A Bohemian Rhapsody Review by LRK

By LRK for Deets and Geets Podcast

The dictionary definition of bohemian (aside from pertaining to the actual place Bohemia):

a person, as an artist or writer, who lives and acts free of regard for conventional rules and practices.

Dictionary definition of rhapsody:

  1. music . an instrumental composition irregular in form and suggestive of improvisation.
  2. an ecstatic expression of feeling or enthusiasm.
  3. an epic poem, or a part of such a poem, as a book of the Iliad, suitable for recitation at one time.

“Bohemian Rhapsody” seems a very fitting title for the life of Freddie Mercury as it is shown to us in this movie and the eponymous Queen hit which was written by Freddie Mercury in 1975.

Rami Malek breathed life into Farrokh Bulsara-turned Freddy Mercury, showing us someone who was insecure and brazenly flamboyant at the same time. I didn’t know too much about Freddie’s personal life or personality before watching this movie and I don’t know to what extent it was fully accurate, but I was feeling it throughout. It gave off the essence of someone who felt lonely and suffocated, but liberated and in his element while he was performing.  That’s exactly the vibe of the song.

Before this movie came out there was controversy surrounding it with people saying it was going to be whitewashed or straightwashed or it was going to erase his HIV and none of those things were true. After the release other criticisms were levied on it such as bisexual erasure, because after Freddie tells his long-time girlfriend Mary “I think I might be bisexual,” she says “Freddie, you’re gay.” To me, this wasn’t the film taking a stand on his sexuality, it was an example of the context he lived in and the ways that the people around him who he loved couldn’t fully understand or support him and may have inadvertently caused confusion or suffering to him.  That scene also seemed to be more about Mary’s self-preservation, like she had to believe he was incapable of being attracted to her to reconcile still staying in each other’s lives.

Freddie as an individual was deeply layered, complex, and uncommon on all levels especially in his time.  There doesn’t seem a way you could fully do justice to everything he was in a two-hour-and-some-change film. There’s any number of directions that could have been further developed including his Parsi heritage and how that affected his personality and his beliefs, but this film is also about him as an artist and about Queen as a band. I think on the whole it did a good balancing of showing his personal life and his professional life and his pathos as an artist.  If anything I would have liked to see more of the creative process that went behind the music, such as different versions of the songs and how they got edited; I’m sure it wasn’t quite as linear as they showed it sometimes.  Also although I didn’t see the film as vilifying queerness, I do think it’s a fair point that it did come off as a PSA for Queen and for the almost-nobility of Mercury’s band members as being a thorough brotherly support system that themselves never got into drugs or had any negative lifestyle influence on him.

I’m happy that Freddie Mercury has been put on the map of public consciousness as a Parsi Indian and that he was played by an Egyptian American.  He was also shown having sexual and romantic relationships at least one woman as well as men, and that’s more than what we generally see.   Other than that, the storytelling itself isn’t something super original or groundbreaking but if you’re a fan of the music, there’s really no reason you shouldn’t enjoy watching the movie.

Check out the enhanced video version of the review below:

DEETS & GEETS: 2018 Q1-Q2 Haiku Reviews

Below are a handful of haiku reviews of films LRK and I have seen at the theater earlier this year:

PADMAAVAT

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the queen says, “let’s burn!”; Khilji cheats and wins the fight; Rajput honor fail

 

BLACK PANTHER

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Black utopia; say Wakanda forever; it is challenge day!

 

DEADPOOL 2

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better than the first; more heart and meta-humor; and so much more blood

 

SOLO

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Lando is the star; but Han and Chewie are cool; the slickest Star Wars

 

AVENGERS: INFINITY WAR

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a game of gem stones; golden left-handed gauntlet; Thor got a new axe

Afros in Space: Lando Calrissian

My last post on Afrofuturism explored the term’s origin and how I felt Ryan Coogler’s Black Panther is the A-1 example of the intersection of African Diaspora culture with technology in 2018. I still believe that to be true, but should mention another stellar example of Afrofuturistic representation this year:

Lando

Admittedly, I threw heavy shade on Solo per the lackluster first trailer and all the drama that went down during shooting. Truth be told, it’s pretty good.

For those who have yet to see it, Solo basically reveals how Han Solo: got his name, captained the Millennium Falcon, acquired his blaster, met Chewie, met Lando, got his swagger, and became a smuggler. So, while the movie initially feels like a Solo get list, the overall project comes together in an slick, intergalactic swashbuckling package that’s entertaining even for those not totally into Star Wars.

Lando-Calrissian-Movie-Star-Wars-Spin-Off-PlansThe biggest surprise for me was finding out not only that Lando is in the film, but that Donald Glover would play the role. As a kid, I never thought much of the Lando character, first introduced in The Empire Strikes Back. He wasn’t a jedi; he was no longer a smuggler; he no longer owned a cool ship. He was just a businessman in a cape, a mayor of some city in the clouds, who double-crossed the main cast only to somewhat redeem himself after getting choked by Chewbacca. Boring! His appearance in The Return of the Jedi was only slightly better as he had some slick maneuvers in the Falcon near the film’s end.

As an adult, though, I can see the layers. First of all, he wears capes even though he isn’t a Jedi. Actually, his capes are better than all of the Jedis’. Second, getting out of the smuggling business to become a legit entrepreneur and boss who wears silky Count-von-Count-style capes is way better than getting hunted down by the Sith or galavanting around the universe with Yoda on your back, berating you with object-subject-verb commands.

While Lando may not get his own movie any time soon, there are positive rumblings Billy Dee Williams may be reprising his role as the caped crusader for Episode IX, which is great, but homeboy is 81 years old, so they should probably wrap production sooner than later.

Review: The Modoc War

The bare bones story of the Modoc War, also known as the Lava Beds War, is one of institutionalized genocide and land theft in the name of Manifest Destiny. The fleshed-out version reveals the complexities of human nature while demonstrating what little has changed regarding relations between Indigenous peoples and the U.S. Government.  Robert McNally’s version, aptly titled The Modoc War, falls into the latter category.

themodocwarMcNally, author and co-author of nine nonfiction books, is known for his vivid, information-laden writing style. His telling of the armed conflict between the Modoc people and the United States Army near the California-Oregon border from 1872 to 1873 is true to form, a historical thriller that reveals the intricacies of the conflict:

“A mixed-race lieutenant who kept secret the African American portion of his heritage in order to command white troopers, [Lieutenant Frazier] Boutelle knew more than a little about playing a role. He unholstered his revolver and locked eyes with the Indian whose heavily scarred right cheek pulled an otherwise strong and handsome face into a perpetual sneer. His Modoc name was Chick-chack-am Lul-al-kuel-atko, something local settlers wouldn’t even try to wrap their mouths around, so they dubbed him Scarface Charley.”

Several chapters of The Modoc War focus on the national press coverage of the time. Modocs were demonized as savage and treacherous for fighting back against those who tried to dispossess and destroy them. A New York Times editorial on the Modocs referred to the “innate ferocity and treachery of the Indian character.” Ironically, the white settlers and governmental figures perpetrated the very savagery and treachery they projected onto Natives. After having fled the shackles of British rule, Americans sought independence for all men, though, when it came to Indigenous peoples, “the United States government approached Indians with a Bible in one hand and a Sharps carbine in the other.”

The Modoc once lived in villages on and near Tule, Lower Klamath, and Clear Lakes until the intrusion of fur traders and white settlers, who demanded that the Modoc be relocated on the Klamath Reservation with the Klamath and Yahooskin Paiute nations. The Modoc and the Klamath separated in the late eighteenth century and remained distantly familial, McNally writes, though other accounts say the Modoc and the Klamath were enemies and competitors. The Modoc described in the book were composed of three groups loosely following the waning leadership of Kientpoos (nicknamed Captain Jack by the settlers). Initially convinced to move to the Klamath Reservation, Kientpoos and other Modoc left the poor conditions of the reservation for their home on the Lost River. What followed was a series of attempts by the U.S. Army and militiamen to either move the Modoc people back to the reservation or exterminate them. The war resulted in the unfair trial of Modoc fighters who were charged as war criminals and hanged. The survivors were forced onto the Quapaw Reservation in Oklahoma where they again found little of the food, clothing, shelter, and medicine promised by the government.

In under 360 pages, McNally’s The Modoc War uses the power of hindsight to characterize historical subjects in thematic fashion, revealing deeper motivations behind the heart-rending war in the Lava Beds.

Rumble: The Indians Who Rocked the World

Told in segments, akin to short films unto themselves, Rumble: The Indians Who Rocked the World hops regionally across the United States to examine Native American influence on American popular music, most notably rock music.

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Executive producer Stevie Salas (Apache) said during a 2017 Electric Playground interview that Rumble was conceived while he was playing a gig with Rod Stewart. “I said to myself, there’s not a lot of guitar players that look like me. So, I started to research if there were other, you know, Native American musicians out there, and as I dug in, I started to realize there were a lot, it’s just, people didn’t know it.” He then mentioned being interviewed later by music journalist Brian Wright-McLeod (Dakota-Anishnabe) in Canada during a rock music festival where Wright-McLeod mentioned a research project he was working on, The Encyclopedia of Native Music. “He really turned me on to these guys,” Salas said, “you know, Jesse Ed Davis (Kiowa/Comache) and Link Wray (Shawnee), and that really got the seeds going.”

As the title denotes, Link Wray and his hit rock instrumental, “Rumble,” with its distorted guitar and throbbing bassline, are the launching points and connecting themes of the documentary. The impact of “Rumble” and its reverberating influence throughout American popular music is expounded upon throughout the film’s 143-minute runtime, integrating photographs and archival footage with contemporary interviews from stars, such as Slash of Guns N’ Roses, musician and actor Steven Van Zandt, Wayne Kramer of the MC5, and Rolling Stone editor David Frick.

Rhiannon Giddens

Giddens

Directors Catherine Bainbridge and Alfonso Maiorana also feature interviews with Taylor Hawkins, Taj Mahal, John Trudell (Santee Dakota/Mexican Indian), Iggy Pop, Steve Tyler, George Clinton, and Tony Benet, who not only note the influence of Wray, but also of other musicians of Native ancestry, such as jazz pioneer Mildred Bailey (Couer d’Alene) and Delta Blues titan Charlie Patton (African-American/Choctaw), whose segment convincingly illustrates the Indigenous essence of his music. Other segments in the South feature such artists as the Neville Brothers and musician and actress Rhiannon Giddens (Occaneechi) of the Carolina Chocolate Drops and “Nashville” fame, that show not only the influence of Native music in the region, but the shared history and beautiful melding of African and Native cultures.

Buffy Saint-Marie

With a roster of Native musicians similar to that of the 2016 book  Indigenous Pop: Native American Music from Jazz to Hip Hop, the documentary also features jazz musician Buffy Sainte Marie (Cree), who speaks about being a target of the FBI due to her music’s activist essence, and other “Native Axmen” besides Link Wray, such as Robbie Robertson (Mohawk), Jimi Hendrix (Cherokee/African-American/Scottish), and Jesse Ed Davis, who formed the Grafitti Man Band with poet and civil rights activist John Trudell in 1985.

While Robertson recalls being told as a youth to “be proud you’re an Indian, but be careful who you tell,” Pat Vegas of Southern California band Redbone, on the other hand, recounts singing traditional songs and wearing regalia in shows, as evidenced during the live 1974 performance of the band’s hit “Come and Get Your Love” on NBC’s “The Midnight Special.” “We used to mic the floor,” Vegas says in the documentary, “so, when we came out, the stomping sounded like a heard of buffalo coming.”

Taboo_11Vegas’ segment blends unexpectedly into a joint segment with Taboo (Shoshone/Mexican-American) of the Black Eyed Peas (BEP). In a music studio, Taboo and Vegas share a moment of camaraderie, due to both having lived in East L.A., while Taboo loops a section of “Come and Get Your Love.” He demonstrates to Vegas how the bassline is similar to the BEP song “Let’s Get It Started.” He then explains how his Indigenous roots inform his musical style, but also how Vegas’ pride and positivity as an Indigenous man continues to inspire him.

Joined by Trudell near the end of film, Salas recounts the time drummer Randy Castillo (Isleta Pueblo), who played with Ozzy Ozborne, took Salas to Indian Country amid Salas’ descent into the darker side of rock star life. Trudell, who passed in 2015, adds, “The secret to Indian Country is, when you’re losing your mind, only lose the parts that need losing.”

1958-rumble-cover300Rumble concludes with footage from the Dakota Access pipeline protest in Standing Rock, North Dakota to the tunes of Taboo’s song, “Stand Up for Standing Rock,” and those of several other Native artists, before returning to titular “Rumble” and a reenactment of Wray in a garage, poking holes into a speaker to create the song’s infamous distorted guitar—a sound that contributed to the song being the only instrumental in United States history to be banned for fear it would incite gang violence.

 

 

#Run4Salmon

Tucked away from the East Oakland streets, behind a series of large Victorian houses, a small art party was held on September 6th at Canticle Farm. Working with crayons and markers on sketch paper, activist and organizer Niria Alicia (Xicana) encouraged other party participants to create “Bring Our Salmon Home” signs and post them on Instagram with the hashtags #run4salmon and #salmonwillrun.

https_cdn.evbuc.comimages29572216747816980551originalThe “Bring Our Salmon Home” slogan stems from the effort by Winnemem Wintu’s Run4Salmon fundraising campaign, which aims to return the sacred winter-run Chinook salmon home to their traditional spawning waters along the McCloud River. At least four distinct runs of California Chinook salmon are now classified as threatened or endangered, per the U.S. Department of Fish and Wildlife.  Dams are sighted as problematic for salmon because they impede access to historic salmon spawning grounds and change the nature of rivers by creating warm, slow-moving water pools that leave salmon more prone to predators. Other factors, such as climate change and drought, are also trouble for salmon, per a May 2017 report by UC Davis and CalTrout.

“We wanted to hold space for people to come and paint the reality that they want to see on those rivers in the face of everything that’s happening with the fish, with the proposal to build the tunnels, declining salmon populations,” Alicia said as she added an additional layer of blue to the waterfall she drew above a thriving salmon. “We think it’s important for us to envision what we want our future to look like and to manifest it in the form of art. Sometimes there’s things you can only communicate through art. There’s beautiful medicine in the silence of creating.”

20855852_1498171187.4085The Winnemem Wintu have been meeting with the United States Bureau of Reclamation (BOR) and the National Ocean and Atmospheric Administration (NOAA) for over seven years. According to the August 2013 Landowner and Stakeholder Workshop program report by the BOR, Chief Caleen Sisk of the Winnemem Wintu spoke about the Winnemem Wintu’s history with the Chinook salmon. Chief Sisk made the case that the salmon were originally sourced from the McCloud River in the late 1800s and are genetic matches to the water shed. She advocated for the use of Chinook salmon from New Zealand as the root stock for re-introduction and indicated the tribe would like to be involved with the reintroduction program. Nearly four years later, the Bureau of Reclamation set aside partial funding for the sample gathering, but an additional $85,000 is needed to ensure proper sample collection. With that, the tribe partnered with GoFundMe to raise the balance. UC -Davis fish biologists are scheduled to perform DNA testing on the samples to confirm to the federal government that the salmon in New Zealand are the direct descendants of the McCloud River winter-run salmon.

Indigenous leaders, such as Alicia, Chief Sisk, Corrina Gould (Chochenyo/Kerkin Ohlone), and Desirae Harp (Mishewal OnastaTis, Diné) worked with a collective of Native and non-native supporters to organize the Run4Salmon campaign, now in its third year.

Desirae Harp1Harp, a member of the San Francisco Bay Area music collective Audiopharmacy, also attended the art party. Her piece was a colorful mélange of sky blue, sunshine yellow, and sage green with “#SavetheDelta” and “Bring Our Salmon Home” superimposed in black marker. She said she joined the campaign due to her people’s connection to the salmon, as well as to the Winnemem Wintu through ceremony and shared mountains. She said she also joined because the movement is women-led.

“I come from Mount Saint Helena and there are a lot of stories talking about the connection between the mountains here in California and the mountains in Hawa’ii,” Harp said. “I met Aunty Pua Case from Hawa’ii, who’s helping to protect Mauna Kea and Big Island, and I met Chief Caleen Sisk who’s helping to protect Mount Shasta, and I wanted to stand in solidarity with these Indigenous women.” Harp added she had also heard about the sacred sites work Gould has done and wants to support her efforts in the Run4Salmon. “As a young Indigenous woman, it’s very difficult to exist in a lot of different spaces. I feel like it’s safe space being with the aunties, and I 100 per cent trust to be under their guidance, and I will walk with them for the rest of my life.”

Events for Run4Salmon 2017 took place in segments by boat, foot, bike, and horseback from September 9 to September 23. The winding 300-mile trek followed the route of the winter-run salmon, commencing  at Segorea Te (also known as Glen Cove in Vallejo, California), traveling along the Bay-Delta Estuary up the Sacramento River, and concluding at a Winnemem Wintu ceremonial site on the McCloud River.

The Intertribal Friendship House of East Oakland, California

With its perpetual focus on community building and traditional healing, East Oakland’s Intertribal Friendship House (IFH) has been green long before wellness and sustainability became buzzwords. The “Urban Rez” is now literally green, technically “Sweet Grass” green, after volunteers spent several summer days last year painting the facility as a part of routine upkeep and beautification.

Established in 1955 as one of the first community centers for Indigenous people in the nation, IFH was founded by the American Friends Service Committee (AFSC) to serve as a hub for Indigenous people displaced by the Indian Relocation Act, which was designed to relocate American Indians from reservations to urban cities, such as San Francisco.

IFH 2017

IFH from white to green. The “Intertribal Friendship House” lettering had yet to be added at the time this image was taken in 2017.

Carol Wahpepah (Ojibwe) has worked with San Francisco Bay Area non-profits for decades and has been IFH’s executive director for over nine years. She said IFH owns and maintains the building thanks to volunteers and donations. “When relocation first happened, the Native community worked with them (AFSC) to start this place,” she said, sitting in the front hall of the Friendship House amid three large murals, each on its own wall, telling its own story of cultural survival, “and they donated the building. We own the building because they gave it to us.” She noted that AFSC San Francisco had been active in the local Native community for a long time and would soon celebrate its centennial. As she spoke, Lakota artist and educator Janeen Antoine highlighted how fortunate the center is to own a building of its size given the rising Bay Area rental costs. “I know what it means to be without a space because we had a gallery in San Francisco for 20 years—a Native non-profit art gallery—and then we got ‘Dot-comed.’ We were one of the only urban galleries in the country that worked with Native artists. That’s my swear word: Dot-commit! But that’s been the experience for so many Native non-profits and art non-profits. It’s displacement with the rising costs. And I feel that this place is really important and it’s so important to keep it financially solvent.” She mentioned long-time AFSC staff member Wes Huss, who had recently passed away. Wahpepah recalled how Huss was instrumental in the success of IFH and his decades-long service to the Bay Area Indian community.

The House expanded its programs over the years to counter the continual cultural displacement caused by the relocation program, and now serves over 8,000 community members per year from more than 100 tribes. One recent program is an occupational training program for Native youth between ages 18 to 24. Working with organizations such as United Indian Nations, an American-Indian managed non-profit providing job placement for Native Americans and Alaskan Natives living in the Bay Area, IFH employs about six Native youths per year through the program, Wahpepah said.

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IFH Youth Development Coordinator Javier Patty (Muscogee Creek / Seminole) actively manages the youth trainees, the most recent being Boyce Duncan (Shuswap). “He really wanted to work in the garden,” Wahpepah said of Duncan. “He’s worked with me, Javier, and Janeen—she did some sage harvesting with him.” Nearly a week before helping to paint the Friendship House, Duncan dismantled the raised wooden planting beds along the House’s small, fenced-in parking lot. The impact of Duncan’s hammer against the wooden planks echoed into the neighborhood, competing with the cacophony of weekday morning International Boulevard traffic. As Duncan works, Patty explains why the beds are being removed. “This is what happens,” Patty said as he pointed to one of the beds with planks that had shifted out of place. Patty said he attended a meeting at City Slicker Farms, a West-Oakland-based non-profit urban farm, where he learned the significance of having metal incorporated into the gardening boxes. “We love their boxes,” he said, adding that it was nice to see another urban garden in Oakland. Wahpepah said the IFH job training program is important because it provides confidence and experience to young people who never had an official job. “You get to know the person good enough and find out what their goal is and what they would like to do. We had one [trainee] that really liked to cook, so he was cooking a lot. And when he left here, the staff helped him with an application to go to the Bread Project in Berkeley.”

drumdance2017IFH offers other programs to Native youth, including summer cultural programs and gatherings. From late June through early July last year, the center hosted “Rooted in Tradition,” in which demonstrators instructed participants from ages four to eleven in a variety of cultural workshops. The House also offers leadership opportunity within its annual youth council, which Patty said is managed completely by its members, who help with other IFH programs, as well as organize their own events. Wahpepah said youth council membership was determined through an application / interview process in the past, but members have been recently chosen from promising youth who attend or volunteer for IFH programs.

Other IFH programs include Family Movie Night, Family Gardening Day, Pow Wow Drum and Dance, Zumba, yoga, Four Directions AA Meeting, parenting workshops, community garden harvesting, traditional food classes, art exhibits, nationally known musical and comedy performances, community healing ceremonies, annual harvest dinners and holiday parties, and monthly elders’ gatherings with food distribution.

Patty said the annual harvest dinner is twofold, one for community and one for the elders. “So, we have two each for Harvest and Christmas,” he continued. “For the Harvest dinner, we feed about two roomfuls, like 300 people. We have a lot of volunteers who help us out with that too.  The Elders’ Harvest Dinner is for about 45 people.

20141230_Elders+Luncheon_0011Wahpepah said she is happy about the continued community support and reiterated the importance of volunteers and donations to the House. She mentioned several donated items around the hall and in the kitchen and office before gesturing behind her, “This back room here—all the windows that are in it got replaced about four years ago. We used to have these windows that wound open and the people that walked outside got hit in the head in the dark. So, this guy shows up one day that I know from the community and he has this big, nice van and I said, ‘What do you do? That’s a nice van.’ He said, ‘I replace windows.’ I was like, ‘Just the man I wanted to talk to!’” Wahpepah said the man measured the windows and ordered them from Home Depot. “And we had about five guys just show up that Saturday to help, and they installed all those windows. We have a room upstairs where he installed them up there too. But that only costs us the money of the windows.”

IFH recently finished a five-year strategic plan, as well as a fund development plan, Wahpepah said. Planned improvements include roof repairs and a roof replacement over the main hall, new asphalt for the parking lot, and a dancefloor for the back room. She also hopes to add another full-time staff member and enhance the Native youth council. She said individual donations have improved, but she would like to increase donations from individuals and other sources.

For more information about Intertribal Friendship House and its programs, visit: ifhurbanrez.org.

Afrofuturism and the Black Panther?

Before the release of Ryan Coogler’s superhero blockbuster Black Panther, I discovered social media buzz about Afrofuturism. The term immediately brought to mind images of pyramids and spaceships with AFROFUTURISM written in pink neon graffiti across the starry night sky. I was close.

Through cursory research, I found Afrofuturism to be a movement centered on the intersection of art, science, and technology. The term was coined by the author and cultural critic Mark Dery in his 1994 essay “Black to the Future,” which examines science or speculative fiction within the African diaspora. Jamie Broadnax, editor-in-chief and creator of the online community Black Girl Nerds, takes the definition a bit further, adding that Afrofuturism is different from standard science fiction because it’s steeped in ancient African traditions and black identity. “A narrative that simply features a black character in a futuristic world is not enough. To be Afrofuturism, it must be rooted in and unapologetically celebrate the uniqueness and innovation of black culture.”

Janelle Monae With that, I realized I had totally seen Afrofuturistic elements in the music and art of Outkast and Janelle Monáe, and in the science fiction of Octavia Butler. I took these as one-offs, however; it didn’t register as a conscious movement.

Now I see the Black Panther in a different light, as a great step forward in not only Afrofuturism, but in superhero storytelling. The film has already exceeded box office expectations and continues to pull in crowds with its  critical praise and positive word of mouth, even with the highly anticipated Avengers: Infinity War coming in less than three months.

I went with to a matinee with my wife and siblings-in-law at the Grand Lake Theater the day after Black Panther opened.  Because Coogler is from Oakland, directed Fruitvale Station, and includes Oakland-based locations and characters in the film, Grand Lake was the obvious choice.  Apparently, everyone else thought so too! Lines stretched down Grand and Walker avenues, taking anywhere from 45 minutes upward before moving. An extra draw to the theater that day may have been due to Coogler’s surprise appearance the night before. According to social media reports, he dropped several Easter eggs about Bay Area representation in the film.

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Photo taken by my wife of the Grand Lake Theater in Oakland before the matinee.

We didn’t see any cosplayers or anyone with Afrofuturistic style at our showing, but a good number of people wore African and African-Inspired clothing, especially for the evening showing—ladies donned jewelry, colorful head wraps, and regal gowns, while men wore tunics with fancifully embroidered collars.

Inside, the diverse crowd buzzed as people searched for seats and stood in concession lines. Once the house lights dimmed and the red velvet curtain rose, the crowd hushed as previews began. The only previews that stood out were both science fiction entries—A Wrinkle in Time, which appears to have Afrofuturistic elements, and Solo: A Star Wars Story, which…I actually don’t know what to make about Solo just yet. The film seems way undermarketed, which is not a good sign for a movie, especially for a brand as huge as Star Wars; plus, the trailer left me with more questions than excitement.  (Editor’s note: my view of this film has changed after seeing the finished version!)

a-wrinkle-in-time-poster-slice-600x200At any rate, the Afrofuturistic elements and strong female leads in A Wrinkle in Time and Black Panther made me think of how diversity and gender equality are having moments even in this socially and politically divisive time. Further, with the successes of Jordan Peele’s social thriller Get Out, Patty Jenkins’ Wonder Woman (2017), and the evermore-diverse Star Wars films of late, moviemakers should realize the time has died for appeasing only one type of audience for box office success. Video game developers have known this for a while with the advent of create-a-character games, which allow players to gallivant as versions of themselves around virtual worlds.

The success of Black Panther creates a new template for Marvel’s movies, much like the first Iron Man did back in ‘08, Gamespot’s Tamoor Hussain notes. One reason is because T’Challa is already a hero who fights for and with his people, as opposed to a goodhearted, yet selfish person who gains superhero status after forced maturation, such as with characters like Tony Stark, Thor, and Dr. Strange. Hussain also adds that the Black Panther is doing so well at the box office because the film has its own identity, akin to how Thor: Ragnarok felt so different from the usual Marvel superhero movie.

And the above-mentioned difference is partially why I haven’t written a formal review for the film—there is so much to unpack. I mean that in a good way. The movie offers so many avenues for discussion that I want to see it again to both enjoy and analyze.

0218_WI_APAFRO_02_sq.0One of my criticisms with the film going in was regarding CGI usage. The trailers didn’t impress me in that regard. In general, I’m against CGI because it rarely adds whatever artistic weight filmmakers intend. Said plainly, most CGI looks fake. Thankfully, many of Black Panther’s sets and characters are grounded in the physical world, leaving room for only a few flat digital effects. What remains is pretty good. The African utopia brought to life, with its elevated Vibranium-powered bullet trains, humming around high-rise buildings and through bustling markets is a sight.

Much like Afropunk, Afrofuturism seems like it’s always been a thing, but the requirement mentioned above, the unapologetic celebration of the uniqueness and technological innovation of Black culture, is hard to come by in mainstream pop culture. Even those who don’t identify as Black or of African descent can see, at least for this moment, the great amount of celebration and pride the movie has inspired.

Wakanda forever, yes, but Afrofuturism, too. I think it’s cool.