richardmurray

@Troy I paraphrase you well said. Human beings in modernity, led in large part by how the majority of the populace in the usa treats identity as a very modern thing, have a problem accepting racial change in history. I think said humans like the the ease of ignoring when another people were the majority in the past. And I will even be honest and admit I comprehend why. The reasons why the majority changes in countries is rarely positive or fair, and by ignoring you save the community from the discussion of why things changed so drastically, which rarely has a peaceful way to be.

@Chevdove Well, I hoped my post aided in clarity. I am saddened it didn't. But, you offer a great question. What is the race of cleopatra? now you may ask, didn't I, Richard, answer that. Well no, I didn't. All human beings are part of various races, that are clearly defined with various labels for communication sake. I myself, am male-my gender or sexual physicality at birth/black-my phenotype or appearance/anglo- the language I speak/african- my majority geographic ancestry, note a difference between saying african as opposed to nigerian. and continuing. But what is the point? What is the race of cleopatra? Is it the cultural race she adhered to? Cleopatra didn't call herself Greek or Hellens, she called herself the queen of egypt. Egpyt is the greek word for Kemet. But, South Africa is the white european term for the lands consisting of and between the Namib or Zululand. Yet, Charlize Theron who has no african or black ancestry, not the same thing, calls herself south african. So, Cleopatra called herself Egyptian. Is it her geographic ancestry? Human beings always have mixed ancestry in some form or fashion. A majority of Cleopatra's ancestry is macedonian-hellens/greek, Most Descended of Enslaved from Canada to Argentina have a minority of ancestry from europe, while a majority of ancestry from africa and yet most Descended of Enslaved do not call themselves African or European but Black or NEgra or Noir. So Hawass or others, giving greater attributation to her geographic ancestry is dysfunctionally discarding Cleopatra's life. She had the money or resources to relocate to Greece with money and leave Egypt without a greater fight. Is it her phenotype? My guess is Cleopatra was white. I have no proof cause Cleopatra is one of the most historically manipulated figures. And, what I have seen is unverifiable. But her being white doesn't suggest her complete ancestry or the ancestry she valued or her heritage she valued. This is why I continually say finding one's roots has nothing to do with paper trails because the identity of people in the past can only come from their words. I really think the diary or the speech from one's forebears isn't given their proper value in truly comprehending a person's past and definitely one's ancestry. Supposedly where her palace was https://en.wikipedia.org/wiki/Antirhodos\ Supposedly from the palace in egypt https://en.wikipedia.org/wiki/Bust_of_Cleopatra a bust supposedly made in italy during her trip to rome https://commons.wikimedia.org/wiki/Category:Bust_of_Cleopatra_VII_in_the_Altes_Museum_Berlin So what is the race if Cleopatra ? Is it what she wanted , which no one in modernity knows? Is it what anyone in modernity guesses, even though her life is full of racial complexity? @Pioneer1 your correct, but the question is who are arabs? The problem with the racial term arabs is the same with latinos. In Encanto, the black latinos seem to live absent any friction with white latinos but in reality in most latin american homes, the dark are not treated equally or better than the light, and the powerful in the house are rarely the black while usually the white. In the same context. Arabs is to open ended a racial term. Who are arabs ? those born in the arabian peninsula? those who speak arabic? those who look mulatto in the american continent context but live in North africa or south east europe or westernmost asia arab? If Common the Black American thespian was born in egypt , and all anyone had was a photo, is he black or arab? My point is, when you have a loose racial classification it yields negative biases because the definition allows for too much and restricts to little. the same with American. I don't know how many times I have heard black people utter, you born in the USA your american, which based on descended of enslaved history range from an insult to a crude simplicity. Is anyone Statian , of the usa, because of the legal system's rulings on classification of children based on geography, or some culture or heritage, or the quantity of forebears in the usa ?

@Troy yeah yeah, I got another internet oddity hmm, many people are all talk well, the people in the usa never were atoned, nor are atone now. Moreover, the legal system of the usa or time from english colonies to 2023 or the multiracial community of nonviolent integrationists in the USA are atonements, things that atone , make one. Being one people requires the one thing the USA never had and doesn't have now, a purpose that unifies a people. Germany used to be federated states. Italy was principalities. But it was a unified purpose<to make a country that could stand with pride against their neighbors> that made modern germany, not the law, not a group of people in the country forcing all others<and yes, the German jew wanted a united germany too, and had it, before world war II>, not an individual liberty mantra. Oneness is always possible no matter the inner multiraciality of any group, but it requires something to be one around. IT can not be oneness for oneness sake. if by atonement the hebrew israelites mean repairer, well, the usa has nothing to repair. All the past conditions in the USA or the english colonies preceding it were negative. And, the elements that need repair in the past of the usa are beyond money or technology. Can someone bring back and make as if lived the native american peoples that were slaughtered by whites of europe? can someone bring back and make as if lived the majority of enslaved blacks, as 80% of black enslaved people never made it cross the water, most enslaved black people are in the ocean. Atone, to make one. Repair , to fix. @Pioneer1 well, I have never heard a black person say publicly that they want a white person to kiss their feet either BUT I did hear a black person, james baldwin admit that his father hated whites, while his father never, ever, spit/hurled threats/or acted violently towards whites. what is my point? Black people in the usa have a heritage of not speaking , or moreover not acting, how we feel amongst whites or other blacks. I bet many black people wouldn't mind seeing their feet kissed by whites. I am not suggesting me. No I don't want white people kissing my feet. But I am also certain a whole lot more black people , especially descended of enslaved, who wouldn't mind that, but will never say it. Many Black christian chruch people in the 1960s scoffed at Black panthers for self defense members simply demanding all black people arm themselves against white aggression. Said black church people never trusted white people and lived in fear of whites but publicly scoffed at the notion of black people defending themselves. No, the black community in the usa's public voice is untrustworthy to its true desires.

@Troy well, yes but I want to say, I was up late and all my twitter connections are either sports or writers, with most pundits/athletes et cetera. So i admit this is a rare thing on my feed, which is why it attracted me. Well, my twitter gets quite a few daily bots, connecting to it. And usually the bots are white females, oddly enough, just like on blackplanet. so... The purpose? that is an excellent question. My first thought was I have no idea. But I recently saw Edtv for the first time and I ponder. You suggested this is for dumb people who will think a race war is imminent, but I think it is for the cinema verite audience. I Think many people online are are entertained, but not through the exact act. They are entertained by the presentation. This is presented as news, as informative, they can read comments. I think many people view the online/electronic social experience itself as entertainment and sequentially, posts like this are cradles of said experience. Positive post don't go far, but this stuff, goes far.

Cleopatra and the media https://aalbc.com/tc/profile/6477-richardmurray/?status=2317&type=status

I want it known. It was a white connection, not a black one that placed this on my wall. Now I admit, I am up late doing some emanagement and so at this hour means my usual feed's soccer based content can be quiet. So a lesson for me on many levels. But, the best comment I read was from a guy who said, no one mentioned the rick james boots, which I think is funny. But, beyond that. I tried to find out if someone had talked to any of these whites who have done this. I saw a few white couples, or white males or females individually. But, if any of you know some media outlet that actually talked with one of these whites who did that, please share to me. Staging these events isn't new or odd but I will like to know.

I remember in the year two thousand and twenty three when media in NYC emphasized hate towards asians of any phenotype + white jews. But what I found most informative was that the percentage of hate crimes towards asians was under fifteen percent while hate towards black people of any language or religion or gender was second only to white jews. And the question relates to what Olayemi states brilliantly. Where is the outrage? where is the call for crime in the white community to be checked or handled? Moreover, I want to know their faces , their names. the odd thing about crimes against Black people by non whites is how little paperwork or technology is used or available or accessible. When a white jew is attacked , a video, a facial photo, a name, speeches from various organizations is presented as a package. But when a Black is attacked, no video, no facial photo, no name, no speeches from various organizations. It's so imbalanced an approach it is not merely a negative bias towards black people but it makes clowns of the black people who clamor on about the black communities criminal record in the usa when it is clear that the judicial system, from law enforcers to prisons , produces false information concerning the record of crime in the USA. IN AMENDMENT In this very forum, ecommunity, many black people have ranted about black criminal activity in the USA and it is clear that their rant is the conclusion to a simple algorithm. What are the elements of the algorithm: In the USA, Black people are oppressed by whites who control the judicial system in said government. The application of the judicial system to blacks in the usa by whites is designed to make blacks statistically greater than all others. Black people like all humans commit criminal or illegal acts, a crime is injuring another, an illegality is acting outside the laws allowance. Black people in the USA who want individual rights while nonviolent resistance to whites don't have any tools to stop white oppression to blacks. When you add the three elements together the only answer is for Black people to delete the illegal + criminal activity in their community . But how can illegal + criminal activity be deleted absent massive fiscal wealth, which the black community doesn't have. The answer is condemn black illegality or criminality. Whenever a Black person acts illegally or criminally, members of the Black community emphasize an unreal danger because their goal is to get the larger black community to provide no instance of illegality or criminality for the white community to take advantage of. Its a dysfunctional thing. But I have accepted that many Black people see that as the answer. I oppose the strategy but I comprehend it. When a white banker for goldman sachs, legally acts criminally stealing millions from various people, mostly white, in the USA with falsely valued financial schemes. The same Black people that will accept the actions of the white banker as playing the system, the same old same old, fiscal capitalism, will speak of a black man making peanuts trying to feed himself on the street with some illegal act, a sin, a bad characters, a useless activity, a bad example for children. To said black folk, like Mayor eric adams and most of the other black people in the NYC government, it isn't that blacks commit more crimes or illegalities, or more negative resulting crimes or illegalities, it is that Black people still commit crimes or illegalities. To rephrase, Eric Adams, many in this very forum, have a goal. The goal is to eradicate black illegal or criminal activity in the USA by emphasizing it. Not because Black crime or illegality is higher in quantity or worse , but because it exists and in their philosophy, Black people support nonviolence plus integration most by acting toward an unrealistic ideal that the same black judgers don't apply to the non black. I quote Al SHarpton: the thing about a nonviolent movement is that it can not merely call on others to stop acting violently towards a group but has to be nonviolent itself.

I will try to find a photo of the eclipse but it will not be visible in north america i think

@Delano I see , you mean another movie besides creed3? what will you like that movie to be?

@Troy yeah Nike in the review is the same way. Modern Athletic fictional films, which is what the first Rocky film started, are an acquired taste. If you are not interested in the work out montage or the competitive montage or the personal issues inlet scenes, it isn't a genre for you:) No Creed is from Los Angeles like Apollo Creed, his father. And no Los Angeles... at the moment, isn't building a statue of Creed @Delano he has been wise, don't pidgeon hole yourself, do as many various roles as you can if you can. When you say perhaps they will do a movie together with PEele or coogler? Majors and who?

for letting me be myself again:) beat me to it @Pioneer1 @Troy in defense, and I know this post is positive, and not meant to go where my comment will, but the Black community in the USA from the Club Women's crusade against the heritage of enslavement which includes the dialects of english black people spoke before 1865, to Zora Neale Hurston being a near lone crusader against her black artistic peers to utilizing said dialects, to the added dialects of english from black communities in the caribbean or africa coming into the usa after the immigration act and being advertised proudly in artistic mediums in specificity rap , the relationship of Black people in the usa to english and how "we spek e" is a complex issue that shows itself to all black people in the usa as it has with you in this one instance.

your thoughts?

@Pioneer1 you got me, well , I will never forget james baldwin saying that because so few black people viewed heavily ever admit blacks don't like whites as a community with a nonviolent posture. In the UA non violence equals civilization, equals integration, equals acceptance, but James Baldwin used his personal connections to display the falsehood in that narrative. And I think many Black people in the USA are in denial about said truth. I will never forget a black man i used to see on a daily route who looked so miserable , clearly working a well paying job but clearly miserable. Being peacefully hateful isn't positive even if it is nonviolent. When you said : this is not elijah muhammed but an actor:) classic. Fair enough, the black community in NEw York State's goal <defined as what most black people are engaged in functionally>, since the USA was founded was peaceful integration side whites. And I argue the black community in new york state, led by new york city has reached closer to that. Every single organization in the government of NEw York has black people who have potent roles or positions. The financial sector of NY has black people in it throughout. The goal is near. At this point the question for the black community in New York State is not about integration but potency. The fact that in New York State the marijuana licenses are actually going out to some blacks who were incarcerated while white pharmaceutical firms brought lawsuit against the state of new york for that action shows you where the black community in new york state is in relations to new york state, notice I have not said the usa. Now New York has some unique characteristics. One more black people live in new york than any other state. two the internal multiraciality of the black community in new york state is higher than anywhere else which has brought challenges but also has some advantages when it comes to outreach and the identity of being black in new york is less specific. yes, white power is still the rule in new york state, but the black community in new york isn't trying to topple whites but integrate side whites. That is an important point. The goal isn't for the black community in New York to be dominant over all others. In comparison, the black community in louisiana can't have the same goal as the black community in new york. the white community in louisiana is more pure. Meaning the white community in new york state also is highly multiracial internally. As well as the latino or asian, so that explains why the racial walls are looser. So, I think in some states the black community does have a goal. But the black community in each place can't have the same goal. In some places, like south africa, integration isn't working and black people need more power. In other places, like a germany, black people need a minority goal, they are too small in quantity to go for integration. Each place has it's own answer. so functionally you want black people to return to the geographic distribution we had before jim crow in the usa? Internally many black people still don't like the southern/midwestern states. Do you live in the south or midwest? You know what they are doing, they are reaching their goals. And this goes back to my simple point. But I will use an example. When Obama was president he said he wasn't the president of black people and many have talked about that line but most have miscomprehended its true value. All those mayors or police commissioners you showed are no different than the black mayors or police commissioners in NYC or Newark in the north. Their goals are not to help the black community get stronger over all others, their goal is to prove blacks and whites can exist integrated in these systems whites started. And they are achieving that. The problem is in NY that is satisfactory as the goal of being an aracial people is in the potential future. but in louisiana that isn't the case. Blacks don't like whites and whites don't like blacks in majority, so while black or white people in Louisiana , like the former mayor of new orleans landrieu, may see themselves as serving all of louisiana that isn't a good goal for the situation. It is clear that Louisiana's populace on the ground is a different creature and that isn't a problem. The USA is a federation for a reason. The white slavers that started this government knew that no people under any government in human history are every truly one, always a minority or another exist and they need space to be. The problem is those people don't have a goal that involves the betterment of the black community. tHeir goal is already succeeded, they are black continuing the status quo of whites. That is how a person in one community shows they can lead many in another by not empowering their own:) And while that goal seems to be good enough for the black community in New York, I don't think it is good enough for the black community in louisiana?

@Pioneer1 I know you know the history of the Black community in the english colonies or new france or the USA or the Louisiana Purchase. I know you know the majority of Black people in said places have never been in happy in those time periods I mentioned. Not all, but the overwhelming majority of Black people in the english colonies, new france, the usa or the louisiana purchase. And, you know most Black ancestors in the history of said places cursed white people every day of their lives without taking up arms. They lived hating whites. I quote james baldwin: his father hated whites. and I amend what baldwin didn't say, his father acted nonviolently his entire life. his father never made any violent moves towards whites while hating them every day. Pioneer you know everything I just said, you know. So, the following question is not insult but is mandatory. Can you name one reason for the Black community in Louisiana, not black people anywhere else in the USA, have for digging in? And, what is the goal for the Black community in Louisiana by digging in, cause I don't see a goal for them, not for black people across the usa or new york, just louisiana? Fair point. But you didn't say where. You would advise the black people in california to leave but you didn't say where ... where ? Are you suggesting the black people in california need to go to lousiiana? You are speaking about the black community in the USA as one. I live in New York city in New York state. New York city has black billionaires. No disrespect to Black people who live in NYC which includes myself, but our scenario has no value in my view for black people in louisiana. The law talk, non violence talk, justice talk, all that is cute in New York but Lousiana... I wish you could provide a reason that emphasizes black people in louisiana. I may be wrong but it seems your suggesting the black people in louisiana need to dig in for black people who live in other states. That is a great idea , but the black community in Louisiana doesn't have the means to make that happen. it is that simple. Whites have too much power and it is that simple. Power matters. It's beyond the law. Are black people the fiscal wealthiest in louisiana? no, so we don't have members in our community who can just pay elected officials to do what they want, which is how most laws are made in the usa historically. Are black people the overwhelming majority populace in louisiana ? no so block voting isn't enough. What your saying can work in south africa. No black people are not the fiscal richest but they have the numbers to dictate law with a movement. No state in the usa has a black populace that can win 80% of the elected positions in the state based on the black vote alone. No state in the usa fiscal wealthiest are black.

MY COMMENT the article title is false, the article contest say this is going to happen not may. in all earnest, I wonder about the black community in louisiana, who leads them, what is their plan. I ask cause, louisiana has been this way since the louisiana purchase. I wonder what the black leadership , and that means elected officials, plan is for the future of the black community in louisiana. Does anyone know? I will be blunt now, if black elected officials, black christian church leaders, the black financial elite in louisiana have no plan but integration under the constitution, I don't think that is a functional plan for the Black people of Louisiana. IN AMENDMENT I will throw out a plan. The black people of louisiana need to have an exodus of that state. Now I already know the rebuttals. Black people helped build the USA. The federal law says this or that. But, in NYC as I compose this, people are leaving countries of their kin cause opportunity is lax. Well, Black people of Louisiana need to leave Louisiana cause they are oppressed by whites of lousiana and opportunity is lax. Why can't Black people of Louisiana come to NYC the same way the various central american and northern south american peoples do? I just think that at some point, black people in louisiana have to stop the plan of waiting for whites to love us or the law to protect and mold louisiana into a peaceful or positive interracial community. That plan hasn't worked for over one hundred and fifty years. What are black people in Louisiana, saps? How long do you continue down a path before you quit? and beyond, what are the black leaders of the black community in louisiana planning? I am not suggesting what I threw out has to be the plan for Black people of Louisiana but the nature of my plan has to be the plan. The nature of my plan is to not be what the Black community of Louisiana has been doing for over one hundred and fifty years.

Read all about it https://www.deviantart.com/hddeviant/journal/The-Construction-of-Holiday-Rex-is-a-DD-958169717

@Chevdove Lincoln will be proud:) @Delano haha,the comedian I argue prince has done things, like throw vanity in the pool which inspired the scene in purple rain <prince said this himself>, that many women today might call cancelable behavior. I recall elton john saying he went backstage to congratulate prince when he had the slave on his buttocks and elton john said Prince ran from him. Madonna said, when she went on a date with him he just sat there quiet, sipping his drink. Lionel Richie said he asked PRince but prince didn't want to do the chorus, but offered to do a guitar solo, but they only offered the chorus spot so he said no. From what music superstars, including prince, said prince was heterosexual but also proud while confident in himself.

Stellantis - Drive for Design Contest Project Brief The global race to cut emissions to zero is a vital step toward tackling climate change. The entire Ram Truck lineup will offer electrified solutions with disruptive, leading-edge, advanced technology in the years to come. We’ve given you our vision of the future with the Ram 1500 Revolution BEV concept. Now, we want to see your design of what an electric pickup truck would look like. This year, we’re challenging students to sketch the future of a Ram truck. Entrants must be legal U.S. residents in grades 10-12 currently attending a U.S. high school. April 21, 2023 Entries due More information, rules, pdf's, coloring books, or more use the following link https://aalbc.com/tc/profile/6477-richardmurray/?status=2303&type=status I admit I am still not finished with the 191st tunnel, but I will try to make something in the event's time, just to present to all.

and welcome to Black Games Elite @ModestoGarr What are your favorite games? Do you need help with the group sections? Any questions, the best bet is to message me in my inbox.

Director and actor Robert Townsend shares his affinity for “Blaxploitation” films and how it was the first time he saw Black characters in films as superheroes. [VID: Interview with actor Robert Townsend. Transcript: For one, I hate the term black exploitation because that was the very first time I got to see black folks in lead roles kicking butt and being like all the other heroes that I had grew up on from Bogart to Cagney to John Wayne. You name it. So it was a period where Fred Williamson was my hero. Pam Greer was my hero. Rudy Ray Moore, it wasn't, I hate that they always say it was exploitation. No, Hollywood made a lot of money. Hollywood made a lot of money on those films and they supplied a need. If you've only seen people in that kind of "yes sir, boss," mode and all of a sudden you see 'em, "I'm the cool guy, I get the girl." I mean the only time the brothers would get the girls in the movies before was when they were dead. You know? "I'm gonna miss you." And she was shot. They never saved the day, they were always the best friend. And so here we had a period where you got Shaft, you got African Americans in lead roles and they fought the bad guys and they won. And I don't know why that was bad because as a kid growing up in Chicago, I'd go down to the McVickers and the Woods Theater downtown in Chicago and see three movies for $2. And you'd see a "Shaft," you'd see a "Super Fly," you'd see "The Mack." And all it was was great entertainment. But only this time, the leads were African Americans.] WHAT ARE YOUR THOUGHTS? REFERENCE https://www.pbs.org/wnet/americanmasters/archive/interview/robert-townsend/ Robert Townsend Found in: Sidney Poitier: One Bright Light Interview Date: 1998-10-14 Runtime: 0:33:35 Keywords: American Archive of Public Broadcasting GUID: cpb-aacip-504-4f1mg7g994, cpb-aacip-504-b853f4m850 MLA CITATIONS: "Robert Townsend , Sidney Poitier: One Bright Light" American Masters Digital Archive (WNET). October 14, 1998 , https://www.pbs.org/wnet/americanmasters/archive/interview/robert-townsend/ APA CITATIONS: (1 , 1). Robert Townsend , Sidney Poitier: One Bright Light [Video]. American Masters Digital Archive (WNET). https://www.pbs.org/wnet/americanmasters/archive/interview/robert-townsend/ CHICAGO CITATIONS: "Robert Townsend , Sidney Poitier: One Bright Light" American Masters Digital Archive (WNET). October 14, 1998 . Accessed April 11, 2023 https://www.pbs.org/wnet/americanmasters/archive/interview/robert-townsend/ FULL TRANSCRIPT Speaker Sydney wrote in his book, Viewed from where I stood on the margins of the American social reality, the Hollywood of my youth was not a courageous place, nor was in a hospital, a place for one perceived as different as a trespasser prowling too close to some private domain. Sydney came to Hollywood in the 50s when you were born and you follow. Speaker 30 years later, did you find this a hospitable place when you arrived? Speaker Oh, you know, when I. Speaker You know, it’s funny because my earliest memories of Hollywood were before I even got here as a kid watching movies and being a big fan of Humphrey Bogart and just the images that I saw. But I knew something was wrong because I would watch and want to be Humphrey Bogart. And he was looking at you, sweetheart, all of that. And I noticed that the black people talk differently. Speaker They were you all meeting in the movie? Is there anything? Speaker And as a kid, I knew something was wrong, but I couldn’t. I was like going, well, I want to be Humphrey Bogart. And I couldn’t quite figure out why they were talking that way, because everybody else is talking English, you know, like regular, you know. Speaker And they were and, you know, I mean, you know. Speaker And so when I finally got into show business and I discovered that there were writers that would write certain things and there were directors that would direct you in a certain way to play these roles, then I discovered another side of Hollywood and I had that much more respect for Mr. Porter when I would look back at the films that he was a part of. It really made me realize there was something going on different. And so when I got here, I was kind of aware, but I didn’t quite know, you know, when I was a kid, my nickname was TV Guide because all I did was watch television and I could do impressions of everything. And I thought I was going to be Ronald Coleman when I got in fights with the queen of England. Speaker I shall do whatever, you know. I mean, that’s what I was thinking. Speaker And I found myself auditioning for a lot of slaves and pimps and junkies and illiterate basketball players. So those were the only roles. And so when I got to Hollywood, I discovered something different as well. Speaker What kind of difference do you think Sydney having first made for you? Speaker Oh, what I would say is that I can’t remember the first time I saw him on screen. I just remember that that was the very first time I saw someone that looked like me have dignity and stand up for themselves because I had seen all those other images of, you know, there a line in here and eyeballs really big. Speaker And there was this man who was articulate and strong. Speaker And, you know, right away I could understand. I saw something. I can understand the magic. And he had a charisma and he was I don’t know, it was like royalty. It’s like photographing royalty. And there it was. And I said, wow, that’s what it’s really about. You know, that’s who because I never watched television and movies with a prejudice. I but I just knew that something was lopsided. And then when I saw, you know, Mr 48 for the very first time, it really affected me on a deeper level. I just knew that that was the right. He was doing what I really wanted to do. And and back then, I didn’t know what his struggles were, you know. You know, it’s funny because I had I had lunch with him a long time ago and I you know you know me. Speaker I’m like a kid, you know, I’m like, well, how did you get to have dignity? Speaker Know, I mean, I’m an artist. I’m like, what? Anybody else didn’t get dignity. You got dignity. And he said, you know. Speaker You know, he’s so, you know, you know, articulate and, you know, eloquent in his words. And he said that would mean, Robert, that, you know, that understood that understood what was going on was wrong. And these men had a lot of courage. These directors, these writers that, you know, said, hey, here’s the defiant ones, a year, I guess, who’s coming to dinner. And they had vision and they, you know, took whatever heat they had to take, you know, in the heat of the night, you know. But he said he only did so many movies because of that, because he said no, because he didn’t want to do, you know, the stereotypical roles. And so I had to. And he just I you know, he says I haven’t done, you know, hundreds and hundreds of films. But the ones I did they did matter to me. Speaker And that always stayed with me because I to this day, I remember the comedy. How do you get to have dignity? Because you’re talking about the 50s. Speaker And when you look at if you said there was a scale of, you know, all the films that were coming out of Hollywood, for the most part, everyone followed the same pattern. And so there was this man that didn’t have to shuffle and do you know, can’t look at you. Speaker I can’t look at it. Speaker You know, he was you know, I will look at you and I. I can be a psychiatrist. I could be anything. And you go like, whoa, you know, it was unheard of to see that on screen. It was happening. And, you know, in segregation, you had black doctors, black psychiatrists and all of that, but you never saw them on screen. Speaker And so, you know, I mean, his impact was was was was deeper on a lot of levels because visually, you could see him as a doctor, you know, where that was such a powerful imagery for me as a kid, because I grew up on the west side of Chicago, rough neighborhood. All I saw was like hustlers and pimps and that kind of stuff. And started to see something like that on television was kind of, you know, really groundbreaking, you know, for me, because I know what’s wrong with this picture. But nothing was wrong with the picture. It was just that my eyes had never adjusted to understanding all the possibilities. Speaker So I just think because that kid thing stays with you your whole life in a funny way, that clean slate and it doesn’t have a political thing to do. Just as I see this and now I see this and. Speaker Oh, yeah, well, you know, it’s kind of like. Speaker It’s like some kids took in the images and made them say, I can’t do because of the color of my skin, I can’t play a king, I can’t play whatever character with with Mr. portrayed. There were no limits. And for some reason, I evolved into that, that there was something going on that made me stronger, you know what I mean? But I like I said, I was a kid. I was you know, I guess my nickname was TV Guide, but I would do impressions of everything I saw on television. But when he came on, there was something. Speaker And to this day, he still has it. Speaker And it still affects me the same way on. Speaker What was the first do you remember your first? What do you feel? Do you remember what it was? Speaker Oh, what comes to mind are two different films. Speaker One is The Defiant Ones, because that that imagery was so powerful, you don’t know what to think you can remember. Speaker Well, that made a difference. Well, you know what, I was so. Speaker There’s another. I think it’s up to you. I’m not sure. Speaker I saw a golden rule of. Rudy. Speaker For the very first time I saw Mr. Portrayed in the movie, a couple of movies come to mind on. The Defiant Ones with Tony Curtis, because I remember, you know, the chains and then being linked together, but then this friendship, this bond, you know, and and again, that. He was outspoken and he had something to say, so that’s one that comes to mind what the three come to mind as a kid. Then there was a movie with Richard Widmark and he was on. It was a long, long ships. I can’t think of the name of the movie now, but it’s I see him and he’s got like a he’s a swashbuckler kind of character and I don’t even know the film now. I’m just thinking as a kid, I remember that had an impact, you know, because the way, you know, the way he was dressed in the whole period. Speaker And but the other film that I would say no way out. Yeah. That one because of again. Speaker His manner, because it was like nothing I’d ever seen before, and it’s funny how imagery stays in your head even as a kid and I haven’t seen a lot of these films of late, but the imagery I’m going back to when I was a kid now, and I just remember going, wow, I don’t even know how to describe it. I it’s like I just remember seeing it on television and even though it was black and white and how powerful it was. And I mean, I haven’t seen it since then, but those were the earliest those were the earliest things I remember. Speaker It’s interesting on the way up. Speaker I’ll tell you that later. Speaker Had you ever seen or heard of Paul Robeson Academy or one? Speaker I just. No, no, I of you know, I mean, much later I had what? Because with with Paul Robeson, it was, you know, Old Man River, you know, and again, I couldn’t identify because there were a lot of those dialects that I so and not hated. But it was just like I had seen so much of that. So I couldn’t identify. And it wasn’t later on until later on that I understood, you know, in terms of who he really was. But, you know, again, it fell into that thing of understanding that certain performers had to do that, like watching Amos and Andy. Speaker And when you hear him talk, you know, and I just remember as a kid, you know, like caught up Dallas Sapphire, I know that you really did want to die. Speaker This president and I and I just remember that Dilek as a kid because I could do any voice. And then I was like, well, you know, but again. With with Paul Robeson, it wasn’t until later on that I that I saw tapes of his his his his speaking and what he was really about, but old Man River becomes the first imagery that comes to mind. Speaker Absolutely. Speaker What what role? Can somebody just just run, check it out like like to check it out, because it is the. Speaker Now we’re rolling. What role did you play in relation to the black community? Speaker Its aspirations, its frustrations. Speaker For me, I know. He represented hope, he represented hope, because if this one man could. Speaker Have dignity on that screen. Others can have dignity, and I think when I think about. You know, being a kid in the 60s, you know, and that’s when I started to really watch these movies, he was one of very few that had dignity. And so to me, it’s the power of example, you know, to say, hey, no one knew what his struggle was in Hollywood, but the work that was coming out was different than anything else. So that’s the impact that registers for me and people that I grew up with. We all said, hey, you know, if you’re going to be an actor, like my friends, when I left for Hollywood, if you’re going to be an actor, you know, go for that to Sidney Poitier, roll, you know, go for that kind of quality because it was like he said, he said he raised the bar very high. And it’s one thing to look and say, well, when I go to Hollywood, I want to be like Stepin Fetchit. I want to be like Mantan Moreland. Nothing’s wrong with them. But then it’s like, well, I don’t know if I want to do that, you know? And then there was Sidney Poitier and everybody says. And so I think he definitely had a huge impact on. Speaker But again, I didn’t know politically what what strings were being pulled at him. I just knew from my eyes it was hard enough to be a great actor and have dignity and have class in a place that was producing images that were totally, totally counter. Speaker Of. Speaker Well, I don’t think you would know this, it said that there was only one black star that. Speaker Why do you think it was made and what kind of pressure do you think was involved in being the one? Speaker I mean, if you want to put it like this on. Speaker You tell me one time. Speaker What did they call the light? What did they call the light? Oh, I can’t remember now. Speaker I can’t remember, but they one of the lights is is kind of a racist term, and he told me once, he said, you know, going into the studio, it would be him and only the shoeshine guy and how sometimes he encountered racism, but he knew he had to rise above it. Speaker It was like he was like the like Jackie Robinson was to baseball. Sidney was to acting. So you’re going to have a lot of people resenting you. I can imagine. And. I don’t know what it was like, but the only thing I can equate it to is the stories I’ve heard about, you know, Jackie Robinson, you know, and his own teammates didn’t want to play with him at times. And, you know, the things that people would heckle. And so, you know, here you have this leading man who happens to be black. And I’m sure that, you know, there were crew cars that probably, you know, didn’t want to deal with him or didn’t like him. I mean, so I know that. I mean, but he’s such a classy man that, you know, it’s like it just came with the territory. Speaker But I know that it’s I mean, you know, it it’s like racism exists now. And I can’t I can’t imagine what it was like in the 50s with all the segregation and everything, colored water fountains, you know, white water fountains. Speaker And then to be this actor that was doing work that wasn’t. In that box, so I don’t know, I mean, but I know it it had to be an incredible amount of pressure. I mean, he had to have the weight of the world on his shoulders because he anybody to talk to to say, hey, man, how’s it going at your studio? How are you dealing with it? You know, and then it’s like there wasn’t a body. Speaker So it’s not like you could call so-and-so over at someone so and say, how’s it for you? You know, I’m doing this part and I’ve got to play the psychiatrist. And everybody else is like, what are you complaining about? Because we wish we could. Speaker So he didn’t have anybody to to really call and compare notes because he was by himself. He was in a league by himself. So I don’t I don’t know how he made it through, I mean, in terms of family and friends. But to really know, you know, to make the decisions, to say no to a PA that back then if he was being paid two hundred and fifty thousand dollars, you know a lot. And to say, no, I can’t do that because I don’t feel comfortable. And so my girls. Who are you not you know that you know and you know and so his career, he only did the films that he really believed in, which is a luxury that a lot of people, you know, don’t have. And he didn’t have either. But he chose to he chose to take the high road instead of the low road and compromise. And he never compromise. And so all of his when you look at all of his films, they all have this incredible life energy. Speaker Do you see a very different person? Huh? Speaker No. OK. Speaker There came a point when Sydney was very strongly criticized. Speaker He and his rule were not seen as representing the realities of the black community. His elegance and the balance he created backfired. He was called a black actor for white audiences. The title of the piece was called Why Whites Love Sidney Poitier So Much. Speaker Why do you think that was? Why do you think that was? Speaker And what do you think about that now with some distance and perspective? Speaker Oh, you know, the sad thing about. Speaker The sad thing about African-American people sometimes is that they want their celebrities to be everything to everybody and no one is going to satisfy everybody. He’s one man and. Speaker Within his own way, he was creating a system, a revolution of sorts. Speaker Oh, sorry, is that no, that’s that’s fine. I was borderline, but yeah. Speaker No, you know, it’s a sad thing when you. Speaker I mean, when you say there was an article and people say, you know, black people say, hey, you know, you know, why do white people like him? And then when you say, well, what? When you really break it down? There are people that are going to be jealous. There are people that are going to be pulling him from nine million ways. And when it was all said and done, if there was one person that represented on a whole new image of African-Americans, it was simply, so how dare someone say, you know, I mean, why do they like him? I mean, this man brought such integrity and. Well, aside from the talent, he put a human face on on on on black people, he put a human face. We laugh, we cry, we get angry. Before that, it was just what we call the happy darky period where it’s like we just all happy, you know, we can’t we can’t do nothing. And here was this man. So I don’t understand when the critics came at him like that, but I think that people wanted maybe him to be more involved in, you know, I don’t know what causes, but I think his work said everything, you know. Speaker I mean, he was the only one. It wasn’t like I was like, this is why do white people like him? The roles he played were different roles. He wasn’t playing. You know, I’m Hollywoods boy, rub my head. He wasn’t playing that. He was like, you know, I’m powerful, I’m strong. And the directors that supported him and the writers that wrote the material wrote these powerful characters that weren’t stereotypes by any stretch of the imagination. Speaker So I really you know, it hurts me to even hear that because this man had a lot of dignity and he had a lot of class and he had a lot of he had a lot of character. And I think that, you know, it’s like there were those who didn’t like Jackie Robinson because they said, why does he have to be in in the big leagues? Why can’t he stay in the Negro Leagues? And maybe that was part of it. Why does Sidney need to be in this? Why isn’t he working in these in the separate cinema? You know, I mean, like Oscar Micheaux. Why doesn’t he I mean, it’s like anytime somebody rises to the top, there’s going to be those that want to yank you back down. It’s the crab crab in the barrel syndrome. And I think Sidney rose so high that there’s going to be people that says he could do. He could do. But, you know, again, the whole world is watching. And what was at the core to me was just this talented artist just wanted to do his work. But along the way, he raised the bar. And I just think that it’s not every day that people come along to raise the bar that make you proud to be who you are or make you, you know, raise your head a little bit higher to say I could do that. And I think that it’s unfair. But I think part of it is crabs in a barrel. I really do. Speaker Well, uh, next came the so-called black exploitation films produced by White Men specifically to attract black audiences and their dollars. Speaker Was this any more real? What was that stuff? Speaker You know what, I hate the term black exploitation, because that was a very first time I got to see, you know, black folks in lead roles kicking butt and being, you know, like all the other heroes that I grew up on from Bogarde to Cagney to John Wayne, you name it, you know. So it was a period where, you know, Fred Williamson was my hero. You know, Pam Grier was my hero. Rudy Ray Moore. It wasn’t. I hate that they always say it was exploitation. No, Hollywood made a lot of money. Speaker Hollywood made a lot of money on those films. And they supply the need. You know, we if you’ve seen it, we’ve only seen, you know, people in that that kind of. Yes. A boss mold. And all of a sudden you see them, you know, I’m the cool guy. I get the girl, you know. I mean, the only time the brothers would get the girls in the movies before was when they were dead. Speaker You know, she was shot. You know, they never save the day. They were always the best friend. Speaker And so here we had a period where you got you got Shaf. You got, you know, you know, African-Americans in lead roles and they fought the bad guys and they won. And I don’t know why that was bad, because as a kid growing up in Chicago, I’d go down to the McVicar and watch theater downtown in Chicago and see three movies for two dollars and you’d see a share. If you see a super fly, you see the mack. And all it was was great entertainment. But only this time the leads were African-Americans, you know what I mean? But I think that it was a good period. I hate the word exploitation because who was being exploited, you know? I mean, it was just that take away that period. The only person that was in a powerful position was Sidney Poitier. So other than that, there were no movies aside from Oscar Micheaux’s films, which were more in the the the 40s and the 30s, you know, I mean, that period. But other than that, there were no other. James Earl Jones is just coming along with the Great White Hope and and the films that he was doing. But that period was a really, I think, one of one of the best periods in African-American cinema, to tell you the truth. I mean, you had films ranging from Claudine to Cooley High to, you know, the legend of [Unrecognized] Charlie. I mean, they were all really well made movies. Speaker Let’s talk about the director, his three comedies with Bill Cosby in the 1970s. Right. So every night piece of the action. Let’s do it again. How did you react to these films? And what were they? Speaker Uptown Saturday night, let’s do it again, a piece of the action. Very funny films, piece of the action was really touching because it had some great performances by the kids. Sheryl Lee Ralph is in that film. And, you know, he and Bill Cosby created a comedy team on par with Martin and Lewis. Any of those? I mean, they had like it was great to see Mr. A Stretch. Speaker I mean, he’s just shown his range that he could you know, I mean, I remember that scene where it’s like he’s in a bar, Cosby. And then as I talk about his mom, talk about his mom a little Seymour, your mama. Speaker I know your mama. Speaker And then Harold Nicholas is playing Little Seymour. Speaker This is classic, you know, I mean, that whole thing. And he showed his rage. He showed that he could do comedy in a way that people always thought that, you know, he’s a serious, serious guy. So the thing that I think it was refreshing. You had a who’s who in the cast, Richard Pryor, playing a detective in one, James Earl Jones and just seeing all of them together was like because here were all these legendary stars and they were just having fun. And then they they showed me as a comedian that you could be really funny, still be classy. And it wasn’t cheap humor. It was just classic comedy and just some really funny I mean, like I said, that whole thing with, you know, because to hear Sidney do your mama jokes, this is funny. Speaker You know, just feel, you know, like your mama is. Speaker So I heard the other day, you know, he just got his rhythm. Speaker So very funny. Just very funny and. All my heroes on screen together, just jamming, you know, is like is like a great jazz session. Speaker All the players write and tune and so interesting for him to go in that direction after all the. Speaker Yeah, well, you know, it’s you know, it shows the mark of a true artist, you know? I mean, he’s a true, you know, and a fine, fine actor. I mean, he could go from, you know, something, you know, so serious, as you know, no way out to. Speaker Let’s do it again. You know, I mean, uptown Saturday night, you know. I mean. I mean. I mean. And then as a director, stir crazy. Speaker I mean, one of the funniest pitches. I mean, oh, man. You talk about pulling the magic out of Gene Wilder and Richard Pryor and Richard Pryor had never been better. And that whole you know, it’s classic now. I mean, you see it on sitcoms and other people. We’ve had we’ve had, you know, that whole thing, Richard. And I mean, you know, it just you know, it just shows just how I mean, that he understands, you know, it in front and behind the camera. Speaker You. Yeah, funny moment. Very funny movie criticism. Speaker It’s I mean I mean, George Sanford Brown. I mean, it was just really well done and and it just made you laugh. And I said he knew how to pull the magic out of Richard and Gene Wilder. And I mean, I think that really started their whole relationship that continued on and on. I mean, with silver, no silver streak as far as I believe. Speaker Yeah, but the magic was there, so I’m finished. Speaker Oh, you would like to say anything else? Speaker I’d like to say you have said it all. Speaker But if there’s no you know, I mean, I just love him. So I mean. I mean, I’m glad you guys are doing this. I mean. Speaker You know, I think. Speaker Hopefully, by taking people on a journey through, you know, Mr. Porter’s life, it’ll encourage and inspire a whole new generation, you know? Speaker And so, you know, I’m just glad to be I mean, like I said, he continues to be an inspiration for me, you know? I mean I mean, his work is he just keeps pushing it. And I don’t even know how old he is, but he just continues to push it. I mean, and he still has it. And so it’s inspiring for me. Speaker I mean, I’m I’m still a baby, so I’m having fun. Thank you. Thank you.

Yes, I am a creator. Yes, I write or draw. Yes, all the art in this post comes from the dreamup software by deviantart. Yes, if you want to see my work use the following link as I am a multimedia artist. https://aalbc.com/tc/profile/6477-richardmurray/?tab=field_core_pfield_11 The recent Mario Bros Movie is a financial hit, a commercial hit. Whether an artististic or creative hit... I don't know. But I realized a use for the uses of an imitative software, some call AI , and I placed as a prompt. African American Mario The following was returned I call this:) Graffit mario:) I have to admit, I am stumped as to where the computer referenced for this. The following was easy, it is white mario side black mario. The black mario has on green but has a fists up. Black mario has the same skin color as white mario though I did say African American and a minority in the African American community in the usa are phenotypically analogous to whites. Then I used African American Mario Bros and the following came up I can see the skin tone has browned up a little. And I think the blue hat African American Luigi is a touch. But what bothers me is peach. I can't be sure , but I think the character top left is supposed to be peach. The facial expressions is caricature, it seems she is angry. The computer deduced that is african american peach. oh wow, its intelligence has a way to go:) For me, I sense a more, Super MArio Hermanos. To paraphrase Richard Pryor, they are cue-ban! Here it seems the comuter deduced an African American Mario Bros will have the same Mario but Luigi is black. IS the computer racists? OR are the data entries into the computer... racists ? haha and I have no idea who the blue hat guy is in this one. The computer here has deduced that the African American MArio Bros will be three not two. Any ideas on the name of the third brother, the one with the blue hat? don't say Hakim!:) And now!!!! African American PRincess PEach!!! After mentioning her I had to see. I get this a little.YOu can see the computer has been fed many various images and the multiversity in Black women's imagery is clearly evident. I don't know which is supposed to be peach but the one on the left to the viewer has a headwrap on. I think the one in the middle may be peach cause she has a crown and the mario colors. This is almost like a Cookie from empire version of PRincess Peach. TO the viewers's right, I don't know. And so I did a little search and then it hit me. The one on the viewers left is princess daisy. The viewer's right must be princess Rosalina. And I didn't realize that the princess in the first mario movie was daisy not peach so that was a luigi tale?:) This is clearly a focus on PRincess PEach. Maybe the other two princesses are behind in bust. But I realize, the guy with the yellowish orange must be African American mushroom:) Poor dreamup , it is clearly an ancient ancestor of the enterprise original series computer. It doesn't know the difference between princess peach and barbie. So it gave both. The computer went the same way as the first director of the wizard of oz. He wanted The WIcked Witch to be sexy faced like the one in Wicked now. But he also wanted Dorothy to be... illusive:) Search "Early Costume Shot for Wizard of Oz Judy Garland" . I am waiting for that padre in V for Vendetta to have his last remittance. and lastly , I thought, lets give the machine , deviantart's dreamup, another pass. This time, the prompt is: " african american princess peach, detailed, precision" 30% similarity and using as reference the image above with african american mushroom I can see the computer has deduced, bling with african american fashion and thus african american peach has these diamond sequences in her dress. Funny how the mushroom kingdom looks, it seems like a baby between the mushroom kingdom and wakanda but anyway. again, this computer system, Deviantart Dreamup, is clearly racists! hahaha , should I cancel this computer program? Why is so angry. And finally,the lack of specificity on my part forced the computer program to design on its own and absent certainty or clarity, which it doesn't have, it produced this. I have no idea. But the computer is convinced that african american peach will wear a lavender About A.I. and Copyright

1)What defines a Black comic book to you, no answer is wrong? 2)From your definition of Black Comic book, which will you like to see made into a video game?

BLACK GAMES ELITE QUESTIONS 1)What defines a Black comic book to you, no answer is wrong? 2)From your definition of Black Comic book, which will you like to see made into a video game? I ask the two questions cause the point of Black Games Elite is to create, not to preach or talk. Website https://www.schomcom.org/ Registration https://www.eventbrite.com/e/the-schomburg-center-s-11th-annual-black-comic-book-festival-registration-525127088257 SCHEDULE FRIDAY, APRIL 14 10:30 AM EST Black Comic Futures (Curated by Black Comics Collective) Little Apple Universe Screenings An interactive discussion and look inside the TV shows and school curriculum activities of Little Apple Universe. Featuring Riley Wilson, Little Apple Universe Young Actors Black Comic Future Panel Youth comic book artists discuss their original comic and creative process. Featuring AK Lovelace, Harlem School of the Arts 1 PM EST Banned Books and Diversity in Comics Book bans across the U.S. are targeting graphic novels and comic books, especially those that take up issues of race, gender, and sexuality. This will be a conversation about how to advocate for stories that represent the full range of experiences for youth and adults. Featuring Joe Illidge, Dr. Monique Couvson, Mike Haynes-Pitts, Edgardo Miranda-Rodriguez, Kadia Tubman 3 PM EST The Creator Symposium Hosted by Women in Comics Collective International, this conversation will explore the ways in which multimedia and comic book professionals working in comics can continue to grow and thrive in an ever-changing industry. Featuring Regine Sawyer, Janicia Francis, Shauna Grant, Javier Cruz Winnik, Barbara Brandon-Croft, Ben Ha Meen 5 PM EST The Business of Comics and Sequential Narrative A conversation on the business of comics and moving in the industry beyond just publishing. Featuring TJ Sterling, Alitha Martinez, Shawn Martinbrough, Gamal Hennesy, Dedren Snead 6:45 PM EST Access Guide's Black Comics Trivia Challenge! Access Guide to the Black Comic Book Community the first SchomCom Trivia Night. This “Jeopardy” style event features the panelists and audience members in a nerd-off of Black characters and events from comics, tv, movies, and the culture, for ultimate bragging rights. Attendees will be able to play along on their phones or tablets to see if they are as knowledgeable as our panelists. Featuring Tatiana King, Karama Horne, John Jennings, Regine Sawyer SATURDAY, APRIL 15 11 AM EST How to Draw Black Superheroes & Comics Join Tim Fielder (Infinitum, DieselFunk Studios) for a master class on drawing comics. This program is open to all ages, but it is especially geared towards young people ages 5 and up. Featuring Tim Fielder 1 PM EST Speaking for Ourselves: Black Women & Marginalized Voices in Comics A conversation hosted by the Nerds, Erbs and Words podcast featuring industry experts about the nuances of Black women, LGBTQ, and other marginalized voices in comics and storytelling -- voices that mainstream media often misses. Featuring Erika Hardison & Keisha Parks (Nerds, Erbs and Words), Shauna Grant, Karama Horne, Elizabeth Colomba, Barbara Brandon-Croft 3:30 PM EST Black in the Future: Afrofuturism in Comics & Graphic Novels A conversation highlighting the powerful relationship between Afrofuturism, comics, and graphic novels. Featuring John Jennings, Ytasha Womack, Tim Fielder, Ayize Jama-Everett 5:30 PM EST Cosplay Showcase The SchomCom Cosplay Showcase is open to attendees of all ages and skill levels. The showcase will take place on Saturday, April 15 at 6 PM. If you want to participate, you can sign up at the Schomburg Center on Friday, April 14 from 10 AM - 8 PM, or Saturday, April 15 from 10 AM- 3 PM. The last registration for the cosplay showcase is at check-in on Saturday, April 15. Featuring Guest DJ Greg Wilson (@gregorywilson) PRIOR COSPLAY https://www.schomcom.org/cosplay MY THOUGHTS I have to admit. I have become disenchanted with this festival. And I will be blunt, I have become disenfranchised with the NY Comiccon or the MakersFaire in NYC. Maybe it is just the financial scenario of NYC. But, all to often, the supposed point of the convention or fair is lost. The Schomburg Black Comic Book Festival isn't about Black Comic Books. It is Multiracial or multiculturalism in aspects of the Comic Book Industry. It isn't about Black explicitly. I daresay it is more about female representation, that just happens to be black , then about black representation. And that isn't a problem. But, it calls itself a Black Comic Book fair. And, they will have a virtual gallery for black comics, which is just like NYComiccon's artist alley, which used to be the entire NY comiccon, is now a small aside. It's not a comiccon . It is a movie/video game, entertainment convention. And same with the Makersfaire. It is a 3d printing, drone fair. True makers get these little areas to show their craft. I just wish all conventions and starting with Black ones, will be more honest about what they are here for. If I administered a Black Comic Book Convention, it will be a simple thing. Get Black comic books! I wish the Schomburg would mirror itself off of the Komikku Māketto in Nippon, commonly called Japan. Get rid of all the Black preachers who want to talk about this and talk about that. I will love to see how many Black Comic Books are out there. Something tells me, far fewer black comic books are available today, than Black artists who say they want to make a comic.

MY COMMENT but i ask you, what should the state of white priviledge be ? Why wouldn't a majority of whites in a state, not demand advantages in their favor when that was and is the status quo or what their forebears made the usa for? IN AMENDMENT One of the problems I have with so many in the USA is they don't seem to comprehend that many others in the USA don't share their view and no true majority exists. Yes, some try to talk about the legal code. But the legal code of the usa was created by people whose actions most cancellers in the USA today will consider worthy of being cancelled. In the black community in the USA the variance between blacks who want equality side blacks who want , to be blunt, superiority has been one of the problems. Not because one is right or wrong but because the goals have no middle ground and that extends into the black people who desire a form of communalism over individual rights in the black community aside the black people who desire individual freedom in the black community over communal function. Unity between goals when one wants to go left while the other right. The two goals are polar opposites. Those who want advantage side those who do not, in all races: phenotypical/gender/age/religion/language/philosophy/financial standing, or other in the USA is the main battle in the USA or each community in the USA but one that can not be one without violence inevitably.