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Messages - Hypestyle

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Acting / Re: RIP Bernie Casey
« on: Today at 01:58:05 pm »
he needs to be given a tribute at the next Image Awards, TV One Awards, etc.

Black Panther / Re: Black Panther 18 Preview
« on: Today at 01:56:18 pm »
Written by Ta-Nehisi Coates
Penciled by Chris Sprouse and Wilfredo Torres
Inked by Karl Story and Wilfredo Torres
Colored by Laura Martin
Lettered by VC’s Joe Sabino

T’Challa finds himself in an uneasy alliance with Ayo and Aneka, the Midnight Angels, when a new deity rises to claim Wakanda for its own. And making matters worse, an enemy from Black Panther’s past has resurfaced with ill intentions. It seems Black Panther has one choice — bend the knee, or watch his country burn.

what is the status of the midnight angels?  why is it an "uneasy alliance"?  Are they still outlaws?  did part of Wakanda secede?  How was this resolved?

Hudlin TV / Re: Netflix The Punisher (first full trailer)
« on: September 20, 2017, 01:27:59 pm »
I'd like to write for this show.  Alas, someday...  :-\

Feel The Funk / Re: What Are You Listening To?
« on: September 19, 2017, 05:03:36 pm »
! No longer available

rage against the machine- renegades

Kids & Family / Spare the Kids: Corporal Punishment & Black Families
« on: September 19, 2017, 04:56:25 pm »
Spare the Kids: Why Whupping Children Won't Save Black America
Dr. Stacy Patton

A challenge to the cultural tradition of corporal punishment in Black homes and its connections to racial violence in America

Why do so many African Americans have such a special attachment to whupping children? Studies show that nearly 80 percent of black parents see spanking, popping, pinching, and beating as reasonable, effective ways to teach respect and to protect black children from the streets, incarceration, encounters with racism, or worse. However, the consequences of this widely accepted approach to child-rearing are far-reaching and seldom discussed. Dr. Stacey Patton’s extensive research suggests that corporal punishment is a crucial factor in explaining why black folks are subject to disproportionately higher rates of school suspensions and expulsions, criminal prosecutions, improper mental health diagnoses, child abuse cases, and foster care placements, which too often funnel abused and traumatized children into the prison system.

Weaving together race, religion, history, popular culture, science, policing, psychology, and personal testimonies, Dr. Patton connects what happens at home to what happens in the streets in a way that is thought-provoking, unforgettable, and deeply sobering. Spare the Kids is not just a book. It is part of a growing national movement to provide positive, nonviolent discipline practices to those rearing, teaching, and caring for children of color.

EBONY Magazine
by Sylvia Snowden, January 19, 2017

We’ve all seen it. The 2-year old who has fallen out, kicking and screaming in the middle of a store, or the mouthy, defiant teenager who’s rolling her eyes and her neck at everything.  It’s easy to look at kids like that and think, “That kid needs is a good, butt whupping!”

According to a 2015 Pew Research survey, Black parents are more than twice as likely as White parents and nearly twice as likely as Hispanic parents to use corporal punishment to discipline their children on a regular basis.  Black parents are also far less likely than White or Hispanic parents to never spank their children. And that’s the sort of parenting pathology that Dr. Stacey Patton hopes to combat.

Patton, who holds a Ph.D. in African-American History, and is the author of a new book, Spare the Kids: Why Whupping Children Won’t Save Black America, urges Black parents to look at the history and the impact of the practice and reconsider. sat down with Dr. Patton for an in-depth look at her findings.

EBONY: Why do you think we hit our children?

Dr. Stacey Patton: People think that hitting a child is a form of teaching. We think it will protect them.  And people grow up to invert the violence they experience as children as something that was good, particularly in African-American culture.  As a people, we attribute our success to having had our bodies processed through violence and quite frankly what it does is confirm a long-standing racist narrative about Black bodies. The only way to control us, the only way to make us “good,” law-abiding, moral people is with a good whupping. It seems that we unconsciously agree with that narrative.

EBONY: You said in your book that Black people are “the most locked up, unhealthy, stressed out, demonized group of people in America. Whupping children hasn’t saved us from any of this!”  So why do you think we believe it has?

Dr. Stacey Patton: We don’t make the connection between the historical traumas, the science that talks about the psychological damage that hitting children has, the chronic illnesses that get produced by hitting children, the domestic violence between Black men and women or the shootings in the streets.  We don’t take a moment to stop and look and say, “How much of that is attributed to what’s happened to us in the foundational moment of our lives (which is childhood)?” We don’t make those connections.

EBONY: You also explore the Black church in your book. You say the church has always urged parents to use “the rod of correction,” but then you point out that the phrase, “Spare the rod, spoil the child” isn’t actually in the Bible & Jesus was a gentle person who liked children. Would Jesus spank? Where did we get that from?

Dr. Stacey Patton: Firstly, I should say that I’m not a Christian, though I was raised in the Black church.  In the New Testament there’s no evidence whatsoever, that Jesus hit children. Based on Jesus’ principals of empathy, love, and his directives to adults on how to treat children, I don’t think he would have whupped a child.  The whole, “Spare the rod, spoil the child” misinterpretation is Old Testament. I pushed this conversation a little further to say, “Listen, first of all, African-Americans have only been Christians for about 200 years.” And we came to Christianity through our brutal, horrible and dark mistreatment during slavery.  There’s absolutely no evidence that Black people in West Africa treated their children with this kind of ritualistic violence prior to contact with European missionaries. We need to interrogate this theology.

EBONY: Talk about the specific damage we do to our male and female children when we hit them.

Dr. Stacey Patton: I interviewed Black men to learn if there was any connection between mothers beating their sons as boys and how they grew up to treat women later in life.  I found that many of their stories confirmed what the psychological literature had been saying for decades. These men grow up to have some really ugly attitudes towards women. I also found it striking that we don’t live in a society that believes that Black males experience pain.  Far too many mothers look at their boys, particularly as their bodies grow—just as the larger, racist society does—and see their potential criminality.  I’ve talked to mothers who say, “If I don’t beat my son, he’s going to knock me down some day.” And so anti-Blackness is filled into the ways that some Black mothers rear their sons.

EBONY: What should parents with a 3-year-old whose mind hasn’t developed enough to understand reason or a 16-year-old who’s rebelling? 

Dr. Stacey Patton: We have to deconstruct our thinking about Black children.  That’s half the battle right there.  We have to throw away the fear, we have to throw away the cultural conditioning, and the racist ideas about Blackness.  Parents must educate themselves in child development.  What’s happening in your child’s brain at 2 years old? We need a public health program that teaches parents why their child is hitting, why a child fights and why a teenager may begin to suck her teeth.  We are too inclined to think of a child as being intentionally willful when they’re actually not.  Parents also have to reconnect with their own humanity.  There’s this sort of intuitive response to beat out of their children the same things that were beaten out of them.

For more on Dr. Stacey Patton, visit

Keep up with Sylvia Snowden at

Read more at EBONY

Follow us: @EbonyMag on Twitter | EbonyMag on Facebook

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.

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