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Messages - Hypestyle

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Comic Reviews and Spoilers / Re: Defenders by Bendis
« on: September 17, 2017, 03:34:24 pm »
so where is the headquarters?  are there communication devices?  Is there a team vehicle?  Only Jessica flies.

Hudlin TV / Re: Orville
« on: September 17, 2017, 12:52:12 pm »
Anyone know of any involvement from people of color behind the scenes?  Writing, directing?  Costuming?  FX?

McFarlane was responsible for the brief revival of Cosmos.  Is Neil Degrasse Tyson a science consultant on this show?

Other Comics / Re: Priest Taking Over Justice League
« on: September 16, 2017, 11:39:51 am »
Will it be a McDuffie repeat? Itdoesn't look like he his diversifying the team, but it looks like he'll be telling the story from a different angle. The synopsis feels like an "Identity Crisis" style story.

I'm thinking Priest has gone on record saying that his favorite GL is Hal Jordan (and of course he wrote a GL prose novel involving Hal, as well as the Emerald Dawn arc many years ago).. But if John Stewart gets involved I'm sure Priest will treat him with respect.  Priest was off-grid when Simon Baz and the new female Lantern got created, so I'm interested to see what he does with them.  Especially with all the "overlap" that multiple Earth-galaxy Green Lanterns represent, I'm curious if he'll try to deconstruct what that means in terms of looking at the raw power that they represent.

I'd love to see Superman, Batman, Wonder Woman, John Stewart, Cyborg, Hawkgirl, Vixen and Mr. Terrific in the mix, for sure.

Other Comics / Re: Priest Taking Over Justice League
« on: September 15, 2017, 08:13:02 pm »
Marvel could use a storyteller of CJP's caliber!

My two cents.



he would be great to be the writer to bring back Fantastic Four- the original team-- and last at least 5 years on the title.  at minimum let him write at least five mini-series starring the Fantastic Four.

Other Comics / Re: Priest Taking Over Justice League
« on: September 15, 2017, 05:55:55 pm »
So is he going to get to write the stories that he wants to write?  Is editorial from the solo hero books going to start roadblocking every storyline he wants to do?  We all remember what Mr. McDuffie ended up having to deal with during his tenure.

I remember Priest blogging about a pitch for an "indecent proposal" plot involving Wonder Woman that ended up being vetoed.

I hope the title is consistently promoted and the title is given very solid compelling artists for each arc.

In The News / Chicago Moors minister convicted of tax fraud
« on: September 13, 2017, 06:18:38 pm »
Nowadays you have splinter sects of splinter sects, so I have no idea what the "center" of the Moorish movement is currently, but anyway...

a self-described Moorish “Grand Sheik,” who led a sovereign-citizen-style fraud scheme seeking more than $100 million in tax refunds, has been sentenced to 68 months in federal prison.

Marcel A. Walton, 47, of Chicago, received the sentence last Friday in U.S. District Court where he earlier pleaded guilty to one count of mail fraud in the scheme that actually “stole” $2 million in bogus refunds from the U.S. Treasury.

The case is one of the largest successful tax-fraud prosecutions brought against a leader in the Moorish movement — an offshoot of the sovereign citizen movement that primarily attracts African-Americas.

“The defendant identified [a] vulnerability in the IRS’s trust tax return processing system and orchestrated a massive tax scheme to exploit that vulnerability by filing numerous false returns,” court documents say.

Seven of his followers previously were sentenced to relatively short prison terms.

“It is also noteworthy that, while the government is the direct victim of the crime, all citizens and residents of the United States ultimately suffer the consequences of this type of criminal conduct,” federal prosecutors said in court filings.

Walton headed the Moorish Science Temple of America, based in Chicago, and worked for the city’s parks department since 2004.  He told his followers that if they became members of his temple, they could claim money purportedly owed to the Moors by the U.S. government.

Walton claimed his Moorish ancestors discovered America and that Moorish prophet “Noble Drew Ali” was given the deed to all lands making up North America, court documents say.

Further, he contended that modern-day Moors, such as himself, were entitled to back pay, tax refunds or reparations from the federal government for its “use of Moorish lands.” The next step, Walton said, entitled his followers  to file retro-active tax returns seeking refunds of  as much $900,000 each.

At least 17 of Walton’s followers filed an estimated 50 returns seeking more than $16.4 million dollars in refunds and obtained $3.3 million in refunds before federal investigators detected the fraud scheme and recovered $852,221, the court documents say.

The government limited its loss calculations to instances where Walton’s  role was corroborated by interviews with his temple members.

“However, it is likely that this calculation under represents the harm intended to be caused by defendant as defendant can otherwise be linked through various public filings to individuals who filed fraudulent tax returns seeking refunds exceeding $100 million,” the court documents say.   

For his assistance, Walton urged his followers to “tithe” 10 percent of the tax returns they received to him. Walton also personally participated in the fraud scheme.

In 2010, the documents say he filed fraudulent IRS returns, using the name “Marcel Antonio Walton Trust,” seeking approximately $300,000 for each of the years 2007 through 2009.

In early 2011, the U.S. Department of Treasury issued a $310,162 refund check to the  “Marcel Antonio Walton  Trust,” and mailed it to the defendant’s home address in Chicago.

“Over the course of the next several months, defendant converted all of the money to his own personal use,” the court documents say.

Walton “preyed upon” his “unsophisticated” followers and their vulnerabilities in the same manner that he preyed upon the United States and the vulnerabilities of the IRS’s tax filing system, the documents say.

Other Comics / Re: Superior Spiderman
« on: September 11, 2017, 07:32:37 am »
It illustrates how the immorality of Octavious overwhelmed any of the "good" he did as Spider-Man.  His arrogance and egotism basically made a wreck of everything in the end.

Comic Reviews and Spoilers / Re: Venimverse
« on: September 09, 2017, 07:13:21 pm »
f*ck Venom.

I'm sorry, I had to go there.  Really pissed off at the character since the early 90s and the decision to make him into semi-villain/anti-hero status.

Best I can do is just ignore everything involving him.

Directing / Colin Trevorrow exits Star Wars pt. 9
« on: September 05, 2017, 03:33:52 pm »
Director Colin Trevorrow has exited Star Wars: Episode IX.

Lucasfilm and Disney released an official statement on the subject, which originally appeared on

Lucasfilm and Colin Trevorrow have mutually chosen to part ways on Star Wars: Episode IX. Colin has been a wonderful collaborator throughout the development process but we have all come to the conclusion that our visions for the project differ. We wish Colin the best and will be sharing more information about the film soon.

RELATED: Star Wars: Leia Was Going to be at the Forefront of Episode IX

Just last month, British screenwriter Jack Thorne boarded the film, which was originally penned by Star Wars: The Last Jedi director Rian Johnson and later by Trevorrow and his writing partner
Derek Connolly. According to The Hollywood Reporter, “script issues have continued to be the continuing sore spot with Episode IX’s development,” as Trevorrow attempted several drafts for the
film. Additionally, the working relationship between Lucasfilm president Kathleen Kennedy and Trevorrow reportedly became “unmanageable.”

Trevorrow’s departure follows the behind-the-scenes turbulence on the Han Solo anthology film. In June, directors Phil Lord and Christopher Miller were removed from the Star Wars anthology movie in the middle of filming. Director Ron Howard was later hired to complete the project.

Trevorrow was tapped as director for Episode IX in 2015 after his success on Jurassic World. Though Jurassic World was a resounding success at the box office, earning a whopping $1.6 billion, his followup film The Book of Henry was considered a flop both critically and financially.

Scheduled to hit theaters on May 24, 2019, Star Wars: Episode IX is a production of Lucasfilm and likely starring Daisy Ridley, Adam Driver, John Boyega and Oscar Isaac.


new director needed: Spike Lee, Ava DuVernay, Antoine Fuqua, John Singleton, Reggie Hudlin, make it happen Disney!

Other Comics / Comics and Fascism
« on: September 04, 2017, 07:26:01 pm »

Superheroes And The F-Word: Grappling With The Ugly Truth Under The Capes


November 16, 2016·9:39 AM ET 

 Glen Weldon 
Twitter  Tumblr     

Superheroes preserve the status quo, employ symbolic visual imagery, have flawless bodies and use their powers to place themselves above the law. Are they just fascists in tights?

yogysic/Getty Images

Superheroes preserve the status quo, employ symbolic visual imagery, have flawless bodies and use their powers to place themselves above the law. Are they just fascists in tights?

Superheroes are democratic ideals.

They exist to express what's noblest about us: selflessness, sacrifice, a commitment to protect those who need protection, and to empower the powerless.

Superheroes are fascist ideals.

They exist to symbolize the notion that might equals right, that a select few should dictate the fate of the world, and that the status quo is to be protected at all costs.

Both of these things are true, and inextricably bound up with one another — but they weren't always.

Truth, Jawlines And The American Way: The Changing Face Of Superman

Monkey See

 Truth, Jawlines And The American Way: The Changing Face Of Superman
When he debuted in 1938, Superman was, briefly, a progressive icon. He sprang, after all, from the minds of two Jewish kids in Cleveland warily watching the rise of Hitler in Europe. In his first year of life, they sent their "Champion of the Oppressed" (his very first nickname, years before "Man of Steel") after corrupt Senators, war-mongering foreign leaders, weapons merchants, and crooked stockbrokers. He purposefully razed a slum to force the city government to provide better low-income housing. (He also launched one-man crusades against slot machines, reckless drivers, and cheating college football teams, which ... yeah. Guy kept busy.)

Both Captain America and Wonder Woman were created expressly to fight the Nazi threat. Literally, to fight it — to punch it right in its dumb Ratzi face.

Batman, on the other hand, spent much of his first year protecting only his city's wealthy elite from murder plots, jewel thieves and extortion. (Also werewolves and madmen with Napoleon complexes piloting death-blimps. Comics, guys!) It took him a while to turn his attention to the kind of petty crime that afflicted the common citizen — the arrival of Robin the Boy Wonder helped him focus.

But with the advent of World War II, Superman, Batman and other costumed heroes found themselves conscripted alongside Captain America. Not to fight the Axis themselves, mind you, but to root out stateside saboteurs and urge readers to plant Victory gardens and buy war bonds.

In the process, the visual iconography of superheroes — which, comics being comics, is 50% of the formula, remember — melded with that of patriotic imagery. This continued for decades after the war, as once-progressive heroes like Superman came to symbolize bedrock Eisenhower-era American values — the American Way — in addition to notions of Truth and Justice.

The Wertham Era

'Caped Crusade' Peeks Under Batman's Iconic Cowl

Book Reviews

 'Caped Crusade' Peeks Under Batman's Iconic Cowl
Yet there was always something about superheroes, and Superman in particular. He'd helped inspire the country to defeat fascism, but he looked like he did — the kind of idealized male musculature the Nazis fetishized — and he possessed "powers and abilities far beyond those of mortal men." What's more, he used said powers and abilities against those comparatively weak and frail mortal men, if they stepped out of line. He also came from an advanced planet peopled by a — and here's a pesky phrase that kept cropping up in Superman comics — "super-race."

It wasn't intended, but it was there. People noticed.

One person in particular: Dr. Fredric Wertham, who in his 1954 anti-comics screed Seduction of the Innocent, noted that Superman's whole schtick was hurting criminals without getting hurt himself, and dubbed him an "un-American fascist" symbol. It hit a nerve.

Wertham's crusade changed the industry completely, effectively ending crime and horror comics and shuttering many comics publishers, but the changes to superhero comics — and their fascist overtones — proved more subtle. Suddenly Superman's powers didn't derive from his "super-race" genetics, but from science: the rays of Earth's yellow sun, to be specific. But Batman, who'd been deputized by Gotham's Police Department as early as 1941, grew even chummier with the cops; most stories now began with an urgent plea for help from a worrisomely hapless Commissioner Gordon.

The Marvel Era

Wertham's concerns about the fascistic elements in superhero comics were about themes and implications, not actual text. Because at the time, kids were the primary audience for comics, which presented stark, simple morality plays — light versus darkness, good versus evil. More abstract qualities like characterization, psychology and any overtly political context simply never showed up in a given comic.

That changed when Stan Lee and Jack Kirby introduced the Fantastic Four in 1961 and, especially, when Lee and Ditko created Spider-Man in 1962. The men recognized that a demographic shift was underway — older teenagers and adults were now buying comics. So Lee, Ditko and Kirby created a roster of heroes whose troubled lives reflected those of their readership: conflicted, quarrelsome and deeply insecure.

Comic book creator Stan Lee in the Marvel Super Heroes Science Exhibition at the California Science Center in Los Angeles in 2006.   
 Damian Dovarganes/AP
And with the words "With great power comes great responsibility" (Amazing Fantasy #15, August 1962), Lee introduced a concept that greatly mitigated, for Spider-Man at any rate, the fascism baked-in to the superhero genre: sacrifice.

Previously, superheroes had paid lip-service to the notion of selflessness. The altruism they exhibited was reflexive and unquestioned, a part of the narrative infrastructure as essential to the genre as colored underpants. This was because that altruism hadn't needed to be questioned, as superhero stories were still simple stories to reassure children that good always triumphed over evil.

The fact that their tremendous powers and abilities shielded superheroes — often literally — from experiencing any lasting harm also served to undermine their status as truly heroic.

Lee and his co-creators cut against that tendency by showing Peter Parker really suffering — before, during and after his decision to be Spider-Man. Soon, Marvel comics teemed with mopey, hot-headed, angst-ridden heroes whose powers and abilities only served to complicate their lives, and deepen their baseline misery.

It took DC heroes like Superman and Batman a while to catch on to this trend, but when they did, they doubled down on it. Superman entered an era in which he lost and gained his powers with metronomic regularity, and Batman became a tortured obsessive.

Super-Fascism As Plot Point

In the 1980s and afterward, as superhero comics shed their child readership and turned in on themselves to cater exclusively to teens and adults, the dawning of the "grim-and-gritty" era meant that the fascism latent in the superhero genre became one of its chief storylines. In books like Watchmen, The Dark Knight Returns, Kingdom Come, Empire, Civil War and many others, creators explicitly grappled with how heroes exert their will when their penchant for benign intervention becomes ... less-than-benign. In monthly comics and one-shot tales set in alternative universes, scores of superheroes became dictators (often for "the greater good") and crushed any insurrection that would upset their status quo.

'Steel' Trap: Snyder's Superman, Between Worlds

Movie Reviews

 'Steel' Trap: Snyder's Superman, Between Worlds
Both this year's Batman v. Superman and Captain America: Civil War revolve around a non-powered billionaire attempting to rein in a rogue superhuman, and both engage in the by-now inevitable chin-stroking about freedom and government control.

Today, fascism has more potential tools in its arsenal than ever, and the cinematic superhero glut we now find ourselves in reflects that: again and again, these movies offer symbolic, dark-mirror reflections of the surveillance state.

A Changing Superhero Landscape

Although conceived in a progressive spirit, the superhero genre's central narrative has always been one of defending the status quo through overpowering might; in the vast majority of those cases, the one doing all that defending and overpowering is a straight white male. (This is just one of the reasons that the superhero genre, which has a knack for distilling American culture to its essence, can get a little on-the-nose, sometimes.)

More often than not, the straight white male in question has a square jaw and killer abs and holds vast amount of power but chooses not to use it to subjugate others, simply because he's a Good Person.

Which is to say: historically, the genre's organizing principle is that the only thing keeping fascism from happening is that straight white dudes are chill.

But slowly, incrementally, as comics (and movies, and tv shows, and games, t-shirts and coffee mugs) start to fill up with more characters like Ms. Marvel (a Pakistani-American teenage girl from Jersey City), the visual iconography of superheroes, and what those superheroes mean to the culture, will force the genre to do something it has historically resisted.

It will change.

And once superheroes look different, and once the world on the comics page more closely resembles the world off of it, you will still be able to discern the low but steady drumbeat of fascism that the genre has never been able to escape.

But it will grow lower, and less steady.

Feel The Funk / Rural Rap: Hick-Hop in the Trump Era
« on: September 02, 2017, 06:13:25 pm »
West Coast rapper Murs explores the presence of "hick-hop" in the midst of a rise in controversies over the Confederate flag and seething red-state resentments in the Trump era--

From a journalistic standpoint it’s intriguing. Much like the Detroit-grown Insane Clown Posse/ICP, the so-called “hick-hop” groups and solo acts are Caucasian rap music performers who have cultivated careers that manage to thrive without seemingly much, if any, of a relationship with the minority demographics that created and nurtured hip-hop in its earliest years (e.g. black, Latino). Most of them operate on independent labels, which in this era of Itunes, YouTube and streaming-platform-based promotion (Spotify, etc.), would seem to be an advantage and a balancing force compared to the resources afforded to the music acts signed to major corporate labels. I guess we'll see how this sub-genre evolves-- if at all-- are some of them doing trap-style records?


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Locally, Kid Rock continues to tease his theoretical bid for the GOP senate seat in 2018-- but in the meanwhile, he's scheduled to perform for six nights in a row at the newly constructed Little Caesar's Arena in downtown Detroit.  The stadium was largely subsidized with roughly $324 million in city money, against an estimated $800+ million overall cost for Olympia Entertainment (Aside from owning the Little Caesar's pizza corporation, the Ilitch Family owns the Red Wings hockey team and the Tigers baseball team).

There will be a Kid Rock- themed restaurant (!!!) in the arena that will be open for business throughout the year, apart from any sports games.
Kid Rock 2017, "Podunk"

Editorial from the Detroit Free Press

When the Ilitch family's Olympia Entertainment division chose divisive performer Kid Rock to christen Little Caesars Arena with six shows and a new restaurant, it sent a message to the Detroiters who made the project possible and who have yet to see the benefits promised. It's a message that's not too far off those Jim Crow-era signs warning that blacks weren't welcome.

Negro, go home.

That's what it feels like, at least. And for weeks, I've been struggling to come up with an alternative, less wounding interpretation. But how can I?

More: Little Caesars Arena, District Detroit: A look at what's planned
Henderson: How to rebuild Detroit? One block at a time

This is a musician who got rich off crass cultural appropriation of black music, who used to wrap his brand in the Confederate flag — a symbol inextricably linked to racism, no matter what its defenders say — and who has repeatedly issued profane denouncements of the very idea of African Americans pushing back against American inequality. Just last week, he trashed Colin Kaepernick, the former San Francisco 49ers quarterback who's jobless right now because he dared challenge the nation's racism with a silent, kneeling protest during the pre-football game singing of the national anthem.

Having Kid Rock open this arena is erecting a sturdy middle finger to Detroiters — nothing less. And the Ilitches, who've done so much for this city and also taken so much from it, should be the last to embrace that kind of signaling.

This isn't about music and whether Kid Rock is any good. Lots of people can argue, legitimately, about that.


Sam Riddle calls out 'hypocritical' Detroit Red Wings for hosting Kid Rock

It's about culture — our culture, in our city. This is a place of incredible, rich diversity, of immigrants and native peoples and the descendants of slaves, all hardened by our history but resilient and powerful in our determination for a bright future.

"I love America, I love Detroit and I love black people!" Kid Rock said in 2011, when the local NAACP gave him an award — he gave $50,000 to Detroit-based organizations —purportedly in the hopes that he'd change some of his antics. He did, while the positive publicity lasted.

But Kid Rock’s actions, the symbols he chooses and the stances he favors — the dog whistle racism about Kaepernick, the twisted nods to the Confederate flag as a symbol of American pride — are incompatible with the pro-Detroit platitudes he sometimes mouths.

This is a man who is exploitative and resentful of the city’s population, not a man who is for Detroit and Detroiters.

It's hurtful. It's disrespectful. And in the context of the current national racial strife, born of racist torch marches, of presidential equivocations, and of a prolonged debate about the presence of racist history in our midst, I think the Kid Rock extravaganza at a new Detroit arena is absolutely nuts.

I can admit to having just come to this position on this issue lately. Back when Kid Rock was announced as the arena's opening act, it bugged me, but didn't register as much more than an annoyance.

Henderson: What's the source for white anger on display in Charlottesville?
Nancy Kaffer: A call to action after 1967 Detroit riot goes largely unheard

Then Charlottesville happened. And then the president of the United States tried to muddy the national conversation on race by indulging false equivalencies between violent white supremacists and those who fight back against them.

And through all that, Kid Rock's top billing at the arena opening began to chafe even more. Then he opened his mouth.

At a concert a few weeks ago, while performing the song "Born Free," he broke into the lyrics to declare, "F-ck Colin Kaepernick," something he has done pretty consistently, it turns out, since Kaepernick first started kneeling in the fall of 2016.

There are certainly reasonable people who object to Kaepernick's chosen vehicle for protest — the flag, and the anthem.

But Kid Rock's reaction is not a reasoned objection. It's just an ignorant and racist sentiment couched in awww-shucks patriotism, precisely the kind of thing that has characterized so much of his career.

Back when he used to incorporate the Confederate flag into his performances, he said he "never flew that flag with hate in my heart."

That doesn't even make sense. But it speaks to the power of his commercial cynicism. Play to the bigots who'll cheer the explicit signaling. Pretend to the rest of the world that it's just about feeling good about America — as if you can invoke the most racist parts of American culture without being stained by them.

That hypocrisy also echoes in Kid Rock's musical evolution, from a wanna-be hip-hop artist, eager to capitalize on the genre's commercial success, to a bold celebrant of what might politely be called the culture of white resentment. He follows the money — and the message can be tailored to preserve the cash flow.

And this is the note on which Olympia and the Ilitches want to open our new arena?

I say "our" quite purposefully there, because Detroiters — of all hues and beliefs and economic class — have leveraged our financial future, pledging some $324.1 million in future tax dollars — including proceeds from a tax meant to support public schools — to help pay for this $863-million stadium.

We've also put our faith in the Ilitch family — again — to come through on the big promises they've made about what we would get in return.

That's not turning out the way we imagined, either.

The Ilitches pledged to ensure that 50% of the work done to construct this arena would go to Detroiters, a modestly fair proffer for all the tax dollars that went in.

But that target was missed by almost half, for many reasons, and $2.9 million in fines were levied against the companies who landed arena contracts.

The Ilitches also promised that this arena would be built simultaneously with the other developments that would make up the new District Detroit neighborhood.

This echoed their promise back in the early 1990s surrounding Comerica Park, pitched as a catalyst that would ignite development akin to Wrigleyville on the north side of Chicago.

That never happened, of course, and as the new arena prepares to open, nearly all of the promised development outside of the Ilitch investments — the new Little Caesars headquarters on Woodward, the new Wayne State Business School next to the arena and a slew of parking lots — are still if-come. 

And that makes Kid Rock's opening appearances even more insulting.

Detroit has given artistic birth to so many performers whose work appeals across racial, class and musical barriers. Stevie Wonder, Jack White, Aretha Franklin, Bob Seger — any one of them could have been the kind of choice that made all of Detroit proud.

Kid Rock could — and probably should — draw significant protests, launched from a community that has grown tired of being told its concerns don't matter, even when our money is used for something built in our own backyard.

It will be an inauspicious start, to say the least.

And the signal it sends won't be appreciated — or easily forgotten.

Correction: The original version of this column said Kid Rock gave $100,000 to the NAACP. He made those donations to other Detroit-based organizations and to the American Red Cross.

Comic Reviews and Spoilers / Re: Secret Empire
« on: August 31, 2017, 05:32:40 pm »
What happened to Captain Hydra after Cap laid him out with the hammer?

According to tge deadpool tie in, he was taken into custody

Guess that means we will see Captain Hydra again.

I'm not following this at all.  So are we to understand that Steve has an evil clone now?  How was all this arranged?

Other Comics / Re: New Weapon X
« on: August 31, 2017, 05:30:09 pm »
what is this series about?

Hudlin TV / Re: Aaron McGruder's Black America series
« on: August 31, 2017, 11:39:57 am »
Sounds like it could be a version of the BIRTH OF A NATION graphic novel I did with Aaron and Kyle Baker.

That should be produced as a feature film!  HEF will support, no doubt!

Black Panther / Re: Hudlin's Complete Collection Details Finalized
« on: August 29, 2017, 02:18:01 pm »
I don't see the inclusion of that "House of M" issue that was a kind of one-off crossover issue with that.  T'Challa vs. Sabretooth.

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