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Black Panther / BLACK PANTHER - DISNEY+ Season Finale - His name is Erik Stevens!
« on: March 09, 2020, 10:41:57 pm »
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As I continue to research all things Black Panther I came across some interesting articles. I thought not only would they make interesting reading but needed archival preservation here at the HEF.
EDITS and EXERTS taken from
The Black Panther: A Comic Book History
By Vernon Mitchell, Jr., Curator of Popular American Arts on 23 May 2018 in Dowd Modern Graphic History Library, Special Collections, What's New
The late 1960s was a tumultuous time for America both domestically and abroad. President Lyndon Johnson signed the Voting Rights Act into law on August 6, 1965, which banned discriminating voting policies, just five days later, riots broke out in Watts, a section of Los Angeles, centered around police brutality toward African Americans. Times were indeed tense, and the issues of race were at the forefront. The fires that burned in Southern California were not solely about one incident per se, but a response to continued systematic oppression.
The larger implications of socio-economic inequality were now part of a larger critique of what America was and was not. This was the backdrop that Marvel Comics’ Stan Lee and Jack Kirby used to create their new character, Black Panther. The character’s alter ego, King T’Challa, was ruler of the fictional African kingdom of Wakanda. He was the first black superhero to debut in American comic books.
Originally conceived of as the “Coal Tiger,” Black Panther cannot be separated from the times in which he burst onto the comic book scene in Fantastic Four #52 in July of 1966. Prior to the release of the comic, Lee and Kirby, according to writer Sean Howe, were very much aware and influenced by an article in The New York Times that discussed the formation of the Lowndes Country Freedom Organization (LCFO), which had as their emblem a black panther. Howe attributed that article as the impetus for changing the name of the character that Lee and Kirby had been working on for months.
The media referred to the LCFO as “The Black Panther Party,” after its formation in 1965 under the direction of Student Nonviolent Coordinating Committee (SNCC) field secretary, Stokely Carmichael (Kwame Ture). Carmichael believed that African Americans’ political power resided in the will and political self determination of local people.
full article
https://library.wustl.edu/the-black-panther-a-comic-book-history/
First Serial: Marvel Comics, The Untold Story
Drugs, feminism, and blaxploitation superheroes — the moment when Marvel changed forever
by SEAN HOWE ON OCTOBER 4, 2012
In the issue of The Fantastic Four #119, Marvel briefly tried to put distance between the Black Panther and his politically charged namesakes by renaming him Black Leopard. “I neither condemn nor condone those who have taken up the name,” T’Challa told the Thing, in a carefully measured bit of expository dialogue.
full article
https://grantland.com/features/an-excerpt-sean-howe-marvel-comics-untold-story/
EDITS and EXERTS taken from
How ‘Coal Tiger’ Became ‘Black Panther’
The newest addition to the Marvel Cinematic Universe has always been tied to Black Arts Movement.
BY JONITA DAVIS / FEBRUARY 12, 2018
The energy and imagery of the mid-1960s saturated the creative minds looking for inspiration, including Marvel artist and art editor Jack Kirby.
Sean Howe’s book Marvel Comics: The Untold Story details that time leading up to Black Panther’s creation. Stan Lee was managing the team of artists and writers, who were actively competing with DC comics for comics sales. According to Howe, Stan Lee heard of the upcoming release of a line of comics that was a gamechanger for DC. Marvel had nothing new to compete. Howe quoted Kirby, “I came in one day,” said Kirby, “and Stan said, ‘Martin says we have to add more books.’ They were afraid Al Harvey, who had pretty good distribution, was going to crowd them off the stands.” Kirby and the rest of the team went to work looking for new lines and characters.
They tapped a little history by researching ancient cultures of Mexico and Africa. They also dug deeper into the sci-fi lore that was becoming popular at the time. The atmosphere of the time greatly influenced the Marvel creatives as well. The result of their hard work was a few new characters are still famous today—The Inhumans—and a black superhero, who lead an uncolonized African nation, and used the cutting edge of futuristic weaponry was born. His name was…Coal Tiger.
Kirby presented the character to Lee, and Lee decided not to push the black hero or the Inhumans at that time. They waited to introduce their new black character with an already popular line of white characters, the Fantastic Four, in issue #52, which hit stands July 1966. The renamed the Coal Tiger, Black Panther, and gave him a makeover for the gig. It would be another 8 years before Lee launched a solo Black Panther comic series Jungle Action.
Meanwhile, the Black Arts Movement, which was started in 1965 by poet Imamu Amiri Baraka, was creating a national interest in black culture. BAM also stimulated a pride in the black community that was manifest in hair (afros and braids), clothing (dashikis and Afrocentric prints), beauty. James Brown’s “Say It Loud—I’m Black and I’m Proud” was like an anthem. This pride carried the community forward.
By 1973, the movement was in full swing and black culture was dominating pop culture, and even film. Blaxploitation movies that centered black characters with black problems were available. Despite their campiness and stereotyping fails, the films were the first time the nation saw black people onscreen and in the forefront of the narrative.
The celebration of black culture that the Black Panther character’s solo comic debuted it did not last, but it didn’t fade away either. The door was open just a bit for black creatives, who would push it open in the decades to come, leading to the Black Panther film.
the movie about Black Panther went through some false starts just as the comic did. In addition, both character debuts were attempted using the popular Marvel characters at the time. The solo release came later, after the “soft launch” of the black superhero standing alongside his beloved white counterparts. Also, like his debut timeline, the film version launches amidst a mainstream appreciation of black culture, with an underlying struggle with racism. That struggle is fueling activism and feeding the Black community’s resurgence of Black pride.
The soft launch before the solo debut is one curiosity to note. Although the elapsed time differed, they did occur. The black superhero had to be introduced by beloved white characters before he could come out alone. There may have been causing for such a thing in the 1960s when there had been little to no marketing of blackness to the public. Then, a black character was a significant risk, especially one that shares the name of a group that media and government were characterizing as militant and anti-White. Lee may not have wanted to gamble. This reason only holds until you considered the list of the many superheroes that Lee debuted solo without a soft launch. Even the Marvel film franchise released Spiderman, Hulk, and a few other superheroes in solo films without a soft launch. Both times, they took a gamble on the white superhero, but not Black Panther.
These and other curiosities lead to the conclusion that the Lee and Marvel, and also the Marvel studios today were priming the public for the black hero. They saw that the possibilities when Black culture started seeping into the mainstream. A soft launch would “test the waters” and see if the public could handle such a character. This seems plausible until you consider that prior to the solo debut of the character both times, the black community was calling for representation in pop culture. In the past few decades, the outcry for more representation in the film has been a topic of discussion and studies. They started well before the current film iteration was conceived.
In fact, when Black Panther’s solo comic appeared in 1973, it was so popular that Luke Cage followed. Similarly, the soft launch of Black Panther was followed by a Luke Cage series on the small screen that was a hit for Netflix streaming service. Once the public was given the Black Superhero, they eagerly sought out more, making the next one a hit out of the gate.
It’s obvious that the problem is not the public. It’s the industries. Both Marvel Comics back then and the MCU now are run by white men who do not want to gamble on blackness until they are sure that they can profit. They wait until the movement is starting, the pride is forming, and the creativity is arising in other areas before “dipping a toe in” for a soft launch. Once that happens, once the profitability of the character is recognized, then they ride in like abolitionists with bolt cutters to open the gates to creative works and opportunities. Everyone is too swept up in the chaos to see that the ones holding the bolt cutters were also the ones holding the gates closed before.
As I continue to research all things Black Panther I came across some interesting articles. I thought not only would they make interesting reading but needed archival preservation here at the HEF.
EDITS and EXERTS taken from
The Black Panther: A Comic Book History
By Vernon Mitchell, Jr., Curator of Popular American Arts on 23 May 2018 in Dowd Modern Graphic History Library, Special Collections, What's New
The late 1960s was a tumultuous time for America both domestically and abroad. President Lyndon Johnson signed the Voting Rights Act into law on August 6, 1965, which banned discriminating voting policies, just five days later, riots broke out in Watts, a section of Los Angeles, centered around police brutality toward African Americans. Times were indeed tense, and the issues of race were at the forefront. The fires that burned in Southern California were not solely about one incident per se, but a response to continued systematic oppression.
The larger implications of socio-economic inequality were now part of a larger critique of what America was and was not. This was the backdrop that Marvel Comics’ Stan Lee and Jack Kirby used to create their new character, Black Panther. The character’s alter ego, King T’Challa, was ruler of the fictional African kingdom of Wakanda. He was the first black superhero to debut in American comic books.
Originally conceived of as the “Coal Tiger,” Black Panther cannot be separated from the times in which he burst onto the comic book scene in Fantastic Four #52 in July of 1966. Prior to the release of the comic, Lee and Kirby, according to writer Sean Howe, were very much aware and influenced by an article in The New York Times that discussed the formation of the Lowndes Country Freedom Organization (LCFO), which had as their emblem a black panther. Howe attributed that article as the impetus for changing the name of the character that Lee and Kirby had been working on for months.
The media referred to the LCFO as “The Black Panther Party,” after its formation in 1965 under the direction of Student Nonviolent Coordinating Committee (SNCC) field secretary, Stokely Carmichael (Kwame Ture). Carmichael believed that African Americans’ political power resided in the will and political self determination of local people.
full article
https://library.wustl.edu/the-black-panther-a-comic-book-history/
First Serial: Marvel Comics, The Untold Story
Drugs, feminism, and blaxploitation superheroes — the moment when Marvel changed forever
by SEAN HOWE ON OCTOBER 4, 2012
In the issue of The Fantastic Four #119, Marvel briefly tried to put distance between the Black Panther and his politically charged namesakes by renaming him Black Leopard. “I neither condemn nor condone those who have taken up the name,” T’Challa told the Thing, in a carefully measured bit of expository dialogue.
full article
https://grantland.com/features/an-excerpt-sean-howe-marvel-comics-untold-story/
EDITS and EXERTS taken from
How ‘Coal Tiger’ Became ‘Black Panther’
The newest addition to the Marvel Cinematic Universe has always been tied to Black Arts Movement.
BY JONITA DAVIS / FEBRUARY 12, 2018
The energy and imagery of the mid-1960s saturated the creative minds looking for inspiration, including Marvel artist and art editor Jack Kirby.
Sean Howe’s book Marvel Comics: The Untold Story details that time leading up to Black Panther’s creation. Stan Lee was managing the team of artists and writers, who were actively competing with DC comics for comics sales. According to Howe, Stan Lee heard of the upcoming release of a line of comics that was a gamechanger for DC. Marvel had nothing new to compete. Howe quoted Kirby, “I came in one day,” said Kirby, “and Stan said, ‘Martin says we have to add more books.’ They were afraid Al Harvey, who had pretty good distribution, was going to crowd them off the stands.” Kirby and the rest of the team went to work looking for new lines and characters.
They tapped a little history by researching ancient cultures of Mexico and Africa. They also dug deeper into the sci-fi lore that was becoming popular at the time. The atmosphere of the time greatly influenced the Marvel creatives as well. The result of their hard work was a few new characters are still famous today—The Inhumans—and a black superhero, who lead an uncolonized African nation, and used the cutting edge of futuristic weaponry was born. His name was…Coal Tiger.
Kirby presented the character to Lee, and Lee decided not to push the black hero or the Inhumans at that time. They waited to introduce their new black character with an already popular line of white characters, the Fantastic Four, in issue #52, which hit stands July 1966. The renamed the Coal Tiger, Black Panther, and gave him a makeover for the gig. It would be another 8 years before Lee launched a solo Black Panther comic series Jungle Action.
Meanwhile, the Black Arts Movement, which was started in 1965 by poet Imamu Amiri Baraka, was creating a national interest in black culture. BAM also stimulated a pride in the black community that was manifest in hair (afros and braids), clothing (dashikis and Afrocentric prints), beauty. James Brown’s “Say It Loud—I’m Black and I’m Proud” was like an anthem. This pride carried the community forward.
By 1973, the movement was in full swing and black culture was dominating pop culture, and even film. Blaxploitation movies that centered black characters with black problems were available. Despite their campiness and stereotyping fails, the films were the first time the nation saw black people onscreen and in the forefront of the narrative.
The celebration of black culture that the Black Panther character’s solo comic debuted it did not last, but it didn’t fade away either. The door was open just a bit for black creatives, who would push it open in the decades to come, leading to the Black Panther film.
the movie about Black Panther went through some false starts just as the comic did. In addition, both character debuts were attempted using the popular Marvel characters at the time. The solo release came later, after the “soft launch” of the black superhero standing alongside his beloved white counterparts. Also, like his debut timeline, the film version launches amidst a mainstream appreciation of black culture, with an underlying struggle with racism. That struggle is fueling activism and feeding the Black community’s resurgence of Black pride.
The soft launch before the solo debut is one curiosity to note. Although the elapsed time differed, they did occur. The black superhero had to be introduced by beloved white characters before he could come out alone. There may have been causing for such a thing in the 1960s when there had been little to no marketing of blackness to the public. Then, a black character was a significant risk, especially one that shares the name of a group that media and government were characterizing as militant and anti-White. Lee may not have wanted to gamble. This reason only holds until you considered the list of the many superheroes that Lee debuted solo without a soft launch. Even the Marvel film franchise released Spiderman, Hulk, and a few other superheroes in solo films without a soft launch. Both times, they took a gamble on the white superhero, but not Black Panther.
These and other curiosities lead to the conclusion that the Lee and Marvel, and also the Marvel studios today were priming the public for the black hero. They saw that the possibilities when Black culture started seeping into the mainstream. A soft launch would “test the waters” and see if the public could handle such a character. This seems plausible until you consider that prior to the solo debut of the character both times, the black community was calling for representation in pop culture. In the past few decades, the outcry for more representation in the film has been a topic of discussion and studies. They started well before the current film iteration was conceived.
In fact, when Black Panther’s solo comic appeared in 1973, it was so popular that Luke Cage followed. Similarly, the soft launch of Black Panther was followed by a Luke Cage series on the small screen that was a hit for Netflix streaming service. Once the public was given the Black Superhero, they eagerly sought out more, making the next one a hit out of the gate.
It’s obvious that the problem is not the public. It’s the industries. Both Marvel Comics back then and the MCU now are run by white men who do not want to gamble on blackness until they are sure that they can profit. They wait until the movement is starting, the pride is forming, and the creativity is arising in other areas before “dipping a toe in” for a soft launch. Once that happens, once the profitability of the character is recognized, then they ride in like abolitionists with bolt cutters to open the gates to creative works and opportunities. Everyone is too swept up in the chaos to see that the ones holding the bolt cutters were also the ones holding the gates closed before.
and without so much as a curt glance from the King. She doesn't hold membership. 