create.

David Fieldinginterviewmighty morphin power rangersThe OrderWalter Jones

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Revolt, Resistance and Black Power: Lessons From 50 Years of Righteous Struggle – Lasentinel

Part 3. Even as a central lesson of the 60s is the indispensability and obligation of struggle, it is also a central and sustained teaching and lesson of Kawaida that regardless of the other battles we must and might wage, the first and continuing battle is the battle is to win the hearts and minds of our people. And as we said in the 60s and constantly reaffirm, unless we win this battle, we cannot win any other. Thus, we of Us called for a radical revolution in views and values, an overturning of our negro selves and recovering the African within us.

We said that inside every negro, there is a Black person, an African, striving to come into being and we must wage a daily struggle to bring into being and sustain the best of what it means to be African and human in the world. For we are American by habit and African by choice. And we must choose every day to be African and to embody the instruction of our ancestors that African means excellence in how we understand and assert ourselves in the world.

Thus, we maintained, following Min. Malcolm, that we needed a cultural revolution that precedes, makes possible and sustains the political revolution. Clearly, we need to wage the political struggle to free ourselves, but we cant really free ourselves, if we dont be ourselves, if we deny, diminish or deform who we are as African persons and an African people. And likewise, we cant fully be ourselves, if we dont free ourselves and create space for us to come into the fullness of ourselves as persons and a people. So, we wage a simultaneous double struggle, stressing each aspect in its turn. Again, following Malcolm, we said We are a nation within a nation, a cultural nation striving to come into political existence, a people seeking power over the space it occupies, over its destiny and daily lives.

In the call for peace and security, we must not join or mimic the unthoughtful or unjust who talk of peace without justice, a submission to evil and injustice for the sake of calm or the comfort of the ruling race/class. We must refuse and reject calls for a repressive peace imposed by police violence or what Frantz Fanon calls the peaceful violence of the system which uses institutional violence without the show of weapons. Indeed, the policies and practices of its structured domination, deprivation and degradation is daily violence against the body, heart, mind and soul.

It is the violence of a degrading and deficient educational system, the denial of access to affordable and adequate housing, healthcare and employment, and the means to make a living and a decent and good life. It is the violence of the media, making us into self-mutilating mascots, blackish caricatures of humanity, and turning our social savaging and suffering into entertainment for the ruling race. And it is the violence of displacing our people from historical living spaces, replacing them with Whites, dispersing us to the winds, destroying community and centralized sites of culture, and calling it gentrification to camouflage its race and class character and the human casualties and social chaos and ruin it causes and leaves in its wake.

So, we must continue to rise up and resist in righteous anger these and all the other evils and injustices of oppression and White supremacy. For what do we have to lose except the little space that has been left for us to praise them for their oppression in this citadel of White wealth and power, this self-declared democracy of Whiteness and wealth? And as we continue to rise up in righteous and relentless struggle, let us also remember this lesson also born and reaffirmed in struggle: know that we are our own liberators. Indeed, the oppressor is responsible for our oppression, but we are responsible for our liberation.

Another lesson we bring from the 50 years of righteous and relentless struggle is the important role art (creative production, creativity activity) can play in the struggle. Author and literary critic, Larry Neal, noted that In Watts after the Rebellion, Maulana Karenga welded the Black Arts Movement into a cohesive ideology which owed much to LeRoi Jones (Amiri Baraka). Neal speaks here of the influence Kawaida had on the works of not only Baraka, but also on a wide range of artists, i.e., Haki Madhubuti, Kalamu ya Salaam, Val Gray Ward and the artists of Kuumba Theatre, later Gwen Brooks and August Wilson and others. Kawaida contended that Black art is not simply art for arts sake, but art for our peoples sake, that it must raise and praise the people, expose and attack the oppressor and open new horizons for our people to be themselves, free themselves and come into the fullness of themselves. In a word, art must be functional, collective and committing.

From our work with Dr. Harry Edwards, chair of the Olympic Project for Human Rights and organizer of the Black Olympic Boycott, we also learned the lesson of the important role Black athletes can play by taking a stand and advancing the interests of the struggle. This is clearly exemplified in the draft resistance by Muhammad Ali, 1966; Tommy Smiths and John Carlos Black Power demonstration at the Olympics in Mexico,1968; Arthur Ashes organization of athletes against apartheid, 1973; and more recently the Black football team members at the University of Missouri who supported the students demands and struggles against campus racism, and Colin Kaepernicks demonstration against the oppression and violence against our people.

Important also was the resistance of Black athletes like Jim Brown, Craig Hodges, and Curt Flood who resisted dehumanizing trading practices and especially Floods struggle which opened the way for free agency and bargaining rights in the sports world and against brutal capitalist profit-making practices. They all paid a heavy price for the sacrifice and struggle and offer a model for all others who decide to join them.

It is Min. Malcolm again who taught us that we are not to act responsibly in the eyes and interests of our oppressor, but be responsible to and acting responsibly for our people. Indeed, we are to act outrageously irresponsible in the eyes and evaluation of the oppressor. For as Malcolm taught, to be responsible in their unjust, immoral and undemocratic judgment is to betray the trust of our people. For we do not come to the battleground to concede, but to confront; not to be silenced and sidelined, but seize the center and speak on behalf of our people, especially, Malcolm says, the downtrodden and dissatisfied. And we are not to compromise at the expense of our people, but to hold the line, build united fronts, rebuild the overarching Movement, fight the good and victorious fight, and lay the basis for a larger broader radical struggle to seriously transform society in the interest of freedom, justice, human good and the well-being of the world.

Dr. Maulana Karenga, Professor and Chair of Africana Studies, California State University-Long Beach; Executive Director, African American Cultural Center (Us); Creator of Kwanzaa; and author of Kwanzaa: A Celebration of Family, Community and Culture, The Message and Meaning of Kwanzaa: Bringing Good Into the World and Essays on Struggle: Position and Analysis, ww.AfricanAmericanCulturalCenter-LA.org; ww.OfficialKwanzaaWebsite.org; www.MaulanaKarenga.org.

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Follow up ‘Detroit’ by streaming these other Black Power movies – Metro US

Summers the time to turn off your brain. But not this weekend. Dropped like an H-bomb into the glut of dumb superhero movies and light entertainments, Detroit, Kathryn Bigelows follow-up to Zero Dark Thirty, brings the 1967 Detroit riot to the multiplex. The focus is largely on the Algiers Motel incident, in which white cops tortured 12 innocent people 10 black, two white leaving three black men dead. Spoiler: They were acquitted. Its a horrific chapter in American race relations, and a stark reminder that not much has changed.

But why stop there? Continue your deep dive into the Civil Rights Era and the Black Power movement online. These films are ready to stream:

I Am Not Your Negro (Amazon Prime) O.J.: Made in America won the Best Documentary Oscar this year, and it deserved it. But it was a photo finish. It could have easily gone to 13th (see below) or Raoul Pecks look at the work of James Baldwin. The latter is no mere 101 primer; think of it as a film essay, which takes the authors unfailingly insightful books on race with heavy use of 1976s film-centric The Devil Finds Work and weaves them with images of Black Lives Matter protests and the like, showing how his work, sadly, refuses to become irrelevant.

13th (Netflix Instant) The era summoned by Detroit only takes up a decent chunk of Ava DuVernays fiery doc. Then again, she Hoovers up the whole of the American black experience since the Emancipation Proclamation. What she finds isnt pretty: Slavery may have ended, but it never really went away. There was Jim Crow, the assault on Black Panthers and the Prison Industrial Complex, which found another way to round up the black populace. Its an alternate history of America thats also the correct one.

Black Panthers: Vanguard of the Revolution (Netflix Instant) History is written by the victors, and the story told about the Black Panthers has often been one of menace a violent, gun-toting scourge, their images still used to frighten White America. Stanley Nelsons doc tries to correct all that. The real story is far more complicated, and filled with far more good than bad. He rounds up former members to set the record straight, showing all the good they did for troubled and ignored communities, all the positive vibes they gave a people demonized and menaced by white society.

Black Panthers (FilmStruck) You could also watch the real deal, from the era itself. Filmed in 1969 by the great and peerlessly curious French filmmaker Agnes Varda, this short hangs at a rally to free jailed member Huey P. Newton thats part barnburner, part picnic. Varda makes sure to give the female Panthers, like Kathleen Cleaver, as much screentime as the men, and you get to see the peaceful yet passionate side the media of the time would never show.

The Trials of Muhammad Ali (Netflix Instant) At the height of his celebrity, Cassius Clay decided on two things: He didnt want to be known by what he deemed his white name, and he didnt want to fight in Vietnam. So he converted to Islam, changed his name and became a conscientious objector. This doc zeroes in on his most tumultuous and heroic period, when one of the great shit-talkers put his money where his mouth was, almost destroying his career but for the right cause. If you want more, check out Michael Manns Ali, starring Will Smith, which was just added to Hulu; it, too, sees one of our greatest pugilists through a righteous Black Power perspective.

What Happened, Miss Simone? (Netflix Instant) Nina Simone had plenty of demons, but one thing that definitely got right was her commitment to Black Power. Her political songs didnt just slip real talk into the mainstream; they were five-alarm bonfires, meant to burn everything down. Sometimes she went too far, but only in that she burned personal bridges she never should have torched (including the one with her daughter). This doc grants her the complicated portrait she deserved while claiming her for the sight of justice.

Fruitvale Station (Netflix Instant) Detroit is the true story of white cops who killed innocent black men and didnt go to jail. It arrives only four years after another film about the same thing: the one about Oscar Grant (Michael B. Jordan), the young man whose shouting match with cops led to his assassination. Dont watch this back-to-back with Detroit; there arent enough tissues in this bad, bad world.

The Spook Who Sat by the Door (YouTube) Its not the ideal way to see it, but if you dont catch it on YouTube, you might not believe a movie like this could have ever been made. In 1973, as Blaxploitation was on the rise, Ivan Dixon, formerly of Hogans Heroes, used his clout entertaining the masses on TV to make a film of Sam Greenlees novel, in which a black nationalist quietly works his way up through the CIA, only so he can dismantle the government from within. Its no-holds-barred filmmaking an almost plotless account of Civil Rights protestors taking on the Man and winning. But thats enough well, that, and a killer score by Herbie Hancock.

Follow Matt Prigge on Twitter @mattprigge

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Follow up ‘Detroit’ by streaming these other Black Power movies – Metro US

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‘It’s not too late to change’ says ex Black Power leader – Stuff.co.nz

BAYLEY MOOR

Last updated11:35, August 2 2017

BAYLEY MOOR/STUFF

Jay Hepi, Pastor Robbie Johnson, Renata Beazley and Steven King.

Renata Beazley was once the president of the Black Power in Kaikohe, now he has turned his back on a life of violence and drugs,thanks to a programme tackling men’s ‘inner demons’.

Man Up is a nationwide non-profit organisation, providingfree programmes encouraging men to change for the better.

Since joining Man Up in Auckland, then Whangarei and now Kaikohe, Beazley, 34, says he is experiencing his longest stint out of prison (11 months) in his entire adult life.

“I’ve been to jail 37 times and have 111 convictions and the programmes [in prison] for drug treatment and violence prevention were good, but they were there to tick boxes,” Beazley says.

“Man Up has been life changing, it’s got to the root of what I’m dealing with. I’m dealing with my inner demons, understanding them and striving to be better.

“I no longer have drugs in my house and I have a better relationship with my partner and kids.”

His message for others: “It’s not too late to change.”

Whangarei pastor Robbie Johnson is facilitating the Kaikohe programme, which 20 men have attended since it’s launch in July, with men still welcome to join.

“We don’t say harden up, we say open up,” Johnson says.

“It’s creating an environment where men can talk about their issues behind closed doors without fear of being judged for their past.”

While Man Up aims to help men overcome family violence, anger, depression, and addiction among other issues, Johnson says these are the “fruit” of root problems.

“We don’t see gang members, we see the heart of the person. They realise they weren’t born a drug addict, or a murderer, they have picked up baggage and become that.”

There will be a graduation at the end of the 15 weeks of sessions, but Johnson hopes the Man Up ‘movement’ will continue.

While Johnson says it is a faith-based programme, you don’t need to belong to a church to attend.

Ex Mongrel Mob member and convicted murderer Steven King says he hadn’t left his house for five years, until a former associate and Man Up participant told him to attend.

“I’ve been coming for three weeks now,” King says.

“I trusted no one, but Man Up is opening me up to see a different way of life.

“It’s positive for our children and our town.”

A women’s programme is also being held. All programmes areat 119 Broadway Kaikohe.

For more information visit: Man Up Northland on Facebook.

-Stuff

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1968 Olympics Black Power salute – Wikipedia

The 1968 Olympics Black Power salute was a political demonstration conducted by African-American athletes Tommie Smith and John Carlos during their medal ceremony at the 1968 Summer Olympics in the Olympic Stadium in Mexico City. After having won gold and bronze medals, respectively, in the 200-meter running event, they turned on the podium to face their flags, and to hear the American national anthem, “The Star-Spangled Banner”. Each athlete raised a black-gloved fist, and kept them raised until the anthem had finished. In addition, Smith, Carlos, and Australian silver medalist Peter Norman all wore human rights badges on their jackets. In his autobiography, Silent Gesture, Smith stated that the gesture was not a “Black Power” salute, but a “human rights salute”. The event is regarded as one of the most overtly political statements in the history of the modern Olympic Games.[1]

On the morning of 16 October 1968,[2] US athlete Tommie Smith won the 200meter race with a world-record time of 19.83seconds. Australia’s Peter Norman finished second with a time of 20.06seconds, and the US’s John Carlos won third place with a time of 20.10seconds. After the race was completed, the three went to the podium for their medals to be presented by David Cecil, 6th Marquess of Exeter. The two US athletes received their medals shoeless, but wearing black socks, to represent black poverty.[3] Smith wore a black scarf around his neck to represent black pride, Carlos had his tracksuit top unzipped to show solidarity with all blue-collar workers in the US and wore a necklace of beads which he described “were for those individuals that were lynched, or killed and that no-one said a prayer for, that were hung and tarred. It was for those thrown off the side of the boats in the Middle Passage.”[4] All three athletes wore Olympic Project for Human Rights (OPHR) badges after Norman, a critic of Australia’s former White Australia Policy, expressed empathy with their ideals.[5] Sociologist Harry Edwards, the founder of the OPHR, had urged black athletes to boycott the games; reportedly, the actions of Smith and Carlos on 16 October 1968[2] were inspired by Edwards’s arguments.[6]

The famous picture of the event was taken by photographer John Dominis.[7]

Both US athletes intended to bring black gloves to the event, but Carlos forgot his, leaving them in the Olympic Village. It was Peter Norman who suggested Carlos wear Smith’s left-handed glove. For this reason, Carlos raised his left hand as opposed to his right, differing from the traditional Black Power salute.[8] When The Star-Spangled Banner played, Smith and Carlos delivered the salute with heads bowed, a gesture which became front page news around the world. As they left the podium they were booed by the crowd.[9] Smith later said, “If I win, I am American, not a black American. But if I did something bad, then they would say I am a Negro. We are black and we are proud of being black. Black America will understand what we did tonight.”[3]

International Olympic Committee (IOC) president Avery Brundage deemed it to be a domestic political statement unfit for the apolitical, international forum the Olympic Games were intended to be. In response to their actions, he ordered Smith and Carlos suspended from the US team and banned from the Olympic Village. When the US Olympic Committee refused, Brundage threatened to ban the entire US track team. This threat led to the expulsion of the two athletes from the Games.[10]

A spokesman for the IOC said Smith and Carlos’s actions were “a deliberate and violent breach of the fundamental principles of the Olympic spirit.”[3] Brundage, who was president of the United States Olympic Committee in 1936, had made no objections against Nazi salutes during the Berlin Olympics. He argued that the Nazi salute, being a national salute at the time, was acceptable in a competition of nations, while the athletes’ salute was not of a nation and therefore unacceptable.[11]

Brundage had been accused of being one of the United States’ most prominent Nazi sympathisers even after the outbreak of the Second World War,[12][13] and his removal as president of the IOC had been one of the three stated objectives of the Olympic Project for Human Rights.[14]

In 2013, the official IOC website stated that “Over and above winning medals, the black American athletes made names for themselves by an act of racial protest.”[15]

Smith and Carlos were largely ostracized by the US sporting establishment and they were subject to criticism. Time magazine on 25 October 1968 wrote: “‘Faster, Higher, Stronger’ is the motto of the Olympic Games. ‘Angrier, nastier, uglier’ better describes the scene in Mexico City last week.”[16][17] Back home, both Smith and Carlos were subject to abuse and they and their families received death threats.[18]

Smith continued in athletics, playing in the NFL with the Cincinnati Bengals[19] before becoming an assistant professor of physical education at Oberlin College. In 1995, he helped coach the US team at the World Indoor Championships at Barcelona. In 1999 he was awarded the California Black Sportsman of the Millennium Award. He is now a public speaker.

Carlos’ career followed a similar path. He tied the 100yard dash world record the following year. Carlos also tried professional football, was a 15th round selection in the 1970 NFL Draft, but a knee injury curtailed his tryout with the Philadelphia Eagles.[20] He then went on to the Canadian Football League where he played one season for the Montreal Alouettes.[21] He fell upon hard times in the late 1970s. In 1977, his ex-wife committed suicide, leading him to a period of depression.[22] In 1982, Carlos was employed by the Organizing Committee for the 1984 Summer Olympics in Los Angeles to promote the games and act as liaison with the city’s black community. In 1985, he became a track and field coach at Palm Springs High School. As of 2012, Carlos works as a counselor at the school.[23]

Smith and Carlos received an Arthur Ashe Courage Award at the 2008 ESPY Awards honoring their action.[24]

Norman, who was sympathetic to his competitors’ protest, was cautioned by Chef de Mission Julius Patching and criticized by conservatives in the Australian media.[25] He was not picked for the 1972 Summer Olympics, despite having qualified 13 times over.[8] In fact, Australia did not send any male sprinters at all to the 1972 Olympics for the first time since the modern Olympics began in 1896.[26] When Norman died in 2006, Smith and Carlos were pallbearers at his funeral.[27]

Australian officials say they supported Norman at the 1968 games, did not punish him, and always regarded him as “one of our finest Olympians”.[28] Norman represented Australia at the 1970 Commonwealth Games and suffered from a knee injury prior to the 1972 Olympics which severely affected his performance.[29]

Wayne Collett and Vincent Matthews were banned from the Olympics after they staged a similar protest at the 1972 games in Munich.[30]

The 2008 Sydney Film Festival featured a documentary about the protest entitled Salute. The film was written, directed and produced by Matt Norman, a nephew of Peter Norman.[31]

On 9 July 2008, BBC Four broadcast a documentary, Black Power Salute, by Geoff Small, about the protest. In an article, Small noted that the athletes of the British team attending the 2008 Olympics in Beijing had been asked to sign gagging clauses which would have restricted their right to make political statements but that they had refused.[32]

In a 2011 speech to the University of Guelph, Akaash Maharaj, a member of the Canadian Olympic Committee and head of Canada’s Olympic equestrian team, said, “In that moment, Tommie Smith, Peter Norman, and John Carlos became the living embodiments of Olympic idealism. Ever since, they have been inspirations to generations of athletes like myself, who can only aspire to their example of putting principle before personal interest. It was their misfortune to be far greater human beings than the leaders of the IOC of the day.”[33]

In 2016, the newly built National Museum of African American History and Culture in Washington, DC also features a statue to honor the athletes’ tribute.

In 2005, San Jose State University honored former students Smith and Carlos with a 22-foot high statue of their protest titled Victory Salute, created by artist Rigo 23.[34] A student, Erik Grotz, initiated the project; “One of my professors was talking about unsung heroes and he mentioned Tommie Smith and John Carlos. He said these men had done a courageous thing to advance civil rights, and, yet, they had never been honored by their own school.” The statues are located in a central part of the campus at 372008N 1215257W / 37.335495N 121.882556W / 37.335495; -121.882556 (Olympic Black Power Statue), next to Robert D. Clark Hall and Tower Hall.

Those who come to view the statue are allowed to participate by standing on the monument. Peter Norman is not included in the monument so viewers can be in his place; there is a plaque in the empty spot inviting those to “Take a Stand.” Norman requested that his space was left empty so visitors could stand in his place and feel what he felt.[35] The bronze figures are shoeless but there are two shoes included at the base of the monument. The right shoe, a bronze, blue Puma, is next to Carlos; while the left shoe is placed behind Smith. The signature of the artist is on the back of Smith’s shoe, and the year 2005 is on Carlos’s shoe.

The faces of the statues are realistic and emotional. “The statue is made of fiberglass stretched over steel supports with an exoskeleton of ceramic tiles.”[36] Rigo 23 used 3D scanning technology and computer-assisted virtual imaging to take full-body scans of the men. Their track pants and jackets are a mosaic of dark blue ceramic tiles while the stripes of the track suits are detailed in red and white.

In January 2007, History San Jose opened a new exhibit called Speed City: From Civil Rights to Black Power, covering the San Jose State athletic program “from which many student athletes became globally recognized figures as the Civil Rights and Black Power movements reshaped American society.”[37]

In Australia, an airbrush mural of the trio on podium was painted in 2000 in the inner-city suburb of Newtown in Sydney. Silvio Offria, who allowed the mural to be painted on his house in Leamington Lane by an artist known only as “Donald,” said that Norman, a short time before he died in 2006, came to see the mural. “He came and had his photo taken; he was very happy,” he said.[38] The monochrome tribute, captioned “THREE PROUD PEOPLE MEXICO 68,” was under threat of demolition in 2010 to make way for a rail tunnel[38] but is now listed as an item of heritage significance.[39]

In the historically African-American neighborhood of West Oakland, California there was a large mural depicting Smith and Carlos on the corner of 12th Street and Mandela Parkway.

Above the life-sized depictions read “Born with insight, raised with a fist” (Rage Against the Machine lyrics); previously it read “It only takes a pair of gloves.”[40] In early February 2015, the mural was razed.[41]

The private lot was once a gas station, and the mural was on the outside wall of an abandoned building or shed. The owner wanted to pay respect to the men and the moment but also wanted a mural to prevent tagging. The State was monitoring water contamination levels at this site; the testing became within normal levels so the state ordered the removal of the tanks, testing equipment, and demolition of the shed.[42]

The song “Mr. John Carlos” by the Swedish group Nationalteatern on their 1974 album Livet r en fest is about the event and its aftermath.

Rage Against the Machine used a cropped photo of the salute on the cover art for the “Testify” single (2000).

The cover art for the single “HiiiPoWeR” (2011) by American rapper Kendrick Lamar features a cropped photo of the salute.

In the song “The Man” (2014) by Aloe Blacc at the end in the right corner can be seen two men standing giving the Black Power Salute.

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1968 Olympics Black Power salute – Wikipedia

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August Wilson’s Pittsburgh – New York Times

Eventually the Civic Arena, which many came to see as a harbinger of the communitys destruction, was torn down and replaced with the modern PPG Paints Arena. Half a block away, the Freedom Corner was dedicated in 2001, commemorating the civil rights leaders of the 1950s and 1960s who sought to maintain the Hill District. It is also a symbolic gateway to the neighborhood. In 2006, a proposal to build a casino in the lower Hill District was overwhelmingly rejected by residents. To this day, the sphere of influence from downtown generally stops at Crawford Street, which for me was a jarring reminder of how ghosts from the past dont easily dissipate. Though much of Wilsons Pittsburgh is gone, you could use his words to tour the district. I did so, led by Kimberly C. Ellis, a digital consultant and founder of the preservation-minded Historic Hill Institute, who is also the playwrights niece. The neighborhood has changed a lot, she said, adding that there is a renewed level of pride. Ms. Ellis took me to 1727 Bedford Avenue, where Wilson lived with his mother and most of his immediate family until he was almost 13. The brick building, listed on the National Register of Historic Places, is ringed by scaffolding. After its renovation, the house is slated to be the site of a multidisciplinary arts center, with an artist-in-residency program. We then saw her brother, Paul A. Ellis Jr., the executive director and general counsel of the August Wilson House. This center is going to be an economic anchor for the entire Hill District, which is huge, Mr. Ellis said. It is a significant undertaking. Wilson used the house as valuable source material: It was the conceptual basis for Seven Guitars, which begins after a death and focuses on character and mortality. I walked to the back of the house, to orient myself. In the play, the backyard is a meeting point for the characters, including Vera, who has conflicting feelings about the return of her musician ex-boyfriend, Floyd, and the down-to-earth neighbor Louise. I saw the cellar doors leading to the basement that Wilson described as storage space for the always eccentric Hedley. Set in 1948, during Wilsons early childhood, the play chronicles a time when many African-Americans were returning from serving in World War II but still faced inequality. Wilson never shied away from this sort of commentary, as it honestly tackled the African-American experience in a northern city, something that was often overshadowed by the overt oppression of the Jim Crow South. Being near the cellar reminded me of one of Hedleys monologues, in which he laments the need to constantly defend his self-worth at a time of rigid racial norms. Everybody say Hedley crazy cause he black. Because he know the place of the black man is not at the foot of the white mans boot. Maybe it is not all right in my head sometimes. Because I dont like the world. I dont like what I see from the people. The people is too small. I always want to be a big man. Hedley, Seven Guitars The Bedford Hill Apartments, part of the Hope VI redevelopment plan, are across the street from Wilsons home. The apartments were intended to create mixed-use housing in areas where public housing was predominant. It, too, appeared in one of Wilsons plays. In Radio Golf, which focuses on gentrification, the Bedford Hills Redevelopment, Inc. exists. Skepticism about the durability of minority political power is a theme in the play. In one scene, Harmond Wilks, an African-American real estate developer with mayoral ambitions, is speaking to Elder Joseph Barlow, known as Old Joe. Old Joe doesnt think a presumptive African-American mayor would be allowed to have as much power as a white mayor. Harmond disagrees, but gives a witty retort: Naw, Im going to have all the keys and theyre going to have to make me some new ones. We are going to build up everything. Ms. Ellis and I headed to the Upper Hill District and 809 Anaheim Street, where Fences, starring Denzel Washington and Viola Davis, was filmed. It is a private residence, so there arent any tours. The facade is enough. Passing the tidy brick house, Mr. Wilsons depiction of Troy echoed in my head, especially in a heated scene with his son Cory over a desire to play football. See you swung at the ball and didnt hit it. Thats strike one. See, you in the batters box now. You swung and you missed. Thats strike one. Dont you strike out! In the Middle Hill District, mostly along Centre and Wylie Avenues, are the remnants of the neighborhoods golden age. Several buildings are ripe for renovation, but others have been demolished. The Pittsburgh Weil School, where Wilson created the Black Horizon Theater with the playwright Rob Penny in 1968, continues to operate as a public school. At Black Beautys Lounge, a huge, colorful mural by Kyle Holbrook of Wilson and his plays is painted on the side of the building. The building that formerly housed Lutzs Meat Market, featured in Two Trains Running, stands vacant. In the play, an intriguing 1960s-era generational divide between Memphis Lee, who runs a diner, and Sterling, an aimless young man, breaks out in the open. Memphis is skeptical about the black power movement, while Sterling is curious about it. Memphis tells Sterling that African-Americans have to use the system thats currently available and work within it, despite its flaws. Freedom is heavy, he says. You got to put your shoulder to freedom. Put your shoulder to it and hope your back hold up. And if you around here looking for justice, you got a long wait. The New Granada Theater, originally built as a fraternal lodge and designed by Louis A. S. Bellinger, one of Pittsburghs first African-American architects, has been in disrepair for years. Despite this, its a stunning structure, and as Ms. Ellis noted, the theater often hosted musical legends including Duke Ellington and Cab Calloway.

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Black Power – Encyclopedia Britannica | Britannica.com

American philosophical movement THIS IS A DIRECTORY PAGE. Britannica does not currently have an article on this topic. Black Power became popular in the late 1960s. The slogan was first used by Carmichael in June 1966 during a civil rights march in Mississippi. However, the concept of black power predated the slogan. Essentially, it refers to all the attempts by African Americans to maximize their political and economic power. The assassination of Malcolm X, eloquent exponent of black nationalism, in 1965 in New York and the espousal of Black Power by previously integrationist civil rights organizations such as the Student Nonviolent Coordinating Committee (SNCC) and the Congress of Racial Equality (CORE) helped to galvanize a generation of young black writers into rethinking the purpose of African… …in June 1966 during a voting rights march through Mississippi following the wounding of James Meredith, who had desegregated the University of Mississippi in 1962. Carmichaels use of the black power slogan encapsulated the emerging notion of a freedom struggle seeking political, economic, and cultural objectives beyond narrowly defined civil rights reforms. By the late 1960s… …Malcolm urged his followers to defend themselves by any means necessary. His biting critique of the so-called Negro provided the intellectual foundations for the Black Power and black consciousness movements in the United States in the late 1960s and 70s. Through the influence of the Nation of Islam,… …Vietnam War for the available money. Despite the Civil Rights Act (1964) and the Voting Rights Act (1965), many African Americans became disenchanted with progress on civil rights. Thus, a Black Power movement arose, hitting into Johnsons popularity even among African Americans. A general crime increase and sporadic violence in the cities raised apprehension in white… …its members faced increased violence. In response, SNCC migrated from a philosophy of nonviolence to one of greater militancy after the mid-1960s, as an advocate of the burgeoning black power movement, a facet of late 20th-century black nationalism. The shift was personified by Stokely Carmichael, who replaced John Lewis as SNCC chairman in 196667. While many…

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‘black power’ Search – XVIDEOS.COM

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Crystal Bridges to Debut ‘Art in the Age of Black Power’ Exhibit … – Arkansas Business Online

Crystal Bridges Museum of American Art in Bentonville on Tuesday announced its exhibitions for 2018, including the U.S. debut of “Soul of a Nation: Art in the Age of Black Power.” Also appearing next year will be the Crystal Bridges-organized exhibitions “Georgia O’Keeffe and Contemporary Art” and “Native North America.” “Our 2018 exhibitions complement the story of American art shared through our permanent collection,” said Rod Bigelow, the museum’s executive director and chief diversity and inclusion officer. The museum called “Soul of a Nation,” organized by the Tate Modern in London and debuting in the United States at Crystal Bridges, “a look at how American culture was reshaped through the work of Black artists during the tumultuous 1960s, ’70s, and early ’80s.” Crystal Bridges is one of only two American venues to host this exhibition. Following its debut at Crystal Bridges, the exhibition travels to the Brooklyn Museum in New York. The exhibit will feature artworks by more than 60 black artists, including Romare Bearden, Melvin Edwards, Betye Saar, Faith Ringgold, Charles White, Alvin Loving, Alma Thomas and Lorraine O’Grady. And the art includes a wide range of styles and media, including painting, photography, fashion, sculpture and mixed media work, as well as street art in the form of murals and posters by artists of the AfriCOBRA collective, the graphic art created by Emory Douglas for The Black Panther newspaper and black feminist art. “Soul of a Nation opens a window into the heart of the Black Power movement in all of its beauty, pride, power, and aspiration,” the museum said. Soul of a Nation runs Feb. 3 through April 23, 2018. As for the Georgia O’Keeffe exhibit, Crystal Bridges is building on its collection of major works by O’Keeffe including Jimson Weed/White Flower No. 1 and Radiator Building-Night, New York and is bringing together a selection of O’Keeffe’s most important works. Alongside the works by O’Keeffe, the exhibition will display artworks by emerging contemporary artists “that evoke, investigate, and expand upon O’Keeffe’s artistic legacy,” the museum said. “This exhibition demonstrates the continuing power of O’Keeffe’s work as a touchstone for contemporary art.” These contemporary artists include Sharona Eliassaf, Monica Kim Garza, Loie Hollowell, Molly Larkey and Matthew Ronay. This exhibit will run May 26 through Sept. 3, 2018. The exhibit “Native North America,” which will be on display Oct. 6, 2018, through Jan. 7, 2019, is the first exhibition to chart the development of contemporary indigenous art from the United States and Canada from the 1960s to the present, the museum said. The exhibition will present about 75 works of art by important native artists such as Kay WalkingStick, Carl Beam, Fritz Scholder, Andrea Carlson and Kent Monkman and features works in a variety of media, including painting, drawing, photography, videos, sculpture and sound, installation and performance art.

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The original Black Ranger talks ‘Power Rangers,’ his thoughts on the … – AiPT! Comics

There have been many Power Rangers over the course of 25 years but precious few can say they were a part of the first crew. I was able to chat with Walter Jones, who played the original Black Power Ranger Zack Taylor in season 1 of Mighty Morphin Power Rangers. Jones was able to be a part of something new that changed pop culture forever. Even if you werent a fan of the series, when someone mentions Power Rangers, you know exactly what theyre talking about. I talked with Jones about the original series, the 2017 Power Rangers film, and a new film hes a part of featuring an impressive cast of original Power Rangers from previous seasons. AiPT!:Did you know anything about the original Sentai series prior to auditioning? Walter Jones: Ihad never seen the show or had any idea about it. AiPT!:Was Zack the Black Ranger the role you auditioned for? Or was that the role given to you? Walter Jones:I auditioned for the character Zack. I had no idea what color Ranger I would be. When I saw the costumes the first time I wanted the Red or the Black. I was happy to get the black costume. AiPT!:Did you ever think that Power Rangers would last as long as it has? Walter Jones: I never thought that Power Rangers would still be talked about 24 years later, much less that there would be new merchandise about the original series. AiPT!:What did you enjoy most about the new Power Rangers movie? Walter Jones:RJ Cyler was super captivating as Billy. I enjoyed all the actors! Great effects. AiPT!:Was there anything you didnt like about it? And was there anything you would have changed about the film? Walter Jones:[It had] no Hip Hop Kido! It was a major motivator for so many fans to explore physical arts, dancing, gymnastics, parkour, etc My character was the only character with that ability. It should have been included in some fashion. AiPT!:Do you ever get tired of talking about Power Rangers? Is there any moment where you just arent in the mood for it? Walter Jones:Talking about Rangers doesnt bother me. Im proud of its legacy. Of course, theres a time and place for everything. AiPT!:One of my favorite comedies of all time is Popstar: Never Stop Never Stopping. While watching this film I noticed that you made a cameo as an angry fan. How did you come across that role? Walter Jones:I was looping (doing voice over) on the film and the producers decided they wanted to add that part. I auditioned and got it! AiPT!:Who was the brain behind The Order movie that you and a fantastic cast of former Power Rangers are a part of? Walter Jones:David Fielding and Karan Ashley are the brains of the order. Its going to be a very exciting project! AiPT!:When can we see the film and how can fans help support it? Walter Jones:The Order should be out next year. We still have production to complete. AiPT!:Youre about to go on a dangerous mission but can only take one other Power Ranger from any season with you. Who do you take? Walter Jones:The one solid leader has always been Red. Gotta go with the tried and true! Walter Jones left the Power Ranger series after season 1 and despite never making a return as his character, he did come back to voice various antagonists. Jones was the very first actor to do voice work for any character other than a Ranger (mainly for monsters or villains) on a Power Rangers show after having a role as a Ranger himself. Jones to this day is still acting, dancing and makes Con appearances all over, meeting and greeting the Power Rangers fans that he helped create. David Fieldinginterviewmighty morphin power rangersThe OrderWalter Jones

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Revolt, Resistance and Black Power: Lessons From 50 Years of Righteous Struggle – Lasentinel

Part 3. Even as a central lesson of the 60s is the indispensability and obligation of struggle, it is also a central and sustained teaching and lesson of Kawaida that regardless of the other battles we must and might wage, the first and continuing battle is the battle is to win the hearts and minds of our people. And as we said in the 60s and constantly reaffirm, unless we win this battle, we cannot win any other. Thus, we of Us called for a radical revolution in views and values, an overturning of our negro selves and recovering the African within us. We said that inside every negro, there is a Black person, an African, striving to come into being and we must wage a daily struggle to bring into being and sustain the best of what it means to be African and human in the world. For we are American by habit and African by choice. And we must choose every day to be African and to embody the instruction of our ancestors that African means excellence in how we understand and assert ourselves in the world. Thus, we maintained, following Min. Malcolm, that we needed a cultural revolution that precedes, makes possible and sustains the political revolution. Clearly, we need to wage the political struggle to free ourselves, but we cant really free ourselves, if we dont be ourselves, if we deny, diminish or deform who we are as African persons and an African people. And likewise, we cant fully be ourselves, if we dont free ourselves and create space for us to come into the fullness of ourselves as persons and a people. So, we wage a simultaneous double struggle, stressing each aspect in its turn. Again, following Malcolm, we said We are a nation within a nation, a cultural nation striving to come into political existence, a people seeking power over the space it occupies, over its destiny and daily lives. In the call for peace and security, we must not join or mimic the unthoughtful or unjust who talk of peace without justice, a submission to evil and injustice for the sake of calm or the comfort of the ruling race/class. We must refuse and reject calls for a repressive peace imposed by police violence or what Frantz Fanon calls the peaceful violence of the system which uses institutional violence without the show of weapons. Indeed, the policies and practices of its structured domination, deprivation and degradation is daily violence against the body, heart, mind and soul. It is the violence of a degrading and deficient educational system, the denial of access to affordable and adequate housing, healthcare and employment, and the means to make a living and a decent and good life. It is the violence of the media, making us into self-mutilating mascots, blackish caricatures of humanity, and turning our social savaging and suffering into entertainment for the ruling race. And it is the violence of displacing our people from historical living spaces, replacing them with Whites, dispersing us to the winds, destroying community and centralized sites of culture, and calling it gentrification to camouflage its race and class character and the human casualties and social chaos and ruin it causes and leaves in its wake. So, we must continue to rise up and resist in righteous anger these and all the other evils and injustices of oppression and White supremacy. For what do we have to lose except the little space that has been left for us to praise them for their oppression in this citadel of White wealth and power, this self-declared democracy of Whiteness and wealth? And as we continue to rise up in righteous and relentless struggle, let us also remember this lesson also born and reaffirmed in struggle: know that we are our own liberators. Indeed, the oppressor is responsible for our oppression, but we are responsible for our liberation. Another lesson we bring from the 50 years of righteous and relentless struggle is the important role art (creative production, creativity activity) can play in the struggle. Author and literary critic, Larry Neal, noted that In Watts after the Rebellion, Maulana Karenga welded the Black Arts Movement into a cohesive ideology which owed much to LeRoi Jones (Amiri Baraka). Neal speaks here of the influence Kawaida had on the works of not only Baraka, but also on a wide range of artists, i.e., Haki Madhubuti, Kalamu ya Salaam, Val Gray Ward and the artists of Kuumba Theatre, later Gwen Brooks and August Wilson and others. Kawaida contended that Black art is not simply art for arts sake, but art for our peoples sake, that it must raise and praise the people, expose and attack the oppressor and open new horizons for our people to be themselves, free themselves and come into the fullness of themselves. In a word, art must be functional, collective and committing. From our work with Dr. Harry Edwards, chair of the Olympic Project for Human Rights and organizer of the Black Olympic Boycott, we also learned the lesson of the important role Black athletes can play by taking a stand and advancing the interests of the struggle. This is clearly exemplified in the draft resistance by Muhammad Ali, 1966; Tommy Smiths and John Carlos Black Power demonstration at the Olympics in Mexico,1968; Arthur Ashes organization of athletes against apartheid, 1973; and more recently the Black football team members at the University of Missouri who supported the students demands and struggles against campus racism, and Colin Kaepernicks demonstration against the oppression and violence against our people. Important also was the resistance of Black athletes like Jim Brown, Craig Hodges, and Curt Flood who resisted dehumanizing trading practices and especially Floods struggle which opened the way for free agency and bargaining rights in the sports world and against brutal capitalist profit-making practices. They all paid a heavy price for the sacrifice and struggle and offer a model for all others who decide to join them. It is Min. Malcolm again who taught us that we are not to act responsibly in the eyes and interests of our oppressor, but be responsible to and acting responsibly for our people. Indeed, we are to act outrageously irresponsible in the eyes and evaluation of the oppressor. For as Malcolm taught, to be responsible in their unjust, immoral and undemocratic judgment is to betray the trust of our people. For we do not come to the battleground to concede, but to confront; not to be silenced and sidelined, but seize the center and speak on behalf of our people, especially, Malcolm says, the downtrodden and dissatisfied. And we are not to compromise at the expense of our people, but to hold the line, build united fronts, rebuild the overarching Movement, fight the good and victorious fight, and lay the basis for a larger broader radical struggle to seriously transform society in the interest of freedom, justice, human good and the well-being of the world. Dr. Maulana Karenga, Professor and Chair of Africana Studies, California State University-Long Beach; Executive Director, African American Cultural Center (Us); Creator of Kwanzaa; and author of Kwanzaa: A Celebration of Family, Community and Culture, The Message and Meaning of Kwanzaa: Bringing Good Into the World and Essays on Struggle: Position and Analysis, ww.AfricanAmericanCulturalCenter-LA.org; ww.OfficialKwanzaaWebsite.org; www.MaulanaKarenga.org.

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August 3, 2017   Posted in: Black Power  Comments Closed

Follow up ‘Detroit’ by streaming these other Black Power movies – Metro US

Summers the time to turn off your brain. But not this weekend. Dropped like an H-bomb into the glut of dumb superhero movies and light entertainments, Detroit, Kathryn Bigelows follow-up to Zero Dark Thirty, brings the 1967 Detroit riot to the multiplex. The focus is largely on the Algiers Motel incident, in which white cops tortured 12 innocent people 10 black, two white leaving three black men dead. Spoiler: They were acquitted. Its a horrific chapter in American race relations, and a stark reminder that not much has changed. But why stop there? Continue your deep dive into the Civil Rights Era and the Black Power movement online. These films are ready to stream: I Am Not Your Negro (Amazon Prime) O.J.: Made in America won the Best Documentary Oscar this year, and it deserved it. But it was a photo finish. It could have easily gone to 13th (see below) or Raoul Pecks look at the work of James Baldwin. The latter is no mere 101 primer; think of it as a film essay, which takes the authors unfailingly insightful books on race with heavy use of 1976s film-centric The Devil Finds Work and weaves them with images of Black Lives Matter protests and the like, showing how his work, sadly, refuses to become irrelevant. 13th (Netflix Instant) The era summoned by Detroit only takes up a decent chunk of Ava DuVernays fiery doc. Then again, she Hoovers up the whole of the American black experience since the Emancipation Proclamation. What she finds isnt pretty: Slavery may have ended, but it never really went away. There was Jim Crow, the assault on Black Panthers and the Prison Industrial Complex, which found another way to round up the black populace. Its an alternate history of America thats also the correct one. Black Panthers: Vanguard of the Revolution (Netflix Instant) History is written by the victors, and the story told about the Black Panthers has often been one of menace a violent, gun-toting scourge, their images still used to frighten White America. Stanley Nelsons doc tries to correct all that. The real story is far more complicated, and filled with far more good than bad. He rounds up former members to set the record straight, showing all the good they did for troubled and ignored communities, all the positive vibes they gave a people demonized and menaced by white society. Black Panthers (FilmStruck) You could also watch the real deal, from the era itself. Filmed in 1969 by the great and peerlessly curious French filmmaker Agnes Varda, this short hangs at a rally to free jailed member Huey P. Newton thats part barnburner, part picnic. Varda makes sure to give the female Panthers, like Kathleen Cleaver, as much screentime as the men, and you get to see the peaceful yet passionate side the media of the time would never show. The Trials of Muhammad Ali (Netflix Instant) At the height of his celebrity, Cassius Clay decided on two things: He didnt want to be known by what he deemed his white name, and he didnt want to fight in Vietnam. So he converted to Islam, changed his name and became a conscientious objector. This doc zeroes in on his most tumultuous and heroic period, when one of the great shit-talkers put his money where his mouth was, almost destroying his career but for the right cause. If you want more, check out Michael Manns Ali, starring Will Smith, which was just added to Hulu; it, too, sees one of our greatest pugilists through a righteous Black Power perspective. What Happened, Miss Simone? (Netflix Instant) Nina Simone had plenty of demons, but one thing that definitely got right was her commitment to Black Power. Her political songs didnt just slip real talk into the mainstream; they were five-alarm bonfires, meant to burn everything down. Sometimes she went too far, but only in that she burned personal bridges she never should have torched (including the one with her daughter). This doc grants her the complicated portrait she deserved while claiming her for the sight of justice. Fruitvale Station (Netflix Instant) Detroit is the true story of white cops who killed innocent black men and didnt go to jail. It arrives only four years after another film about the same thing: the one about Oscar Grant (Michael B. Jordan), the young man whose shouting match with cops led to his assassination. Dont watch this back-to-back with Detroit; there arent enough tissues in this bad, bad world. The Spook Who Sat by the Door (YouTube) Its not the ideal way to see it, but if you dont catch it on YouTube, you might not believe a movie like this could have ever been made. In 1973, as Blaxploitation was on the rise, Ivan Dixon, formerly of Hogans Heroes, used his clout entertaining the masses on TV to make a film of Sam Greenlees novel, in which a black nationalist quietly works his way up through the CIA, only so he can dismantle the government from within. Its no-holds-barred filmmaking an almost plotless account of Civil Rights protestors taking on the Man and winning. But thats enough well, that, and a killer score by Herbie Hancock. Follow Matt Prigge on Twitter @mattprigge

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August 2, 2017   Posted in: Black Power  Comments Closed

‘It’s not too late to change’ says ex Black Power leader – Stuff.co.nz

BAYLEY MOOR Last updated11:35, August 2 2017 BAYLEY MOOR/STUFF Jay Hepi, Pastor Robbie Johnson, Renata Beazley and Steven King. Renata Beazley was once the president of the Black Power in Kaikohe, now he has turned his back on a life of violence and drugs,thanks to a programme tackling men’s ‘inner demons’. Man Up is a nationwide non-profit organisation, providingfree programmes encouraging men to change for the better. Since joining Man Up in Auckland, then Whangarei and now Kaikohe, Beazley, 34, says he is experiencing his longest stint out of prison (11 months) in his entire adult life. “I’ve been to jail 37 times and have 111 convictions and the programmes [in prison] for drug treatment and violence prevention were good, but they were there to tick boxes,” Beazley says. “Man Up has been life changing, it’s got to the root of what I’m dealing with. I’m dealing with my inner demons, understanding them and striving to be better. “I no longer have drugs in my house and I have a better relationship with my partner and kids.” His message for others: “It’s not too late to change.” Whangarei pastor Robbie Johnson is facilitating the Kaikohe programme, which 20 men have attended since it’s launch in July, with men still welcome to join. “We don’t say harden up, we say open up,” Johnson says. “It’s creating an environment where men can talk about their issues behind closed doors without fear of being judged for their past.” While Man Up aims to help men overcome family violence, anger, depression, and addiction among other issues, Johnson says these are the “fruit” of root problems. “We don’t see gang members, we see the heart of the person. They realise they weren’t born a drug addict, or a murderer, they have picked up baggage and become that.” There will be a graduation at the end of the 15 weeks of sessions, but Johnson hopes the Man Up ‘movement’ will continue. While Johnson says it is a faith-based programme, you don’t need to belong to a church to attend. Ex Mongrel Mob member and convicted murderer Steven King says he hadn’t left his house for five years, until a former associate and Man Up participant told him to attend. “I’ve been coming for three weeks now,” King says. “I trusted no one, but Man Up is opening me up to see a different way of life. “It’s positive for our children and our town.” A women’s programme is also being held. All programmes areat 119 Broadway Kaikohe. For more information visit: Man Up Northland on Facebook. -Stuff

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August 2, 2017   Posted in: Black Power  Comments Closed

1968 Olympics Black Power salute – Wikipedia

The 1968 Olympics Black Power salute was a political demonstration conducted by African-American athletes Tommie Smith and John Carlos during their medal ceremony at the 1968 Summer Olympics in the Olympic Stadium in Mexico City. After having won gold and bronze medals, respectively, in the 200-meter running event, they turned on the podium to face their flags, and to hear the American national anthem, “The Star-Spangled Banner”. Each athlete raised a black-gloved fist, and kept them raised until the anthem had finished. In addition, Smith, Carlos, and Australian silver medalist Peter Norman all wore human rights badges on their jackets. In his autobiography, Silent Gesture, Smith stated that the gesture was not a “Black Power” salute, but a “human rights salute”. The event is regarded as one of the most overtly political statements in the history of the modern Olympic Games.[1] On the morning of 16 October 1968,[2] US athlete Tommie Smith won the 200meter race with a world-record time of 19.83seconds. Australia’s Peter Norman finished second with a time of 20.06seconds, and the US’s John Carlos won third place with a time of 20.10seconds. After the race was completed, the three went to the podium for their medals to be presented by David Cecil, 6th Marquess of Exeter. The two US athletes received their medals shoeless, but wearing black socks, to represent black poverty.[3] Smith wore a black scarf around his neck to represent black pride, Carlos had his tracksuit top unzipped to show solidarity with all blue-collar workers in the US and wore a necklace of beads which he described “were for those individuals that were lynched, or killed and that no-one said a prayer for, that were hung and tarred. It was for those thrown off the side of the boats in the Middle Passage.”[4] All three athletes wore Olympic Project for Human Rights (OPHR) badges after Norman, a critic of Australia’s former White Australia Policy, expressed empathy with their ideals.[5] Sociologist Harry Edwards, the founder of the OPHR, had urged black athletes to boycott the games; reportedly, the actions of Smith and Carlos on 16 October 1968[2] were inspired by Edwards’s arguments.[6] The famous picture of the event was taken by photographer John Dominis.[7] Both US athletes intended to bring black gloves to the event, but Carlos forgot his, leaving them in the Olympic Village. It was Peter Norman who suggested Carlos wear Smith’s left-handed glove. For this reason, Carlos raised his left hand as opposed to his right, differing from the traditional Black Power salute.[8] When The Star-Spangled Banner played, Smith and Carlos delivered the salute with heads bowed, a gesture which became front page news around the world. As they left the podium they were booed by the crowd.[9] Smith later said, “If I win, I am American, not a black American. But if I did something bad, then they would say I am a Negro. We are black and we are proud of being black. Black America will understand what we did tonight.”[3] International Olympic Committee (IOC) president Avery Brundage deemed it to be a domestic political statement unfit for the apolitical, international forum the Olympic Games were intended to be. In response to their actions, he ordered Smith and Carlos suspended from the US team and banned from the Olympic Village. When the US Olympic Committee refused, Brundage threatened to ban the entire US track team. This threat led to the expulsion of the two athletes from the Games.[10] A spokesman for the IOC said Smith and Carlos’s actions were “a deliberate and violent breach of the fundamental principles of the Olympic spirit.”[3] Brundage, who was president of the United States Olympic Committee in 1936, had made no objections against Nazi salutes during the Berlin Olympics. He argued that the Nazi salute, being a national salute at the time, was acceptable in a competition of nations, while the athletes’ salute was not of a nation and therefore unacceptable.[11] Brundage had been accused of being one of the United States’ most prominent Nazi sympathisers even after the outbreak of the Second World War,[12][13] and his removal as president of the IOC had been one of the three stated objectives of the Olympic Project for Human Rights.[14] In 2013, the official IOC website stated that “Over and above winning medals, the black American athletes made names for themselves by an act of racial protest.”[15] Smith and Carlos were largely ostracized by the US sporting establishment and they were subject to criticism. Time magazine on 25 October 1968 wrote: “‘Faster, Higher, Stronger’ is the motto of the Olympic Games. ‘Angrier, nastier, uglier’ better describes the scene in Mexico City last week.”[16][17] Back home, both Smith and Carlos were subject to abuse and they and their families received death threats.[18] Smith continued in athletics, playing in the NFL with the Cincinnati Bengals[19] before becoming an assistant professor of physical education at Oberlin College. In 1995, he helped coach the US team at the World Indoor Championships at Barcelona. In 1999 he was awarded the California Black Sportsman of the Millennium Award. He is now a public speaker. Carlos’ career followed a similar path. He tied the 100yard dash world record the following year. Carlos also tried professional football, was a 15th round selection in the 1970 NFL Draft, but a knee injury curtailed his tryout with the Philadelphia Eagles.[20] He then went on to the Canadian Football League where he played one season for the Montreal Alouettes.[21] He fell upon hard times in the late 1970s. In 1977, his ex-wife committed suicide, leading him to a period of depression.[22] In 1982, Carlos was employed by the Organizing Committee for the 1984 Summer Olympics in Los Angeles to promote the games and act as liaison with the city’s black community. In 1985, he became a track and field coach at Palm Springs High School. As of 2012, Carlos works as a counselor at the school.[23] Smith and Carlos received an Arthur Ashe Courage Award at the 2008 ESPY Awards honoring their action.[24] Norman, who was sympathetic to his competitors’ protest, was cautioned by Chef de Mission Julius Patching and criticized by conservatives in the Australian media.[25] He was not picked for the 1972 Summer Olympics, despite having qualified 13 times over.[8] In fact, Australia did not send any male sprinters at all to the 1972 Olympics for the first time since the modern Olympics began in 1896.[26] When Norman died in 2006, Smith and Carlos were pallbearers at his funeral.[27] Australian officials say they supported Norman at the 1968 games, did not punish him, and always regarded him as “one of our finest Olympians”.[28] Norman represented Australia at the 1970 Commonwealth Games and suffered from a knee injury prior to the 1972 Olympics which severely affected his performance.[29] Wayne Collett and Vincent Matthews were banned from the Olympics after they staged a similar protest at the 1972 games in Munich.[30] The 2008 Sydney Film Festival featured a documentary about the protest entitled Salute. The film was written, directed and produced by Matt Norman, a nephew of Peter Norman.[31] On 9 July 2008, BBC Four broadcast a documentary, Black Power Salute, by Geoff Small, about the protest. In an article, Small noted that the athletes of the British team attending the 2008 Olympics in Beijing had been asked to sign gagging clauses which would have restricted their right to make political statements but that they had refused.[32] In a 2011 speech to the University of Guelph, Akaash Maharaj, a member of the Canadian Olympic Committee and head of Canada’s Olympic equestrian team, said, “In that moment, Tommie Smith, Peter Norman, and John Carlos became the living embodiments of Olympic idealism. Ever since, they have been inspirations to generations of athletes like myself, who can only aspire to their example of putting principle before personal interest. It was their misfortune to be far greater human beings than the leaders of the IOC of the day.”[33] In 2016, the newly built National Museum of African American History and Culture in Washington, DC also features a statue to honor the athletes’ tribute. In 2005, San Jose State University honored former students Smith and Carlos with a 22-foot high statue of their protest titled Victory Salute, created by artist Rigo 23.[34] A student, Erik Grotz, initiated the project; “One of my professors was talking about unsung heroes and he mentioned Tommie Smith and John Carlos. He said these men had done a courageous thing to advance civil rights, and, yet, they had never been honored by their own school.” The statues are located in a central part of the campus at 372008N 1215257W / 37.335495N 121.882556W / 37.335495; -121.882556 (Olympic Black Power Statue), next to Robert D. Clark Hall and Tower Hall. Those who come to view the statue are allowed to participate by standing on the monument. Peter Norman is not included in the monument so viewers can be in his place; there is a plaque in the empty spot inviting those to “Take a Stand.” Norman requested that his space was left empty so visitors could stand in his place and feel what he felt.[35] The bronze figures are shoeless but there are two shoes included at the base of the monument. The right shoe, a bronze, blue Puma, is next to Carlos; while the left shoe is placed behind Smith. The signature of the artist is on the back of Smith’s shoe, and the year 2005 is on Carlos’s shoe. The faces of the statues are realistic and emotional. “The statue is made of fiberglass stretched over steel supports with an exoskeleton of ceramic tiles.”[36] Rigo 23 used 3D scanning technology and computer-assisted virtual imaging to take full-body scans of the men. Their track pants and jackets are a mosaic of dark blue ceramic tiles while the stripes of the track suits are detailed in red and white. In January 2007, History San Jose opened a new exhibit called Speed City: From Civil Rights to Black Power, covering the San Jose State athletic program “from which many student athletes became globally recognized figures as the Civil Rights and Black Power movements reshaped American society.”[37] In Australia, an airbrush mural of the trio on podium was painted in 2000 in the inner-city suburb of Newtown in Sydney. Silvio Offria, who allowed the mural to be painted on his house in Leamington Lane by an artist known only as “Donald,” said that Norman, a short time before he died in 2006, came to see the mural. “He came and had his photo taken; he was very happy,” he said.[38] The monochrome tribute, captioned “THREE PROUD PEOPLE MEXICO 68,” was under threat of demolition in 2010 to make way for a rail tunnel[38] but is now listed as an item of heritage significance.[39] In the historically African-American neighborhood of West Oakland, California there was a large mural depicting Smith and Carlos on the corner of 12th Street and Mandela Parkway. Above the life-sized depictions read “Born with insight, raised with a fist” (Rage Against the Machine lyrics); previously it read “It only takes a pair of gloves.”[40] In early February 2015, the mural was razed.[41] The private lot was once a gas station, and the mural was on the outside wall of an abandoned building or shed. The owner wanted to pay respect to the men and the moment but also wanted a mural to prevent tagging. The State was monitoring water contamination levels at this site; the testing became within normal levels so the state ordered the removal of the tanks, testing equipment, and demolition of the shed.[42] The song “Mr. John Carlos” by the Swedish group Nationalteatern on their 1974 album Livet r en fest is about the event and its aftermath. Rage Against the Machine used a cropped photo of the salute on the cover art for the “Testify” single (2000). The cover art for the single “HiiiPoWeR” (2011) by American rapper Kendrick Lamar features a cropped photo of the salute. In the song “The Man” (2014) by Aloe Blacc at the end in the right corner can be seen two men standing giving the Black Power Salute.

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July 28, 2017   Posted in: Black Power  Comments Closed


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