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Topics - Afro Samurai

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General Discussion / Electric Purgatory: The Fate of the Black Rocker
« on: June 07, 2010, 01:17:50 pm »
A documentary that examines the struggles of black rock
musicians and the industry's ambivalence towards them.

Interesting watch

« on: June 06, 2010, 10:09:22 pm »
Jesse E. Russell Sr.
Chairman and CEO

Jesse Russell has guided the fate and fortune of incNETWORKS since it was
founded in 2000 as a fourth-generation broadband wireless communication
solutions company that designs, sells, and manages privately owned
wireless voice and data communications equipment and networks for
cellular and wireless applications. He prepared for his career by
earning a B.Sc. degree in electrical engineering from Tennessee State
University in 1972, and his M.Sc. in electrical engineering from
Stanford only a year later, while already a member of the technical
staff of AT&T, where he was busily designing traffic data collection
systems using microprocessor-based portable data terminals for
interfacing to electromechanical switches. As the technology progressed,
so did Russell's career. By 1984, he was head of the Cellular Base
Station Software Design Department, responsible for project management
and development. By 1986, he was director of the AT&T Cellular
Telecommunications Laboratory. He was the company's chief wireless
architect by 1992 and vice president of AT&T Advanced Communications
Technologies from 1996 to 2000, where he extended AT&T into new
businesses and markets. Through the years, he has become a widely
recognized expert in the wireless communications industry as a
trendsetter who continues to shape the industry.


Hudlin TV / Has anyone heard about a show called M.A.N.T.I.S.????
« on: May 31, 2010, 07:10:36 am »
"M.A.N.T.I.S. - TV's First African-American Superhero

Call Me ... the MANTIS!

I guess it's only appropriate that a week after President Obama historically took office, distributors would get around to releasing "M.A.N.T.I.S." on DVD because it, too, can claim to be an African-American first, starring actor Carl Lumbly in the title role of a scientist/superhero.  The series ran for a season back on FBC over a decade ago.  I received the WGA "Developed By" credit on the series and served as "Co-Executive Producer" and thought that now, for the record, a little trip down memory lane might be in order.

"M.A.N.T.I.S." was the first TV series where the powers-that-be gave me the keys to the car and said I was in charge of the writing staff. This was back in 1994 when I was coming off a successful first season of the "Lois and Clark: The New Adventures of Superman" series. Sandy Grushow was in charge of FBC-TV back then, and he’s the first guy who said I was seasoned enough to be in charge of a budget of $1.4 million per episode and not blow it.


Anyway the deal was, "M.A.N.T.I.S" had started as a two-hour pilot, written by Sam Hamm ("Batman") and directed by Sam Raimi ("Spiderman"). The two Sams had a disagreement with Fox about how the series should go (they saw the series as an alternative world with an all-black cast and Fox wanted it to be a super-hero who was black in a regular American city), and walked away from their own project. Fox still wanted to do the series but somebody needed to make the changes and run the show. Both Hamm and Raimi were extremely gracious and understanding in the transition, nothing was made personal, and the series lived and (almost) prospered.

After the pilot aired in the spring of 1994, we produced 20 more episodes of the series starting that August up in Vancouver, B.C. for the 1994-1995 season. Our first episode basically became a re-premising and de-facto new pilot. Some things were kept, others fine-tuned, and others outright changed (like new supporting cast). The basic concept from Hamm and Raimi, however, never changed. The series was about an African-American scientist who became a super-hero, played by Carl Lumbly.

By the way, that's me and Carl that summer up in Canada. I always thought wearing a tie was uncomfortable but nothing in this world could compare to wearing the rubberized M.A.N.T.I.S. suit on a muggy August afternoon. It was like being in a sauna. Carl was a saint.

The premise, in case you missed it, was simple. Dr. Miles Hawkins, a brilliant scientist, had been paralyzed in a shooting incident. Confined to a wheelchair, he created a cutting edge, sophisticated exo-skeleton designed to allow him to walk again by transmitting his brain function through the suit, rather than through his body’s crippled nervous system. Once in the suit, he was more than normal, he was super, but he couldn’t stay in it long without some serious consequences. Oh, and he had a flying car. Really…

    * "This is the scientific journal of Dr. Miles Hawkins, to be published in the event of my death. I know when the truth is known, people will wonder why I felt it necessary to create the M.A.N.T.I.S. The reality--I never did. The M.A.N.T.I.S. asked his own creation and I could not refuse him."

The copy above was the voice-over I’d written for the first episode. The “scientific journal” aspect allowed Hawkins a degree of introspection we felt was appropriate for his character.

Ironically, nobody in the pilot had ever decided what "M.A.N.T.I.S." stood for, despite the periods. One of my first jobs was to decide that burning issue. Frankly, I think originally my predecessors had thought of it more as Mantis, as in Preying, and wanted to fashion a super-hero in that image. Apparently, though, there had been at some point in history a not-very-widely read comicbook of the same name. That’s how the periods came about. You see, NOW, it was completely different.

So, by the time I inherited the name and the periods, it had become an issue. I remember sitting at my desk with a pen and a piece of paper and playing with words. It came spilling out, on the first try, I believe.

        * Mechanically
        * Augmented
        * Neuro
        * Transmitter
        * Interactive
        * System

There. Now you know. I'm not claiming genius or anything, but it worked, and we moved on to more pressing challenges. One of them was that while shooting that first episode, it became necessary to replace our line producer. Thankfully, Tim Iacafano came aboard on no notice, stayed the duration and did a fantastic job.

As it began, the show was pretty much a power-sharing thing between James McAdams and myself (and later Coleman Luck). McAdams started as executive producer because he was Universal's go-to production guy, having successfully taken them through "The Equalizer." I got the Co-Executive Producer title, but I ran the writing side of things and Jim pretty much left me alone to get the job done. Mid-season Coleman came in (he'd worked with McAdams on "The Equalizer").  There was a fair share of hysteria on the lot trying to save a series in a tough time slot but, bottom line, Coleman and I are still buddies today, bonded over sci-fi and UFO mysteries. He's a great guy.

The rest of the team included supervising producer Mark Lisson, producer Paris Qualles, co-producer Brad Markowitz and story editor David Ransil. We were on the Universal lot, breaking stories in a wonderful old building that was marked for the wrecking ball to make room for the Jurassic Park ride in the middle of our production order.

We started out the series with the idea that it was a very real world and M.A.N.T.I.S. was the singular fantasy element. A half dozen or more episodes in, we realized that wasn’t working like it was supposed to, and we changed tactics mid-season. For the final episodes, M.A.N.T.I.S. dealt with increasingly strange sci-fi type premises.

Carl_and_bryce_now Unfortunately, that didn’t work either and Fox killed the series. Knowing cancellation was imminent, Hawkins himself was even killed off in the final episode. That scientific journal, it was now revealed, had told the story of his transformation and adventures from beyond the grave.

Well, actually, we left just a little bit of room for survival, maybe. After all, hope springs eternal in television.

A couple of years ago, when I was running the TV Academy, I got to re-connect with Carl when we did an "Alias" panel. It was like seeing a friend who'd I'd been in battle with. Those kinds of memories only get better with the years. Something else wonderful came from the series. My phenomenal executive assistant at the time, Patricia Friedman, introduced me to her husband Brent Friedman and we went on to create NBC's "Dark Skies" series, write "Mortal Kombat: Annihilation" and collaborate on a number of other projects. We're working on one right now. Plus, Brent, Patricia, Jackie and I are all great friends, know each others kids and everything great that comes from seeing your families grow together.

I wish I could tell you what to expect in the new DVD set.  When I heard about its potential release a year or more ago, I sent off an email to the company volunteering to help them round up extras like gag reels, dailies, scripts, etc. and never heard back.  I wrote them again to multiple addresses and nobody bothered to write me back.

This was odd because in 2007, I worked extensively with Arts Alliance with their release of another series I was "Executive Producer" of, "The Crow: Stairway to Heaven."  That went like a charm and the people couldn't have been nicer or more interested in getting what they could.

I think part of the reason is that this DVD company releasing "M.A.N.T.I.S." (Image Entertainment) has another agenda.  You'll notice that the names they put on the box cover are the people associated with the two-hour abandoned pilot and not the series. I think they want to market this as a Sam Raimi extravaganza to cash in on his current success.  For the record, though, besides Carl Lumbly (who was in both the pilot and series), the other lead actors were Roger Rees, Galyn Gorg, and Chris Garten.

Also, in the not-such-a-good-sign department, the Image website lists the show as being from 1997 -- a whole three years off.  It lists the running time as 266 minutes, but claims that they have the entire season on four discs.  At roughly 45 minutes of film per episode, we produced more like 1100 minutes.  Maybe they just mean 266 per DVD.

I guess the point is, they don't appear to be big on getting the details right so far.  I'm almost afrad to watch their DVD.  And, no, they didn't send me a complimentary copy -- I'll have to pay them for the privilege!"


WTF, I only find out about this series recently from the site WOW, the series started in 1994...........

Hard Choices / Walking a pet rock or imaginary Dog outside........
« on: May 05, 2010, 02:20:57 pm »
I'll go with the pet rock. Cause if someone laugh at you, u can throw your pet rock at them  ;D

now choose!!!!!!!!

Gonna buy my mom an african statue from the dollar store and give her card with my rap written down on it, which is about how awesome she is....... ;D

What are you going to give to your mom, grandma, female you don't know, etc.????

It's long excellent interview:


^View it here, if you wanna see the pics.

"VC&G Interview: Jerry Lawson, Black Video Game Pioneer
February 24th, 2009 by Benj Edwards

Jerry Lawson In late 2006, I received a large collection of vintage computer magazines from a friend. For days I sat on my office floor and thumbed through nearly every issue, finding page after page of priceless contemporary information. One day, while rapidly flipping through a 1983 issue of Popular Computing, I encountered a photo that stopped me dead in my tracks.

There I discovered, among a story on a new computer business, a picture of a black man. It might seem crazy, but after reading through hundreds of issues of dozens of publications spanning four decades, it was the first time I had ever seen a photograph of a black professional in a computer magazine. Frankly, it shocked me — not because a black man was there, but because I had never noticed his absence.

That discovery sent my mind spinning with questions, chiefly among them: Why are there so few African-Americans in the electronics industry? Honestly, I didn’t know any black engineers or scientists to ask. I tried to track down the man in the magazine, but all my leads ended up nowhere. I’d have to put the matter aside and wait for another opportunity to address the issue.

Fast forward a few months later, and I’m standing on the showroom floor of Vintage Computer Festival 9.0. As I spend a few minutes thumbing through a vendor’s large array of cartridges for sale, I hear a voice from behind.

“Do you have any Videosoft cartridges? Color Bar Generator?”

I turn around and notice a large black man in a wheelchair, hair graying at the edges. He seems out of place. I scan the crowd — yep, he’s the only black guy here. Fascinating — what’s his story? Instead of bumbling through a few impromptu questions and making a fool out of myself, I decide to research his identity first.

As it turns out, the man I encountered that day was Gerald A. Lawson (aka Jerry), creator of the world’s first cartridge-based video game system, the Fairchild Channel F. Naturally, he was attending VCF 9 to give a presentation called, “The Story of the Fairchild Channel F Video Game System.”

Jerry Lawson at VCF 9.0 in 2006Jerry Lawson (L) discusses Fairchild Channel F schematics at VCF 9.0.

Being the only black man (I know of) who was deeply involved in the industry’s earliest days, Jerry Lawson is a singular figure in video game and computer history. He’s a self-taught electronics genius who, with incredible talents, audacity, and strong guidance from his parents, managed to end up at the top of his profession despite the cultural tides flowing against him.

Growing up in America, a land of endless diversity, we tend to fall into certain cultural grooves — well-defined paths of cultural history — that both unite and separate us. We get comfortable with those grooves and use them as the basis of our assumptions about behavior within certain age groups, socioeconomic classes, and ethnicities. Despite this ingrained cultural momentum, there are still rogue agents who manage to skip those grooves and chart their own course, damning any conventions that get in their way. Jerry Lawson is one of them, and he’s got an important story to tell.

This interview took place on February 6th, 2009 over the telephone.

Early Life:

Benj Edwards: For history’s sake, when and where were you born?

Jerry Lawson: December 1940. I grew up in Queens, New York City.

BE: How did you get into electronics?

JL: I started very young. I went to school, but I was an amateur radio guy when I was thirteen. I was always a science guy since I was a little kid.

BE: Do you have a family history in engineering?

JL: I found out only later in life that my grandfather was a physicist. Because he was black, the only place he could work was the post office. He was a postmaster. He went to some school in the south — I don’t know which one it was.

BE: Did your father do anything like that too?

JL: My father was a brilliant man, but he was a longshoreman. He could work three days a week on the docks and make as much money as most people did in six days. He was a science bug — he used to read everything about science.

BE: He probably encouraged you to do experimenting when you were a kid.

JL: Yeah, he did. In fact, some of the toys I had as a child were quite unusual. Kids in the neighborhood would come see my toys, because my dad would spend a lot of time giving me something, like the Irish Mail. The Irish Mail was a hand car that operated on the ground. It was all metal, and you could sit on it. You steered it with your feet, and it had a bar in the front, and the bar with a handle. You’d crank it, and it would give you forward or backward motivation, depending on which way you start with it.

I was probably the only kid in the neighborhood who knew how to operate it, so I used to leave it out all night sometimes. I’d find it down the block, but no one would take it, because they didn’t know how to operate it.

BE: So that must have been in the 1940s then.

JL: It was in the ’40s, yep. I also had an amateur radio station in the housing project in Jamaica, New York. What happened was, I tried to get my license, and the management wouldn’t sign for it. And it was really hard for me as a kid to research literature and the public things I could find, but I found that it said if you lived in a federal housing project, you didn’t need their permission. Hot diggity! So I got my license, passed the test, and I built a station in my room. I had an antenna hanging out the window.

I also made walkie-talkies; I used to sell those. I did a bunch of things as a kid. My first love started out as chemistry, and then I ended up switching over to electronics, and I continued on and even got a first class commercial license — in fact, I worked a little while in a radio station as chief engineer.

BE: Did you attend college?

JL: Yes, I did. I went to Queens College, and I also went to CCNY."

3 things I love:

1) Black people getting rich.

2) So many different variety of rapper from the voice to the flow and subject matter they rap about (Canibus, Ice Cube, Outkast, etc. are all different from each other).

3) I'll agreed with Jay-z, that hip hop made ppl of all different races, nationalities, etc. come closer together.

3 things I hate:

1) The usage of the n-word (I still view nigga the same as nigger)

2) The disrespect toward females.

3) Sampling (it harder to make original beat then to sample a hot ass beat)

Now list your  ;D

Feel The Funk / Does anyone know the name of this beat?
« on: April 13, 2010, 05:45:36 am »

 ;D for the one who tell me the name of it. PEACCCCCCCCEEEEEEEEEEEE


WHEN Ronald L. Jones, an engineer and inventor, traveled from his home in Los Angeles to the Consumer Electronics Show in Las Vegas three years ago to seek backers for his product ideas, he was down to his last $800, and determined to make the trip fruitful.

A mutual acquaintance set up a meeting with a business developer, Mark A. Bush, that turned into an all-night conversation about technology and opportunity. "I saw this brilliant guy with this big heart," Mr. Bush said. But while Mr. Jones was a whiz with printed circuits, he had made less time for business plans or legal documents. "A lot of people took advantage of Ron's ideas," Mr. Bush said. "I said, man, we've got to get your paperwork so no one can steal your stuff."

And they talked specifically about one idea of Mr. Jones's: a way to turn a juggernaut of the electronics marketplace, Nintendo's Game Boy, into something more, not just a game machine but a portable music player as well. "When Ron first showed it to me," Mr. Bush said, "I said, wow, it's a great idea." He wrote an $11,000 check to help Mr. Jones with his personal finances, and the two became partners.

No one had broached Mr. Jones's idea to Nintendo, the Japanese game giant, which had largely resisted licensing other companies to produce Game Boy cartridges for anything other than games. But last month, Mr. Jones was back in Las Vegas - and his product was on the market.

"Listen - just listen to that," he implored as a listener donned headphones tethered to a $69 Game Boy Advance. "Sounds nice, right?"

The headphones boomed richly with a sampling of music as the Game Boy's three-inch color screen displayed digital images of the CD covers corresponding to each song. What made all this possible was Mr. Jones's creation, SongPro, a $99 two-inch-long cartridge that can be used to download music to be played on a Game Boy.

SongPro's journey to market involved a legal tangle with Nintendo, which had to be convinced that the idea was anything more than an infringement on its multimillion-dollar portable-gaming franchise. It also vaulted Mr. Jones and Mr. Bush, who are black, into the relatively insular world of high-tech entrepreneurs - a world in which few black technologists have become prominent.

"They had a lot of things working against them," said Vaughn Halyard, a former Disney senior executive involved in film, music and game development and production in Los Angeles who is a consultant for the Jones-Bush team. "People and institutions are always willing and ready to help black people and minorities consume. But it is out of character to consider truly empowering black people to invent. That's a whole different ball game." That Mr. Jones and Mr. Bush got their product to market, said Mr. Halyard, who is also black, "is testament to their determination."

Being an outsider is a role that Mr. Jones, 47, says he has had to play much of his life since growing up as a maid's son in the shadow of white wealth in Pacific Grove, Calif., on Monterey Bay. He said he was one of six black students in a high school of 1,400 students. He ironed clothes to earn money, and by the time he had saved enough to buy a bicycle, many classmates were already getting cars. "I cruised up to the school on a 10-speed," he said, "and these kids had Camaros."

Nonetheless, he enjoyed school, especially mathematics, in which he excelled. "I fell back on my family's principles," Mr. Jones recalled, which "told me that there is no monopoly on brains. Learn something."

He studied engineering at Monterey Peninsula College and San Jose State University before dropping out, he says, to learn engineering on the job.

Over the years he worked for I.B.M., Hewlett-Packard and Data General. In 1990 he founded Colossal Graphics in Palo Alto, working in large-format printing and desktop publishing. In 1999, Micro-Publishing News, a trade publication, named him Innovator of the Decade for his advances in large-format printing.

Even with that background, and a working prototype of his Game Boy idea, many potential investors were skeptical. And although Mr. Bush, who is 42, had had success as a business developer in Silicon Valley, he said that as an African-American representing a black-owned technology company to potential investors, he felt a double disadvantage.

"I would say that in 90 percent of the early parts of my presentations, the questions asked would always be, 'Who does this technology really belong to? Is this yours?' " he said. "Even my white colleagues understand that for me, it's difficult to get money."

Mr. Jones's background in printing, however, had helped him cement a relationship that proved crucial: a friendship with the Rev. Jesse Jackson. He had printed placards for Mr. Jackson's organization, the Rainbow/PUSH Coalition, when it led rallies in California, he said. "When we were in trouble," he said of the period in which Nintendo was pressing his company to cease and desist with its product, "it was a natural to reach out to Reverend Jackson."

Butch Wing, director of the Silicon Valley Project for Rainbow/PUSH, intervened on Mr. Jones's behalf in 2000 to work out a crucial technology agreement with Nintendo. "We sought a dialogue and discussion with Nintendo representatives to seek a positive solution to the dispute," Mr. Wing said. "Nintendo was receptive to the dialogue."

Neither side will say much about how the discussion was framed or unfolded. But Perrin Kaplan, who is vice president for corporate affairs for Nintendo of Japan and is based in Redmond, Wash., said, "There is no conflict, and they are working with us."

Part of the agreement required the fledgling company to drop the name it proposed for the product, Song Boy. It did, and both the company and its product are officially known as SongPro.

By 2001, money had become so tight that Mr. Jones was shuttling between the homes of family members and friends, living, he said, on no more than $5 a day. "I had it all worked out," Mr. Jones recalled. "I'd know where all the best happy hour spots were and drive to them, buy a beer and eat for nothing."

Mr. Jones persevered, and by the 2002 Christmas season, the SongPro was ready for market. The system includes a 32-megabyte Flash memory card, headphones, music management software and a U.S.B. line to link it to any Internet-connected computer for music downloads. The cartridges read MP3 music files as well as those in Microsoft's popular WMA format. Song lyrics, CD covers and artist liner notes can be downloaded along with music from the SongPro site at Its technology prevents unauthorized copying. SongPro is sold online and at some electronic specialty stores, including Electronics Boutique. The first 7,000 produced went on sale shortly before Christmas, with a potential target market of 130 million Game Boys sold to date worldwide. The company has enlisted Nelly, the hip-hop artist, as its national spokesman.

Even now, as the company seeks additional financing for marketing, manufacturing and operations, Mr. Jones helps keep his costs low by shuttling between his sister's home in Los Angeles, near SongPro's office, and the maid's quarters at the home of a friend, Marc Hannah, a founder of Silicon Graphics and one of the richest black scientists in Silicon Valley.

Mr. Jones said his living space sometimes looked more like a factory floor than a bedroom, scattered with circuit boards and soldering guns.

Later this year, he said, the company plans to introduce a more expensive SongPro model capable of playing full video on Game Boy color screens, opening the way for downloading and viewing multimedia files like music videos or movie trailers on the go. The company, which has five employees, is also preparing enhancements to the technology that will allow files to be transferred from PC to Game Boy wirelessly.

What helped sustain him during the worst of times, Mr. Jones said, was a conviction that he had invented and engineered a great technology, and his faith in something he learned as a teen-ager. "Life is an open-book test," he said. "People can help you if you ask the questions. On these two premises, no one can stop you."


African American inventor and talented innovator Ron Jones, co-founder and Chairman of SongPro Inc., the first African American owned portable digital multimedia device manufacturer in history, succumbed to gastric cancer Monday, Feb. 2. 2004 He was 48 years old.


Wow, what an excellent man. I hope his nieces and nephews continue on with his dream. He was psp, today cellphones & ipod touch b4 they even existed. He paved the way & they should give thanks to him.  & Nintendo as well!!!!!!!!!

Latest Flicks / African Tales by Obinna Onwuekwe on DVD NOW!!!
« on: March 29, 2010, 12:52:00 pm »
It's tale of 3 different story lines based in Africa & of it culture. Also fun fact, Obinna voiced damn near all the males in the animation & he did all the animation HIMSELF!!! He did this while working a normal job and dont worry he did a damn good job on the CGI movement & the way it looks.

You can view some of it here:

Mark of uru:

Business and Pleasure:

Enemy Of The Rising Sun:

Make sure to buy the dvd to support black owned businesses and for wayyyyyy better video quality:

 ;D Enjoy it y'all.....



Take yourself back to the 1880s where the KKK is thriving and the African American community lives in fear. The African Americans don't fear the KKK simply because they beat, rape, and kill them. No. They fear the KKK because the KKK eats them. They are the aptly named man-eaters, a kind of mix between werewolves and vampires. They consume human flesh, can shapeshift into various forms, and are practically immortal. Only one man, an ex-heavyweight boxer named Victor Freeman, dares to stand up to them. Equipped with a small arsenal and a set of modified brass knuckles, can our hero defend his people and avenge his past? - Bakaupdates

You can read it here, since it hasn't been release offically in english (just in japan & korea).


Art: Excellent. It goes with the realistic feel & the black ppl actually look human here.

Storytelling: It short, simple with a few unexpected twists in the story. The sad thing is, it ended too soon.

Overall: It's excellent short story with a unique ass setting, that sadly ended too soon. I hope you like it as much as I did.




............I'll go with big ass with flat chest.

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