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Thread: Black Panther

  1. #61
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    Opens this Friday



    The Revolutionary Power Of Black Panther
    Marvel’s new movie marks a major milestone
    By JAMIL SMITH

    The first movie I remember seeing in a theater had a black hero. Lando Calrissian, played by Billy Dee Williams, didn’t have any superpowers, but he ran his own city. That movie, the 1980 Star Wars sequel The Empire Strikes Back, introduced Calrissian as a complicated human being who still did the right thing. That’s one reason I grew up knowing I could be the same.

    If you are reading this and you are white, seeing people who look like you in mass media probably isn’t something you think about often. Every day, the culture reflects not only you but nearly infinite versions of you—executives, poets, garbage collectors, soldiers, nurses and so on. The world shows you that your possibilities are boundless. Now, after a brief respite, you again have a President.

    Those of us who are not white have considerably more trouble not only finding representation of ourselves in mass media and other arenas of public life, but also finding representation that indicates that our humanity is multi*faceted. Relating to characters onscreen is necessary not merely for us to feel seen and understood, but also for others who need to see and understand us. When it doesn’t happen, we are all the poorer for it.

    This is one of the many reasons Black Panther is significant. What seems like just another entry in an endless parade of super*hero movies is actually something much bigger. It hasn’t even hit theaters yet and its cultural footprint is already enormous. It’s a movie about what it means to be black in both America and Africa—and, more broadly, in the world. Rather than dodge complicated themes about race and identity, the film grapples head-on with the issues affecting modern-day black life. It is also incredibly entertaining, filled with timely comedy, sharply choreographed action and gorgeously lit people of all colors. “You have superhero films that are gritty dramas or action comedies,” director Ryan Coogler tells TIME. But this movie, he says, tackles another important genre: “Superhero films that deal with issues of being of African descent.”


    Marvel
    Black Panther features tense action sequences: “There was a point during the movie when my brother turned to me and said, ‘What’s gonna happen?’” Boseman says. “I looked at him like, ‘Just watch the movie!’”

    Black Panther is the 18th movie in the Marvel Cinematic Universe, a franchise that has made $13.5 billion at the global box office over the past 10 years. (Marvel is owned by Disney.) It may be the first mega*budget movie—not just about superheroes, but about anyone—to have an African-American director and a predominantly black cast. Hollywood has never produced a blockbuster this splendidly black.

    The movie, out Feb. 16, comes as the entertain*ment industry is wrestling with its toxic treatment of women and persons of color. This rapidly expanding reckoning—one that reflects the importance of representation in our culture—is long overdue. Black Panther is poised to prove to Hollywood that African-American narratives have the power to generate profits from all audiences. And, more important, that making movies about black lives is part of showing that they matter.

    The invitation to the Black Panther premiere read “Royal attire requested.” Yet no one showed up to the Dolby Theatre on Hollywood Boulevard on Jan. 29 looking like an extra from a British costume drama. On display instead were crowns of a different sort—ascending head wraps made of various African fabrics. Oscar winner Lupita Nyong’o wore her natural hair tightly wrapped above a resplendent bejeweled purple gown. Men, including star Chadwick Boseman and Coogler, wore Afrocentric patterns and clothing, dashikis and boubous. Co-star Daniel Kaluuya, an Oscar nominee for his star turn in Get Out, arrived wearing a kanzu, the formal tunic of his Ugandan ancestry.

    After the Obama era, perhaps none of this should feel groundbreaking. But it does. In the midst of a regressive cultural and political moment fueled in part by the white-nativist movement, the very existence of Black Panther feels like resistance. Its themes challenge institutional bias, its characters take unsubtle digs at oppressors, and its narrative includes prismatic perspectives on black life and tradition. The fact that Black Panther is excellent only helps.


    Photograph by Williams + Hirakawa for TIME

    Back when the film was announced, in 2014, nobody knew that it would be released into the fraught climate of President Trump’s America—where a thriving black future seems more difficult to see. Trump’s reaction to the Charlottesville chaos last summer equated those protesting racism with violent neo-Nazis defending a statue honoring a Confederate general. Immigrants from Mexico, Central America and predominantly Muslim countries are some of the President’s most frequent scapegoats. So what does it mean to see this film, a vision of unmitigated black excellence, in a moment when the Commander in Chief reportedly, in a recent meeting, dismissed the 54 nations of Africa as “sh-thole countries”?

    As is typical of the climate we’re in, Black Panther is already running into its share of trolls—including a Facebook group that sought, unsuccessfully, to flood the review aggregator Rotten Tomatoes with negative ratings of the film. That Black Panther signifies a threat to some is unsurprising. A fictional African King with the technological war power to destroy you—or, worse, the wealth to buy your land—may not please someone who just wants to consume the latest Marvel chapter without deeper political consideration. Black Panther is emblematic of the most productive responses to bigotry: rather than going for hearts and minds of racists, it celebrates what those who choose to prohibit equal representation and rights are ignoring, willfully or not. They are missing out on the full possibility of the world and the very America they seek to make “great.” They cannot stop this representation of it. When considering the folks who preemptively hate Black Panther and seek to stop it from influencing American culture, I echo the response that the movie’s hero T’Challa is known to give when warned of those who seek to invade his home country: Let them try.

    The history of black power and the movement that bore its name can be traced back to the summer of 1966. The activist Stokely Carmichael was searching for something more than mere liberty. To him, integration in a white-dominated America meant assimilation by default. About one year after the assassination of Malcolm X and the Watts riots in Los Angeles, Carmichael took over the Student Non*violent Coordinating Committee from John Lewis. Carmichael decided to move the organization away from a philosophy of pacifism and escalate the group’s militancy to emphasize armed self-defense, black business ownership and community control.

    In June of that year, James Meredith, an activist who four years earlier had become the first black person admitted to Ole Miss, started the March Against Fear, a long walk of protest from Memphis to Mississippi, alone. On the second day of the march, he was wounded by a gunman. Carmichael and tens of thousands of others continued in Meredith’s absence. Carmichael, who was arrested halfway through the march, was incensed upon his release. “The only way we gonna stop them white men from whuppin’ us is to take over,” he declared before a passionate crowd on June 16. “We been saying freedom for six years and we ain’t got nothin’. What we gonna start sayin’ now is Black Power!”
    continued next post
    Gene Ching
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  2. #62
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    Continued from previous post


    ATMS/AP/REX/Shutterstock
    The activist Stokely Carmichael, pictured here at a 1966 rally in Berkeley, Calif., took a stand against white oppression and helped popularize the term black power

    Black Panther was born in the civil rights era, and he reflected the politics of that time. The month after Carmichael’s Black Power declaration, the character debuted in Marvel Comics’ Fantastic Four No. 52. Supernatural strength and agility were his main features, but a genius intellect was his best attribute. “Black Panther” wasn’t an alter ego; it was the formal title for T’Challa, King of Wakanda, a fictional African nation that, thanks to its exclusive hold on the sound-absorbent metal vibranium, had become the most technologically advanced nation in the world.

    It was a vision of black grandeur and, indeed, power in a trying time, when more than 41% of *African Americans were at or below the poverty line and comprised nearly a third of the nation’s poor. Much like the iconic Lieutenant Uhura character, played by Nichelle Nichols, that debuted in Star Trek in September 1966, Black Panther was an expression of Afrofuturism—an ethos that fuses African mythologies, technology and science fiction and serves to rebuke conventional depictions of (or, worse, efforts to bring about) a future bereft of black people. His white creators, Stan Lee and Jack Kirby, did not consciously conjure a fantasy-world response to Carmichael’s call, but the image still held power. T’Challa was not only strong and educated; he was also royalty. He didn’t have to take over. He was already in charge.

    “You might say that this African nation is fantasy,” says Boseman, who portrays T’Challa in the movie. “But to have the opportunity to pull from real ideas, real places and real African concepts, and put it inside of this idea of Wakanda—that’s a great opportunity to develop a sense of what that identity is, especially when you’re disconnected from it.”

    The character emerged at a time when the civil rights movement rightfully began to increase its demands of an America that had promised so much and delivered so little to its black population. Fifty-two years after the introduction of T’Challa, those demands have yet to be fully answered. According to the Federal Reserve, the typical African-American family had a median net worth of $17,600 in 2016. In contrast, white households had a median net worth of $171,000. The revolutionary thing about Black Panther is that it envisions a world not devoid of racism but one in which black people have the wealth, technology and military might to level the playing field—a scenario applicable not only to the predominantly white landscape of Hollywood but, more important, to the world at large.

    The Black Panther Party, the revolutionary organization founded in Oakland, Calif., a few months after T’Challa’s debut, was depicted in the media as a threatening and radical group with goals that differed dramatically from the more pacifist vision of civil rights leaders like Martin Luther King Jr. and Lewis. Marvel even briefly changed the character’s name to Black Leopard because of the inevitable association with the Panthers, but soon reverted. For some viewers, “Black Panther” may have undeservedly sinister connotations, but the 2018 film reclaims the symbol to be celebrated by all as an avatar for change.


    The urgency for change is partly what Carmichael was trying to express in the summer of ’66, and the powers that be needed to listen. It’s still true in 2018.


    Marvel

    Moviegoers first encountered Boseman’s T’Challa in Marvel’s 2016 ensemble hit Captain America: Civil War, and he instantly cut a striking figure in his sleek vibranium suit. As Black Panther opens, with T’Challa grieving the death of his father and coming to grips with his sudden ascension to the Wakandan throne, it’s clear that our hero’s royal upbringing has kept him sheltered from the realities of how systemic racism has touched just about every black life across the globe.

    The comic, especially in its most recent incarnations as rendered by the writers Ta-Nehisi Coates and Roxane Gay, has worked to expunge Euro*centric misconceptions of Africa—and the film’s imagery and thematic material follow suit. “People often ask, ‘What is Black Panther? What is his power?’ And they have a misconception that he only has power through his suit,” says Boseman. “The character is existing with power inside power.”

    Coogler says that Black Panther, like his previous films—including the police-brutality drama Fruitvale Station and his innovative Rocky sequel Creed—explores issues of identity. “That’s something I’ve always struggled with as a person,” says the director. “Like the first time that I found out I was black.” He’s talking less about an epidermal self-awareness than about learning how white society views his black skin. “Not just identity, but names. ‘Who are you?’ is a question that comes up a lot in this film. T’Challa knows exactly who he is. The antagonist in this film has many names.”

    That villain comes in the form of Erik “Killmonger” Stevens, a former black-ops soldier with Wakandan ties who seeks to both outwit and beat down T’Challa for the crown. As played by a scene-*stealing Michael B. Jordan, Killmonger’s motivations illuminate t***** questions about how black people worldwide should best use their power.

    In the movie, Killmonger is, like Coogler, a native of Oakland. By exploring the disparate experiences of Africans and African Americans, Coogler shines a bright light on the psychic scars of slavery’s legacy and how black Americans endure the real-life consequences of it in the present day. Killmonger’s perspective is rendered in full; his rage over how he and other black people across the world have been disenfranchised and disempowered is justifiable.

    Coogler, who co-wrote the screenplay with Joe Robert Cole, also includes another important antagonist from the comics: the dastardly and bigoted Ulysses Klaue (Andy Serkis). “What I love about this experience is that it could have been the idea of black exploitation: he’s gonna fight Klaue, he’s gonna go after the white man and that’s it—that’s the enemy,” Boseman says. He recognizes that some fans will take issue with a black male villain fighting black protagonists. Killmonger fights not only T’Challa, but also warrior women like the spy Nakia (Nyong’o), Okoye (Danai Gurira) and the rest of the Dora Milaje, T’Challa’s all-female royal guards. Killmonger and Shuri (Letitia Wright), T’Challa’s quippy tech-genius sister, also face off.

    T’Challa and Killmonger are mirror images, separated only by the accident of where they were born. “What they don’t realize,” Boseman says, “is that the greatest conflict you will ever face will be the conflict with yourself.”

    Both T’Challa and Killmonger had to be compelling in order for the movie to succeed. “Obviously, the superhero is who puts you in the seat,” Coogler says.

    “That’s who you want to see come out on top. But I’ll be ****ed if the villains ain’t cool too. They have to be able to stand up to the hero, and have you saying, ‘Man, I don’t know if the hero’s going to make it out of this.’”

    “If you don’t have that,” Boseman says, “you don’t have a movie.”
    continued next post
    Gene Ching
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  3. #63
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    Continued from previous post


    Marvel
    On set, Coogler works with star Gurira. “Black Panther is about a guy who works with his family and is responsible for a whole country,” he says. “That responsibility doesn’t turn off.”

    This is not just a movie about a black superhero; it’s very much a black movie. It carries a weight that neither Thor nor Captain America could lift: serving a black audience that has long gone under*represented. For so long, films that depict a reality where whiteness isn’t the default have been ghettoized, marketed largely to audiences of color as niche entertainment, instead of as part of the mainstream. Think of Tyler Perry’s Madea movies, Malcolm D. Lee’s surprise 1999 hit The Best Man or the Barbershop franchise that launched in 2002. But over the past year, the success of films including Get Out and Girls Trip have done even bigger business at the box office, led to commercial acclaim and minted new stars like Kaluuya and Tiffany Haddish. Those two hits have only bolstered an argument that has persisted since well before Spike Lee made his debut: black films with black themes and black stars can and should be marketed like any other. No one talks about Woody Allen and Wes Anderson movies as “white movies” to be marketed only to that audience.

    Black Panther marks the biggest move yet in this wave: it’s both a black film and the newest entrant in the most bankable movie franchise in history. For a wary and risk-averse film business, led largely by white film executives who have been historically predisposed to greenlight projects featuring characters who look like them, Black Panther will offer proof that a depiction of a reality of something other than whiteness can make a ton of money.

    The film’s positive reception—as of Feb. 6, the day initial reviews surfaced, it had a 100% rating on Rotten Tomatoes—bodes well for its commercial prospects. Variety predicted that it could threaten the Presidents’ Day weekend record of $152 million, set in 2016 by Deadpool.

    Some of the film’s early success can be credited to Nate Moore, an African*-American executive producer in Marvel’s film division who has been vocal about the importance of including black characters in the Marvel universe. But beyond Wakanda, the questions of power and responsibility, it seems, are not only applicable to the characters in Black Panther. Once this film blows the doors off, as expected, Hollywood must do more to reckon with that issue than merely greenlight more black stories. It also needs more Nate Moores.

    “I know people [in the entertainment industry] are going to see this and aspire to it,” Boseman says. “But this is also having people inside spaces—gatekeeper positions, people who can open doors and take that idea. How can this be done? How can we be represented in a way that is aspirational?”

    Because Black Panther marks such an unprecedented moment that excitement for the film feels almost kinetic. Black Panther parties are being organized, pre- and post-film soirées for fans new and old. A video of young Atlanta students dancing in their classroom once they learned they were going to see the film together went viral in early February. Oscar winner Octavia Spencer announced on her Insta*gram account that she’ll be in Mississippi when Black Panther opens and that she plans to buy out a theater “in an underserved community there to ensure that all our brown children can see themselves as a superhero.”

    Many civil rights pioneers and other trailblazing forebears have received lavish cinematic treatments, in films including Malcolm X, Selma and Hidden Figures. Jackie Robinson even portrayed himself onscreen. Fictional celluloid champions have included Virgil Tibbs, John Shaft and Foxy Brown. Lando, too. But Black Panther matters more, because he is our best chance for people of every color to see a black hero. That is its own kind of power.

    Jamil Smith is a journalist born and raised in Cleveland, Ohio. He lives in Los Angeles.
    DS & I are scheduled to see the screener tomorrow. We plan to have an exclusive review up on Friday.
    Gene Ching
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  4. #64
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    Kendrick Lamar, SZA - All The Stars

    Gene Ching
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  5. #65

    Identity Politics Strikes Again



    This Is The Kind Of Identity Politics That I Hate" Ben Shapiro On The New 'Black Panther’ Movie


    Hollywood is poisoned with Toxic Globalist Marxism. If it wasn't for the occasional film like Wind River (Trailer Link) I would only watch Asian Films.
    Last edited by wolfen; 02-15-2018 at 06:39 PM.
    "顺其自然"

  6. #66
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    Our newest exclusive web article

    So much buzz on this film, but know your history - READ BLACK PANTHER: Come out Fighting by Patrick Lugo and Gene Ching

    Gene Ching
    Publisher www.KungFuMagazine.com
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  7. #67

    Black Panther Backfires

    Black Panther was made to cater to Black Identity Politics and further create racial strife in the Democrat-Marxist War on America by the Entertainment-News complex (MSN) IE the Globalists. However it is backfiring somewhat. A lot of leftists are angry about the obvious right wing nature of the world of Wakanda.

    ‘Black Panther’ Review: The Movie’s Hero is Trump, the Villain is Black Lives Matter

    There is a whole lot to like about Marvel’s $200 million Black Panther, and almost as much not to like. For starters, director and co-writer Ryan Coogler does an A+ job of world building (more on this later). In addition, the soundtrack and score also deserve an A+. Then there are the actors, the best cast yet assembled in all of the Marvel Cinematic Universe (by far).

    Black Panther is set in the fictional Wakanda, an idyllic country hidden in the heart Africa thanks to an alien metal called vibranium. This resource (delivered eons ago by way of a meteor) not only gives Wakanda the ability to disguise itself as a third-world country (and therefore remain blissfully ignored by the outside world), but to enjoy an extraordinary standard of living through the miracles of technology and science.

    The real Wakanda looks like an African country — open markets, vibrant colors, the architecture, the love of long-held traditions… But if you look closer, everyone enjoys the lifestyle of a Silicon Valley billionaire.

    Wakanda is ruled by King T’Challa (Chadwick Boseman), who is also known as the Black Panther. T’Challa is big on border security, believes Wakanda and Wakandans should come first, and fiercely protects his country’s culture from outsiders, including refugees. If this is all starting to sound familiar, it should. Also like President Donald Trump, T’Challa’s beliefs are not based on race. This is not a “black thing.” This is a culture/survival thing.

    Even the progressive Nakia (Lupita Nyong’o) — a more-than-capable spy and the woman T’Challa still carries a torch for (can you blame him?) — does not argue for open borders, liberal immigration policies, and a massive influx of refugees. She merely wants to export vibranium to help mankind.

    The arrival of Erik “Killmonger” Stevens (an underused Michael B. Jordan) puts all of these arguments on hold. Killmonger (such a great name) is a man with mad killing skills and a burning grudge against Wakanda. T’Challa might be the Black Panther, but Killmonger is a Black Panther in the Huey Newton-Bobby Seale 1960 black nationalist sense. Like the Black Panther Party, Killmonger was born in Oakland, California, and to him everything is a “black thing.” He wants the vibranium exported in the form of weapons to overthrow white people.

    Still, Black Panther is not a movie about race, it is a movie about ideas and ideals, about our shared humanity. Our hero is not in favor of protecting ethno-nationalism, but rather a healthy form of nationalism.

    If T’Challa is Trump, Killmonger is Black Lives Matter.

    ***** Warning Spoilers inthe following Video ***************



    In actuality, Wakanda is not a democracy and doesn't sound like a place where anyone would want to live, though BLM might want to turn America into Wakanda. Also it doesn't sound like there are any "good guys" ..everyone is just battling to be Number One.



    The Politics of Black Panther By Sargon of Akkad
    "顺其自然"

  8. #68
    Quote Originally Posted by GeneChing View Post
    So much buzz on this film, but know your history - READ BLACK PANTHER: Come out Fighting by Patrick Lugo and Gene Ching
    BLACK PANTHER takes on racial prejudice
    The film was created to pander to Black Identity Politics in fact create racial antagonism. Anything with it's core game plane to attack rather than unite is willfully destructive.

    .
    In 2017, Marvel’s big event was a storyline titled “Secret Empire” which in essence claimed that Captain America has secretly been a Nazi all along..
    So when do they portray Superman as a child molesting serial killer? Or have they done that already? The SJW Marxist Anti-American, Anti-Nationalism of Marvel Comics is very clear.

    get too bogged down with politics (although racist vitriol has already appeared in reaction - a sad symptom of our times)
    The entire aim of the fim is racial Identity Politics.. Here's an example of that racist vitriol boldly proclaimed on the Wikipedia entry for Black Panther.

    Writing for Time, (A Marxist Propaganda Rag in the tank for Globalism) Jamil Smith felt Black Panther, which he described as a film "about what it means to be black in both America and Africa—and, more broadly, in the world", was "poised to prove to Hollywood that African-American narratives have the power to generate profits from all audiences. And, more important, that making movies about black lives is part of showing that they matter." He added, "In the midst of a regressive cultural and political moment fueled in part by the white-nativist movement, the very existence of Black Panther feels like resistance. Its themes challenge institutional bias, its characters take unsubtle digs at oppressors, and its narrative includes prismatic perspectives on black life and tradition."
    So there is an obvious Black Racist with an obvious prejudice against whites. That is no MLK. He is using the rhetoric of the terrorist group BLM. This was the group that was encouraged by Obama to "make things messy" when they rioted and murdered and by DOJ Lynch to "hang in there" when they killed whites.


    a sad symptom of our times


    As different from the relatively peaceful times of 20 years ago. It is not the people of America that are "sad". The Democrat and their propaganda machine in the MSN and Hollywood created racial hatred in the last twenty years. The MSM even caused mass riots by propagating lies deceits and false narratives.
    Feminism and Racial/Ethnic identity politics are cancer. They have destroyed cultural institutions, traditions and the lives of people. The Democrats successfully used these things and illegal immigration to achieve permanent power in California and turn it into a one party corrupt Stalinist State, They obviously have Hollywood in the tank for them.

    The article shows that Hollywood and Marvel Comics are completely politicized and in the tank for the Globalist SJW agenda. Feminism and Racial/ethnic identity politics are cancer and destroyed the lives of hundreds of thousands of people . Yet instead of working towards more peaceful narratives for society the Hollywood machine picks up the political sword and enthusiastically lays waste to America.




    The Truth About the Black Panther Movie

    Apparently if you don't like the film you are a racist. It's not the film that is a problem. it's how people are using it for divisiveness and attempted social engineering...but that is really why it was made.
    ...
    Personally I would not recommend white people to see it in a theatre, not in these "sad" times. .. There are many people who say your white presence woudl destroy the "Black Joy". It might be dangerous.
    Last edited by wolfen; 02-17-2018 at 04:30 PM.
    "顺其自然"

  9. #69

    No Country For WYPIO

    My White Privilege can't even get me into a movie theatre these days.




    White People Not Allowed To Watch New Black Panther Movie?

    Some leftists have criticized The film for not being intersectional enough. apparently thy think two of the women protagonists shoudl be lesbian lovers.
    "顺其自然"

  10. #70
    Greetings wolfen,

    Did you actually see this movie?

    mickey

  11. #71
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    Kung Fu Kenny @ #1

    Called it - from our review last week: BLACK PANTHER: Come out Fighting by Patrick Lugo and Gene Ching

    What's more, it's a brilliant listen. Kendrick Lamar, a.k.a. Kung Fu Kenny may well deliver Marvel's first chart topping hit with his pop collaboration with SZA, the title song "All the Stars". Lamar taps many other hot talents for the soundtrack including Ab-Soul, Future, Schoolboy Q, Travis Scott, Jorja Smith, Anderson.Paak, and the Weeknd. In addition, composer Ludwig Göransson spent a month with in Senegal researching traditional music with the world renowned musician Baaba Maal.
    On the Charts: Kendrick Lamar-Curated 'Black Panther' Opens at Number One
    Marvel masterpiece opens atop both box office and Billboard 200


    'Black Panther' finished atop both the box office and the Billboard 200 as the Marvel blockbuster's Kendrick Lamar-curated LP debuted at Number One. Walt Disney Studios Motion Pictures

    By Daniel Kreps
    2 days ago

    Black Panther finished atop both the box office and the Billboard 200 as the Marvel blockbuster's Kendrick Lamar-curated soundtrack debuted at Number One on the album charts.

    How Marvel's investment in a stand-alone movie for Wakanda's king signals a new era for black superheroes – and superhero movies at large

    Black Panther: The Album – featuring new tracks by Lamar, Jay Rock, the Weeknd, Future, Vince Staples and more – sold 154,000 total albums in its first week of release, which preceded the superhero film's opening by a week. 52,000 of that total were from traditional album sales.

    While soundtracks often top the Billboard 200, albums "inspired by" a film – only three of Black Panther: The Album's 14 songs actually appear in the movie – less frequently reach Number One; 1997's Men in Black: The Album and 2012's The Hunger Games: Songs From District 12 and Beyond are two examples of companion albums topping the charts, Billboard notes.

    The soundtrack's success comes as the film itself shattered Marvel's records for a standalone non-Avengers superhero film, with Black Panther expected to bring in $218 million over the four-day Presidents Day weekend, a record for a February opening, Variety reports.

    Justin Timberlake's Man of the Woods, last week's Number One, fell one spot to Number Two and 74,000 total copies. Migos' Culture II landed at Number Four sandwiched between a pair of soundtracks, The Greatest Showman (Number Three) and Fifty Shades Freed (Number Five). Billboard added that this week is only the second time in the past decade that three soundtracks simultaneously finished in the Top Five.

    Black Panther: The Album was the lone new release to finish in the upper tier of the Billboard 200 as five returnees occupied the bottom half of the Top 10: Ed Sheeran's Divide (Number Six), Bruno Mars' 24K Magic (Seven), Post Malone's Stoney (Eight), Lamar's ****. (Nine) and Camila Cabello's Camila (Number 10).

    Next week, Black Panther will attempt to ride its box office-shattering success – and a light slate of new releases – to another week atop the Billboard 200.
    Gene Ching
    Publisher www.KungFuMagazine.com
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  12. #72

    Stefan Molyneux on the Black Panther Global Vision

    Quote Originally Posted by mickey View Post
    Greetings wolfen,

    Did you actually see this movie?

    mickey
    Greetings Mickey!

    Not an argument.

    Wolfen

    ========================>




    The Truth About Black Panther Stefan Molyneux

    Here is a very interesting in depth discussion on some of the political premises of the film. as relates to the Modern World

    Racial Politics, Identity Politics, Colonialism, European Exploitation of Africa, The Voldemort Hypothesis, Wakanda's respect for it's ancestors as it relates to ethnic tribulation and conflict, Wakanda's Isolationism, immigration policies,the rejection of refugees, fatherless Blacks and Black on Black Violence (Typical problems created in America by Democrat Policies) , ethno-states, the solution of wiping out 15 percent of the world's population (whites), Wakanda's Global Vision, Waknada's in-group preference, the importance of technology versus concepts, Statism and Oligarchical Systems oppressing the peoples, the distraction of identity politics obfuscating the oppression of the State, the destructiveness of the welfare state ... yes, the whole enchilada.
    And the final solution to our ills is not magic but.... (watch the video!)

    Everything you always thought about and never knew you thought about.
    "顺其自然"

  13. #73
    Greetings wolfen,

    Again, did you actually se the movie?

    Or, are you Stefan Molyneux?

    mickey
    Last edited by mickey; 02-21-2018 at 08:04 AM.

  14. #74
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    'The show played out like a kung fu film'

    ****. Kung Fu Kenny!
    Fans were treated to a musical and visual masterpiece as Kendrick brought the ****. experience to London.
    By Andy Djaba
    Friday, 23rd February 2018



    I feel like I’ve spent the last five months as Felix Music Editor almost exclusively writing about Kendrick Lamar. Nonetheless, please indulge me one more time… I’ll try to keep it brief. Kendrick Lamar completed the UK leg of his ****. world tour last week, performing six nights and shutting down arenas in Birmingham, Manchester, Glasgow, and London.

    The show played out like a kung fu film, with a recurring theme of martial arts running throughout and the concert beginning with a short film depicting “the **** legend of Kung Fu Kenny”. The night got off to a frantic start as Kendrick kicked off his set with a literal BANG before launching into the explosive ‘DNA.’, complete with a ninja sharing the stage with him. This breathless start to the show set the pace for the rest of the evening as Kendrick proceeded to perform a medley of up-tempo fan favourites, including ‘ELEMENT.’ and ‘King Kunta’. It wasn’t until after performing his feature verse on ScHoolboy Q’s ‘Collard Greens’ that Kendrick gave the crowd a moment to catch its breath, before taking us back with ‘Swimming Pools (Drank)’ and ‘Backseat Freestyle’ from 2012’s good kid, m.A.A.d city. The intro to ‘FEEL.’ played out whilst an accompanying dance performance took place on stage as King Kendrick made his way to perform ‘LUST.’ and ‘Money Trees’ in an elevated cage in the centre of the regular standing section, amongst his adoring subjects. Kendrick standing within spitting distance of me was arguably the highlight of my evening and that moment was only matched by the a cappella rendition of ‘HUMBLE.’ as the concert drew to a close. There was something magical about hearing the 20,000-strong crowd echo back every line from the track and even Kendrick seemed touched, pausing to witness the extent to which his music has impacted the culture and pervaded the mass consciousness of our generation.

    This was quite simply the best concert I’ve attended, worth every penny of the £80 ticket price. If his masterstroke in executive producing the Black Panther album weren’t enough proof that Kendrick is an artist at the peak of his powers, seeing him perform live proves his artistry seemingly knows no bounds. Not to sound cliché, but only one word can describe the extravaganza Kendrick put on for us: ****.
    His tour comes to Oaktown on May 8. Given the Black Panther connection there, it's going to be massive.

    Thread: The **** Legend of Kung Fu Kenny by Kendrick Lamar
    Thread: Black Panther
    Gene Ching
    Publisher www.KungFuMagazine.com
    Author of Shaolin Trips
    Support our forum by getting your gear at MartialArtSmart

  15. #75
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    Stefan Molyneux is Appaling, The Ruins of Great Zimbabwe, and Thor is Copper-Colored

    Quote Originally Posted by wolfen View Post
    Greetings Mickey!

    Not an argument.

    Wolfen

    ========================>




    The Truth About Black Panther Stefan Molyneux

    Here is a very interesting in depth discussion on some of the political premises of the film. as relates to the Modern World

    Everything you always thought about and never knew you thought about.

    Errr... That Stefan Molyneux video was ridiculous. Horrible, in fact. First of all, Black Panther is a comic book character. I am fully aware that any published material (newspaper, magazines, comic books) can have political slants to them, or rather, the writers (or screen writers if it is a movie) can slip in their own political bents, etc. But it is largely entertainment, even satire, which is nothing to be afraid of. It seems though, that since Trump has been president, a lot of people have been coming out as closet racists like that Ben Shapiro character you also linked to in this thread.

    Okay, the main point that Stefan Molyneux totally missed, which renders his arguments and insights useless (I could only bare to watch the first 10 minutes), is the difference between an IMPERIALIST EMPIRE and an INDIGENOUS EMPIRE. The former pillages and colonizes lands which are not theirs, with a hierarchy very involved and measured by monetary wealth. Therefore they have a supply and demand that needs to be met, which means man-power (human resource) as well as a need for conquest/ expansion, supply of ever more trade and goods. The latter, the Indigenous Empire, is what our for-bearers tried to bestow upon us. For instance, did you know about the ancient African sites, such as the ruins of Great Zimbabwe? There were great kingdoms which flourished in Africa many thousands of years ago, but through art and trade, and cultural connections, not by conquest. The ruins of Great Zimbabwe truly are magnificent, one of the great ruins of the ancient world that we today do not know much about. Also, there are the thousands of stone temple circles and Adam's Calender in S. Africa. In this sense, the fictional kingdom of Wakanda (kind of sounds like the real-life Rwanda), has some basis in reality, but is steeped in some forgotten age (sort of like Robert E. Howard's Conan the Barbarian.) Also, in the very ancient times, I remember reading somewhere of an account of a non-African kingdom which employed two African warriors because they were said to possess super-natural abilities-- of course, the ancient world is full of accounts of what we would think of today as "the fantastic." Also, think of the Incan Empire in Peru-- they had all that gold, but they had no sense whatsoever of the gold's worth monetarily, because they were an Indigenous Empire, not an Imperialist Empire. The Incas also had store-houses of grain every so many miles and anyone was welcome to their share if they needed to use that resource. Why are people homeless and starving in today's world? It's just not necessary, like a lot of things. The Incas attached ceremonial value to their gold and precious metals, not monetary wealth like people do today. Here in North America, why did Native people in colonial times torture and set fire to their victims? It is because their world was falling apart, and they needed to purge the evil spirits from the person's body.

    Yeah, I dunno. I think that if Marvel was into some "race war" thing, they would have made Thor a person of color or something. But they didn't, did they? Thor remains as a fair skinned blonde, although to tell you the truth, this image that people have today of Thor is revisionist. To the earlier ancient Nordic peoples, Thor would have appeared to be more bronze, or dark-skinned. The ****her you go back into Scandinavian history, the less white the people seem to be- their ancient race seems to be an admixture of today's Nordic white race with a strong mix of perhaps Saami (Lapp), Siberian or even Algonquian peoples.

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