No matter the circumstance, black men walk through life with swag In their new movies, Denzel Washington, Chadwick Boseman and Rob Morgan walk like brothers with a certain attitude

Something in the way three black men move in their current movie roles is evocative not only of the characters they play but also of the times in which these men each lived.

As soon as Denzel Washington walks on-screen in the eponymous role of Roman J. Israel, Esq., it is clear the two-time Oscar-winning actor is exploring new terrain as an actor. Gone is his soulful strut, which has taken its place alongside Marilyn Monroe’s wiggle, Charlie Chaplin’s waddle and John Wayne’s saunter as one of Hollywood’s most recognizable gaits.

Denzel Washington stars in Roman J. Israel, Esq.

Glen Wilson

Instead, in his new movie, Washington walks as if he’s a tightly wound rubber ball who, nevertheless, doesn’t bounce very high, instead rolling through life with harried purpose, often uphill.

In the movie, Washington comes to grips with the internal and external forces he’s been battling to an anonymous and noble draw, just as so many people in real life do.

In movies such as 42 and Get on Up, a James Brown biopic, Chadwick Boseman has used different walks to portray very different men. As Jackie Robinson in 42, Boseman used his walk to portray a great athlete burdened by the pressure of breaking major league baseball’s color line. As Brown, he glided more than walked, a high-flying bird circling his own sun.

Now, as Thurgood Marshall in Marshall, Boseman walks with open and confident strides as the crusading civil rights lawyer who would later become the nation’s first black Supreme Court justice. I’m eager to see how Boseman will walk in Black Panther, a 2018 superhero movie based in Africa. If the teaser trailer is any indication, the Black Panther will walk a little like James Brown. Black superheroes have soul, and they are superbad.

And as Hap Jackson in Mudbound, Rob Morgan walks as if his soul and spirit dance, despite the bone-breaking work he does to support his family in the 1940s American South. And he stands tall, as if he can see a better day for his family and his people.

In Hollywood, actors of all races root their characters in how they move, how they walk. But in much of black America, our men turn everyday walking into a kind of performance art.

During the 1960s, Martin Luther King Jr. walked with the serenity of a man who could hear the waters parting as he sought to lead his people to the promised land.

Twenty years later, a young Michael Jordan of the Chicago Bulls walked on to NBA basketball courts as if it were Friday night and he carried two weeks’ pay in his back pocket and the prettiest woman on the South Side of Chicago waiting for him back home.

And a generation after that, Barack Hussein Obama, the nation’s first black president, walked into the White House as if the majestic horns of John Coltrane’s “Blue Train” or Earth, Wind & Fire’s “In the Stone,” fanfares for an uncommon man, heralded his arrival.

When I was a child growing up in Philly, I learned that there was nothing pedestrian about the way black men walked. Instead, each man’s gait revealed a journey, whether it was from the street corners, the factory floors or the cotton fields.

Today, too many young black men walk as if they wear chains around their ankles, tottering back and forth, with no particular place to go. We’d do well to understand the sorrow and disaffection revealed in the way they walk.

In their current movies, Washington, Boseman and Morgan explore the inner and outer space of their characters’ lives. They take us to places we know. They take us to foreign places. They take us to places we’d like to be: a bite of the good life, a sip of forbidden water, the embrace of a good woman.

They ask us to walk with them and see what they see, feel what they feel. We do. And we are better for the journey.

Colin Kaepernick has earned the right to rock that ‘GQ’ cover uniform and Afro He may be wearing it on the cover of a fashion magazine, but it is not just for fashion

On Monday, GQ magazine released its Men of the Year issue naming former San Francisco 49ers quarterback Colin Kaepernick as its Citizen of the Year. Continuing his strategic silence, Kaepernick’s words are not featured in the piece. Instead, he guided GQ to interview 10 of his “closest confidants” — including director Ava DuVernay, hip-hop artist J. Cole, Women’s March co-organizer Linda Sarsour, and civil rights activist and entertainment icon Harry Belafonte — to provide intimate insights into Kaepernick the human being.

I was honored to be one of the 10 people interviewed for this piece.

While reading the article, I found myself fixated on the images that accompanied the piece. Photographed in Harlem, New York, by Martin Schoeller, the images were intended to “evoke the spirit of Muhammad Ali’s anti-Vietnam War protests in the neighborhood during the late ’60s.”

But for me, there was so much more encoded in the photographs, particularly the cover. There was so much beautiful black history and politicization hidden in plain sight.

Kaepernick’s Afro shined like a crown of black consciousness on the cover of GQ, serving as a crucial component for framing his unspoken love for black aesthetic affirmation. But if one picks through the historical roots of his natural hair halo, they will find a legacy of powerful black women affiliated with the Black Panther Party.

Arguably, the most iconic Afro of all rested atop of the head of the women engaged in black revolutionary praxis — most notably, Angela Davis. Unfortunately, many reduce her natural hair choice to simply a style to be easily emulated and not a powerful symbol that reflected a departure from the politics of respectability that served as a visual hallmark of the civil rights era, nor as a choice that combated Eurocentric standards of beauty that waged war on the self-esteem of black children, women and men in America.

As Davis noted, “I am remembered as a hairdo. It is humiliating because it reduces a politics of liberation to a politics of fashion.” This reduction that Davis sees as humiliating anchors the important implications involved in the multilayered nature of the Black Power-era mantra, “black is beautiful.” It was not just about looks, it was about liberation.

However, as Kim McNair, a postdoctoral scholar at USC who teaches in the departments of American studies and ethnicity, and history, poignantly points out:

Kaepernick’s choice in style links him not only to the idea of “black is beautiful” but also connects him to figures such as Frederick Douglass and Bob Marley, two biracial figures in the long black freedom struggle. These men also wore their hair long, and Marley’s choice in particular was part of his Rastafarianism that also became a political movement. Hair politics among mixed-race black people carries a weighted history of questions around legitimacy and racial authenticity. This is why Kaepernick’s choice in hairstyle is purposeful — not superficial, as many would like for us to believe.

I can recall an impromptu conversation that Colin had with the youths invited to one of his Know Your Rights Camps in Chicago. During a heated debate about young men and the need to look presentable, Kaepernick peacefully yet passionately interjected, speaking to the young black folks in the crowd about the importance of loving themselves — specifically their hair. He spoke directly to those who were stigmatized for making the choice to wear their hair in locs, or in some iteration of an Afro, highlighting how this cultural criticism about natural black hair was just one of the many ways that anti-blackness attacks your sense of self, leaving a trail of self-hate for something that was given to you from birth: your hair.

The children returned the love via a roaring round of applause.

Colin’s homage to the aesthetics of the Black Panther Party on the cover of GQ continued via his adorning a black turtleneck and a black jacket with a peaked lapel, symbolically connecting his image to the likes of Huey P. Newton, Bobby Seale and many others wearing the Black Panther Party uniform, presenting themselves as a unified group moving in solidarity in the fight against systemic oppression.

Seale complained that with the increase in Panther visibility, many wanted to wear the impressive Panther uniform of the black beret, black pants, blue shirt and black turtleneck, but only to posture and pose “with a mean face on, their chests stuck out and their arms folded.” They wanted to be seen as helpers of the people without putting in the work and making sacrifices for the people.

Colin, by way of the work that he has committed himself to for social justice, and the sacrifices that he has made, has earned the right to wear that uniform and rock that Afro. Even though it is on the cover of a fashion magazine — it is not just for fashion.

As one delves deeper into GQ’s photographs of Kaepernick, it impossible to miss the image of Colin wearing a dashiki top while in a crowd of beautiful black and brown faces. This, of course, is a re-creation of the iconic image of Muhammad Ali in 1974, among the people of Kinshasa in the Democratic Republic of Congo. This is also a remix of photos taken of Colin while on a trip to Ghana. As Colin let the world know on July 4 via an Instagram post, and an accompanying video:

“In a quest to find my personal independence, I had to find out where my ancestors came from. I set out tracing my African ancestral roots, and it led me to Ghana. Upon finding out this information, I wanted to visit the sites responsible for myself (and many other Black folks in the African Diaspora) for being forced into the hells of the middle passage. I wanted to see a fraction of what they saw before reaching the point of no return. I spent time with the/my Ghanaian people, from visiting the local hospital in Keta and the village of Atito, to eating banku in the homes of local friends, and paying my respects to Kwame Nkrumah’s Memorial Park. I felt their love, and truly I hope that they felt mine in return.”

I was there with him in Africa. I was there when he and his partner Nessa personally picked out that dashiki while paying respects to African ancestors who were stripped of their lives in the Goree Island slave castles. This dashiki was not a piece picked out by a stylist — it was a part of his personal collection.

This was again, a moment of Colin telling his story pictorially in the GQ article without opening his mouth. The pictures are frozen moments of living memories, archiving a man of the people and his reluctant ascendance into the pantheon of iconoclasts, engaged in the struggle to attack oppressive beliefs and norms held by racist individuals and the traditional institutions that they control.

The employment/reconstruction of the iconic likeness of freedom fighters of the Black Power movement serves as a pathway that not only reminds us of the past, but the contemporary relevance of the image of Kaepernick on the GQ cover also shows how, in troublingly tangible ways, many things have not changed in America. Colin’s clothing in the GQ article honored the ancestors and challenged contemporary anti-blackness in the present. It was an icon of today paying respect to icons of the past while investing in the youth, the icons of the future.

Colin said a lot without saying anything at all.

Daily Dose: 11/13/17 Colin Kaepernick named GQ’s ‘Citizen of the Year’

Happy Monday, kiddos — hope you had a healthy and productive weekend.

Colin Kaepernick has had an incredible year. His charity work has reached a lot of people and if he wasn’t a household name due to his NFL play, he certainly will be one now that GQ magazine has named him its Citizen Of The Year. He’s on its newest cover rocking what could be described as a militant look, which personally, I think comes with its issues. Kaep doing Kaep is completely fine, but one need not look like a Black Panther party member to be down for the cause. You can wear Gucci and still be a freedom fighter.

Maybe I’m old-fashioned, but bringing guns to church seems like a bad idea. Namely because if you’re there to praise the Lord, it just feels like gunning someone down is not really congruent to that whole cause. But, because people are willing to attack others in houses of worship, more and more are taking up arms publicly. So, to review: To prevent mass shootings, quite a few people of the cloth think that more guns in a scenario would lead to less gunfire. Maybe I’m terrible at math, but that just doesn’t add up.

President Donald Trump’s White House has a few characters in it. Some of them are members of his family, some aren’t. But one very famous member of his staff was a reality star as well with Trump, before they made it to Washington. Omarosa’s hiring was big news, and though she formally has a job title, no one really knows what she does. Sidebar: It’s not even her first job there. But when a reporter followed her around for a day at 1600 Pennsylvania Ave., the trip brought more questions than answers.

Carlos Beltran has retired. It’s cool news because going out on top is a great feeling, in general. So, now that the Houston Astros won the World Series, after 20 years, he’s stepping away. To be clear, for my money, Beltran is headed directly to the Hall of Fame. Sure he played for a lot of teams, but to call him a journeyman is misguided. He’s not in the 500-homer club, but he did make nine All-Star teams and was absolutely one of the best players of his time. Looking forward to hearing him speak in Cooperstown, New York.

Free Food

Coffee Break: I’ve been a reader of Vanity Fair since I was in high school, and a religious one, at that. But for as much as it highlights the off-the-beaten-path worlds of the rich and famous, it is still a very rich and very white publication. Now, Radhika Jones will be taking the helm, which is a step in the right direction.

Snack Time: When I want to see appliances destroyed on camera, I don’t ask a ton of questions, because the footage is always good. The reason people are banging out their Keurig machines happens to be extremely stupid, however.

Dessert: If you didn’t watch Saturday Night Live this week, just check this out.

 

Daily Dose: 11/8/17 Drake is coming to take over Hollywood

Hey, gang, it’s another TV day, so if you’re into that, tune in to Outside the Lines at 1 p.m. EST on ESPN. We’ll be talking about this story by Brian Windhorst on how LeBron James has taken on Michael Jordan’s role in the eyes of the NBA.

The president has been in Asia, and so far, so decent. He’s weathered one relatively embarrassing revelation about his proclivity for McDonald’s, the first lady has endured some embarrassment at the hands of a Korean pop star and, oh, yeah, the Democrats cleaned up Tuesday night on Election Day. We’re not just talking about at the top of every ticket, either: a transgender woman in Virginia, an openly lesbian mayor in Seattle, the first Sikh mayor in Hoboken, New Jersey. The victories are symbolic and also important.

Los Angeles has a ton of cars. So what do you do in a place where you need to get around quickly? Well, there’s public transportation, but also the far more baller option: helicopters. The problem is that helicopters are all sorts of loud and dangerous, so they don’t really make for a good commuting option. (Speak for yourself.) As a result, NASA and Uber are teaming up to create a new flying car that will basically serve as a transportation replacement for the chopper. This is an actual good idea that feels like more than just sci-fi fantasy.

Now that he’s conquered the rap game, Drake is coming for Hollywood. This transition — or addition, if you will — seems like a natural fit, considering that his close friends all seem to be people who in some way are movie stars. But we’re not just talking about him suddenly starring in movies. Aubrey Graham is looking to disrupt by creating, something he should know well as a child actor turned rapper. It might seem like a fame grab to the uninitiated, but I’m actually as interested in this as I am anything else he does.

NFL commissioner Roger Goodell has been hanging out at Bloomberg News all morning. The man hired to represent the league’s 32 owners has been under quite a bit of scrutiny recently, considering all the fallout from pregame protests that have come back to haunt him. Some people think he could be out soon, but apparently the checks are still clearing. So far, he’s claimed that people come to the stadium to have fun, not to view protests, just to give you an idea of how it’s going. You can watch here.

Free Food

Coffee Break: If you can’t wait for Black Panther to finally hit next February, you’re not alone. We’ve got quite a few very fun teasers, and it’ll be interesting to see how this plays over the holiday season with the movie not even being released yet. But here’s another sit-down with the star, Chadwick Boseman.

Snack Time: I have little sympathy for accidents that befall people who hunt animals. Yes, they are unfortunate, but ultimately, that’s the game, right? Well, one dude in France learned the hard way and paid the ultimate price.

Dessert: There’s a new movie coming out about my former employer The Washington Post. Looks like a fun one.

Daily Dose: 10/16/17 Marvel unveils new ‘Black Panther’ trailer

  • What up, gang? Hope your weekends went well.

The new trailer for Black Panther is pretty incredible. As a matter of course, this film is already one of the most hyped of 2018, and with each new piece of footage that drops, the streets get even more needy. Chadwick Boseman and company set the internet on fire on Monday, yours truly included. Here are the details, but let me just say this: the handshake. THE DAP GAME. I’m going to be using that handshake until I die. And aside from the unabashed blackness of this film and its cast, it looks like a genuinely great film to come.

The fallout from Harvey Weinstein’s ouster has been widespread. Aside from all the big-name Hollywood stars we’ve heard come out with stories of sexual harassment and assault, a more populist social media movement to highlight the problems has been sparked on social media. The #MeToo hashtag has been a way for women to note that they have been victims, thus pointing out exactly how widespread this issue is. Actress Alyssa Milano was one of the first to share it, and countless others have since joined in to share their pain.

My sister is a vegan. For lack of a better term, it’s a whole thing. Because if you’re willing to eat every meal inside your house, or have the money to be perusing random eateries at all hours of the day looking for things to eat, that life ain’t easy. But, as time goes on, the eating-out option tends to grow in variety and availability. Meaning, if you really wanted to find a vegan spot to spend most of your time and energy, you certainly could. That said, vegan joints are still a tad quirky. This story interviewing vegan restaurant workers about vegans is hilarious.

The NBA starts Tuesday. In case you missed it, it was quite the offseason in these streets, meaning that Tuesday’s game between the Cleveland Cavaliers and Boston Celtics is going to be nothing short of fantastic. More personally, I’m excited that my Washington Wizards are back on the court, having had an offseason with little to no drama, outside of an injury. The Golden State Warriors are obviously the Vegas favorite to win the championship, but you never know, y’all. The Spurs are outchea trying to sign a contract extension for LaMarcus Aldridge, so it’s a whole new world.

Free Food

Coffee Break: Look, some criminals are stupid, while others just choose to use their talents for unorthodox things, which not many of us can necessarily appreciate. One such individual is this guy in Texas, who for the better part of a decade was hijacking fajita deliveries from a restaurant. What a dude.

Snack Time: So, Jussie Smollett appeared as Langston Hughes in the movie Marshall. Apparently he liked the role so much that they’re making an entire other movie with the same cast.

Dessert: Do you need a life coach? The Rock should do just fine.

‘Marshall’ turns Thurgood into the contemporary hero Americans want, but ignores the one he was Not enough of the real NAACP lawyer shows up in Chadwick Boseman’s portrayal

Marshall, the new film from director Reginald Hudlin about the late Supreme Court justice Thurgood Marshall, comes from a production company called Super Hero Films.

It’s an appropriate moniker, given that the star of Marshall is Chadwick Boseman — or, as he’s sure to be known after February, Black Panther. But it’s also appropriate given the way Marshall presents the man once known as “Mr. Civil Rights” as a swashbuckling, arrogant, almost devil-may-care superhero attorney barnstorming the country in pursuit of justice and equality.

Written by Connecticut attorney Michael Koskoff and his son, Joseph, Marshall is not the story of the first black Supreme Court justice’s entire life. The movie takes place decades before Marshall was ever nominated to the court. Instead, Marshall provides a snapshot of young Thurgood through the course of the Connecticut trial of Joseph Spell (Sterling K. Brown), a black chauffeur who was arrested in 1940 for the rape, kidnapping and attempted murder of his white boss, Eleanor Strubing (Kate Hudson).

Marshall, at the time an attorney in the NAACP’s civil rights division and seven years out of Howard University School of Law, travels to Connecticut to defend Spell. When the white judge presiding over the case refuses to let Marshall be the lead lawyer on the case, Marshall enlists a local Jewish attorney, Sam Friedman (Josh Gad), as the puppet for his legal ventriloquism. Marshall feeds Friedman his strategy, arguments and ideas and sits on his hands as he watches Friedman clumsily make his way through them.

Hudlin ends the film with an image of Marshall after he’s pulled into a train station in the Deep South. A mischievous smile creeping across his face, he grabs a paper cup to get a drink of water from a whites-only water fountain. Marshall tips his hat to an older black gentleman who’s watching, clearly astonished, and continues on his way.

The scene exposes how Marshall is more of an exercise in reflecting contemporary black attitudes about race and rebellion than it is connected to the way Marshall enacted that rebellion in his life as an NAACP lawyer, solicitor general under Lyndon Johnson, and then as a member of the Supremes. It’s certainly ahistorical. The real Marshall was a skilled politician, which made him an effective courtroom lawyer. He was charmingly persuasive, according to those who knew him, able to persuade white Southerners to do his bidding even against the wishes of fire-breathing racist sheriffs.

“He wasn’t an activist or a protester. He was a lawyer,” Marshall’s NAACP colleague, attorney Jack Greenberg, said in a 1999 documentary that asserts Marshall always followed the rules of the segregated South during his many trips there.

In any fictive portrait based on true life, a certain amount of interpretation is expected. But Marshall fundamentally changes our understanding of Marshall as a person and a real-life superhero. Thanks to accounts from family, colleagues and biographers such as Juan Williams, we know Marshall was smart, strategic and conscious of preserving his life and safety so that he could live to fight another day.

Hudlin superimposes modern conceptions of black heroism onto a period courtroom drama. He’s not the first to do so, of course. Both the 2016 adaptation of Roots and the now-canceled WGN series Underground told historical stories calibrated for a modern audience that wants and deserves to see black characters exhibit agency over their fates. Combined with the decision to cast the dark-skinned Boseman and Keesha Sharp as Marshall and his wife, Buster, Hudlin’s choices feel reactive to the colorism and racism in modern Hollywood. That choice ends up flattening an aspect of Marshall that certainly had an effect on his life: his privilege as a light-skinned, wavy-haired lawyer who grew up as the middle-class son of a Baltimore woman with a graduate degree from Columbia and a father who worked as a railway porter.

If ever there was a couple who fit the profile of the black bourgeoisie, it was Thurgood and Buster Marshall. Casting Boseman and Sharp may be a way to thumb one’s nose at the screwed-up obsession with skin tone that pervaded the black elite in the early 20th century and continues to block opportunities in modern-day Hollywood, but it also erases part of our understanding of how Marshall moved through the world.

Marshall possessed a terrific legal mind and used it to hold the country accountable to its founding ideals. He was a pioneer for daring to think that equality could be achieved by challenging the country’s institutions, but he also expressed a deep reverence for and faith in them. He would have been seen by whites in the South as a Northern agitator, and he knew it — the real Thurgood slept with his clothes on in case a lynch mob decided to confront him in the middle of the night. Altering Marshall so much in a movie meant to celebrate him ends up cheapening the gesture. It’s like making a biopic about Barack Obama and turning him into Jesse Jackson. He just wasn’t that type of dude.

It wouldn’t matter so much that Boseman’s Marshall strays so far from the real man if it wasn’t for the fact that Marshall tends to exist now mostly as a Black History Month factoid (even though multiple biographies have been written about his life and work).

Thurgood, a 2011 HBO movie starring Laurence Fishburne, goes too far in the opposite direction. Clips of Fishburne show a stiff and overly reverential character better suited for a museum video re-enactment or a Saturday Night Live sketch.

I sound like the story of Thurgood Marshall is a Goldilocks conundrum. Fishburne-as-Marshall was too stiff. Boseman-as-Marshall was too loose. Maybe a third attempt will get it just right.

Every time I see a film by a black director or that stars black people and I love it unreservedly, I experience a mélange of awe, reverence and respect that comes from witnessing an amazing work of art. And then comes the wave of relief.

Because the stakes are so high — every so-called “black film” must succeed to secure another! — you feel some kind of way about having to type all the reasons a film doesn’t work, knowing that those words have consequences but still need to be expressed. In short, it’s the feeling of “I don’t know if I like this, but I need it to win.”

I hate this feeling. If ever there was a selfish reason for wishing the film industry would hurry up and achieve racial and gender parity, this is it.


Hudlin’s directorial oeuvre is squarely commercial. His gaze is unfussy, with few stylistic flourishes, likely influenced by his past 15 years directing episodic television. His last movie was Wifey, a TV movie starring Tami Roman. His last feature was the 2002 romantic comedy Serving Sara, starring Matthew Perry and Elizabeth Hurley, but he’s probably best known for Boomerang, House Party and The Ladies Man. Thus it’s no surprise that Hudlin directs Marshall as a crowd-pleaser, but the nuances of Marshall’s life get lost.

What’s disappointing about the way Marshall is translated for the big screen is that real-life heroes come in a variety of forms. They’re complicated. They’re not saintly, nor are they all hot-headed crusaders. And that’s OK.

One of the most admirable aspects of Loving was that it was a historical drama with the patience to tell the story of Richard and Mildred Loving, portrayed by Joel Edgerton and Ruth Negga, as the quiet, country people they were. They seem as unlikely a pair to make civil rights history in the film as they were when they lived. But Loving came from the Focus Features division of NBCUniversal, a production house known for unconventional work. Marshall is not an art house film, and I don’t think it needed to be to tell Marshall’s story. Hidden Figures was another historical drama meant for wide consumption. It’s not perfect, but Hidden Figures was so full of charm that it overcame the white saviorism added to Kevin Costner’s character, which didn’t exist in Margot Lee Shetterly’s book.

The shortcomings that separate Marshall from Hidden Figures and Loving are the same ones that give it the feeling of a TV movie. Aside from focusing on one specific area of Marshall’s life rather than the whole of it, Marshall does little to escape or subvert some of the most irritating biopic tropes.

For instance, the screenwriters jam Boseman’s mouth full of exposition about his accomplishments rather than demonstrating them. He rattles them off to Friedman in the form of a verbal resume.

The movie includes a nightclub scene that functions as little more than a non sequitur to shout, “HEY, THURGOOD MARSHALL WAS FRIENDS WITH ZORA NEALE HURSTON AND LANGSTON HUGHES. DID YOU KNOW ZORA AND LANGSTON HAD AN ICY RELATIONSHIP? BECAUSE WE DID!”

The three aren’t around long enough to discuss anything substantive. Their interaction doesn’t serve as foreshadowing for some other part of the movie. They’re just there because they all lived in Harlem. It’s little more than fat to be trimmed in a nearly two-hour movie.

But the most obvious weak point may lie in the flashbacks to the interactions between Strubing and Spell, which are filled with so much melodrama that they’d be perfectly at home on Lifetime. It’s not that those tropes don’t have their place. It’s just not on a screen that’s 30 feet high.

Boseman, as watchable as ever, makes Marshall a winking, confident wisecracker with a disarming smile. He’s full of smarts and bravado, communicating the real off-hours aspects of Marshall’s ribald sense of humor.

In the future, though, I hope screenwriters and filmmakers have more faith in the capacity of audiences to appreciate all kinds of heroes. As tempting as it is to superimpose modern politics onto historical figures, it can be more edifying to simply let them breathe so that we can appreciate their efforts within the context of their own times. Such context allows us to more fully understand the cost of their struggles and celebrate them all the more for winning.

Black people don’t surf? This org proves that’s not true The Black Surfers Collective aims to dispel the myth by offering free surf lessons

Four years ago, Detroit native Mimi Miller had never been in the ocean. Now she’s a devoted bodyboarder, surfer and volunteer for the Black Surfers Collective — a group that, according to its mission, raises cultural awareness and promotes diversity in the sport of surfing through community activities, outreach and camaraderie.

On Aug. 12, you could find Miller standing on the shoreline of Los Angeles’ Santa Monica State Beach, clapping and cheering on newcomers who took part in the collective’s monthly free lessons to introduce black people to surfing, called Pan African Beach Days.

Being active in the L.A.-based collective, with its 799 members on Facebook, has allowed her to do something she enjoys in a supportive, vibrant atmosphere: “I love the community,” she explained in between chasing down stray boards and yelling “Good job!” to kids and adults alike.

About 111 people signed up for the Aug. 12 event, although the collective cannot safely accommodate such a large number. Still, a good 40 people, ranging from young kids to middle-aged participants, got training and coaching. Most did not have experience surfing.

Miller and the rest of the collective’s members are part of the proud if lesser-known tradition of black surfing, which some would argue goes back to native Hawaiians (descendants of Polynesians), who are credited with inventing the sport in the first place. Among the legendary surf icons are Montgomery “Buttons” Kaluhiokalani, a black Hawaiian whom Surfer magazine called “the father of modern day surfing.”

L.A. has its own lore, beginning with black surf pioneer Nick Gabaldon, who frequented the Inkwell Beach in Santa Monica in the 1940s, where black beachgoers congregated during segregation. Also, the late Dedon Kamathi, a radio host and onetime Black Panther, was a surfing devotee, as was police abuse victim Rodney King.

Founder and co-president of the Black Surfers Collective, Greg Rachal is a former skateboarder who found his way onto a longboard early on. “I’ve been in and out of the water all my life, since I was 13,” he said.

Rachal and his wife, Marie, are beach enthusiasts and a vital presence in the collective, which organizes camping and surf trips and takes a leadership role in an annual tribute to Gabaldon.

Rachal’s son, Greg Jr., 15, volunteers on the collective’s surf days because he likes giving back. He is on his school’s surf team, which sometimes comes as a surprise to his white classmates. Greg Jr. would like to see more African-Americans in surfing. Until then, he said, he enjoys defying stereotypes.

He’s not alone. Waterman Michael Brown Parlor has been surprising people with his prowess in lifeguarding, surfing and sailing since he was a college student in South Carolina in the 1970s. He’s retired from surfing and mentors female surfers in competitive events, believing girls don’t get the respect they deserve in the sport. He spent Pan African Beach Day encouraging newbie surfers and taking pictures for his Facebook page devoted to surfing.

Pan African Beach Day was launched a few years ago because too few black people in L.A. get to the beach, and they don’t always have a background in swimming to enjoy the water, Rachal explained. He credited the Surf Bus Foundation, a nonprofit that promotes ocean sports and safety in L.A., for helping make Beach Day a success by supplying the boards, instructing students and providing additional volunteers. Beach Days are open to anyone, although most participants are people of color.

Before they took to the waves Aug. 12, participants gathered on the beach for a talk about ocean safety and played some games that got them into the water. Then it was time to plop themselves on boards laid out in the sand, where they learned how to position their arms and feet and practice their “pop up,” the tricky move from prone to upright, ending in a stance with knees bent and arms extended.

After some popping up, volunteer instructors such as Rachal and other members of the collective took participants into the water, finding the right wave and giving them a push forward. Some newcomers rode the boards on their bellies, zooming into shore with their arms extended, while others proved agile enough to stand up, maintain balance and ride in — always an exhilarating moment for a student and instructor. Waves were small, and wipeouts were minor.

Participant Pierre Scott had attended a few Pan African Beach Days before and was having a good run, standing up and even angling into the barrel of the wave, not just riding into shore.

“I love it. It’s something I’ve always wanted to do,” Scott said.

“It’s a hype experience,” said Garry Maxwell, who chuckled about the language of surfing, explaining that “I’m stoked.”

Devin Waller was a beginner and felt a bit nervous. But she felt the stoke the first time she stood up on the board.

“It was awesome,” Waller said after the session ended, depositing her board on the sand. “Heck yeah, I’m going to do it again.”

Sydelle Noel is making a splash in Netflix’s ‘GLOW’ The track star turned actress gets candid about Monopoly, her father and meeting Angela Bassett

Sydelle Noel is on the fast track to becoming one of the hottest actresses in Hollywood. Shortly after landing a small role in the highly anticipated Marvel movie Black Panther, Noel sprang into a challenging role as Cherry Bang, one of the featured wrestlers in Netflix’s latest original series, GLOW. It focuses on a group of women in 1980s Los Angeles who become the Gorgeous Ladies of Wrestling. “Cherry is sexy, she’s very physical, she knows what she’s capable of and actually says what’s on her mind,” said Noel. “She’s not afraid of anyone, not intimidated by anyone. And she’s badass. Who doesn’t want to play a badass?” Noel’s former focus was on becoming a star athlete at the University of Georgia, where she ran track on a scholarship. Unfortunately, a stress fracture changed all that. But it’s Noel’s athletic background that helps her on GLOW. “Anything that’s a challenge,” said Noel, “I like to … conquer it.” Below (among other things) she talks about her favorite real-life wrestlers — and about which actress almost brought her to tears.

Who is your favorite wrestler?

I grew up watching Hulk Hogan. As I got older, I think me and everybody else loved The Rock. The Rock was my all-time favorite. He took wrestling and made it his own. And now he’s one of the No. 1 actors in the world.

Are there any rituals you get into on set?

Every athlete has a type of music they listen to to get them to that place — I’m very similar with acting now. I still have my get-crunk music, I have my cry-to-me playlist. I have so many different playlists I listen to to get me where I need to be, and in the zone I need to be. When I’m in my trailer preparing my lines, sometimes I listen to jazz. Sometimes I listen to Uncle Luke before the scenes I’m doing.

“Every athlete has a type of music they listen to to get them to that place — I’m very similar with acting now.”

What were your top three songs?

Nina Simone’s ‘Feeling Good,’ Lil Jon [& The East Side Boyz], ‘Get Crunk,’ and Tracy Chapman’s ‘Give Me One Reason.’ I love throwbacks.

Which pro athlete would you never want to trade places with?

If I had to say never, and it’s not because of their athletic abilities, it would be Serena Williams. It’s because no one ever wants to see her fail, so she has the world on her shoulders. She’s playing for her and everybody. That’s a lot of pressure … when she loses, it’s like she lost for the world, not just for her. But, shoot, that body, her bank account, her skills — I would definitely trade places for that!

If you could go to dinner with one person, dead or alive, who would it be?

The first person that popped into my head is my dad. I lost my dad when I was 9, and I would drop everything, give up everything, for one last dinner with him.

Who would you want to play you in your biopic?

Right now, I would want to play myself! Twenty years from now I wouldn’t know, but right now, if they were like, ‘Sydelle, we’re going to do a film about you right now. Who would you want to play you?’ I’d be like, ‘Uh, no one’s playing me but me.’ Not only do you have to have the acting down, but you have to be physical and have the athletic background. There are a very few — a handful — of African-American girls out there in the entertainment world where we can act, be physical and actually do your own stunts. There’s not many of us out there.

What’s your favorite throwback television show?

Fresh Prince! I love The Fresh Prince of Bel-Air. When it’s on, I always have to stop and watch it.

“I lost my dad when I was 9, and I would drop everything, give up everything, for one last dinner with him.”

What’s the last show you binged through?

Dear White People. I was sad that it was over. I actually didn’t know it was over. I was like, ‘Wait a minute. What?’ With Netflix, shows just literally go on. In 30 seconds the next episode just goes on, and you just need it. It was done and I was like, ‘What just happened?’

What will you always be the champion of?

I will always be the champion of Monopoly. Always. Hands down, no one can beat me in Monopoly.

Have you ever been starstruck?

I’m starstruck all the time. I ran into Laurie Hernandez. I was like, ‘Oh, my gosh, you’re so cute! I love you!’ The most [starstruck] that I’ve ever been, and it really brought me to tears, is when I was working on Black Panther and I saw Angela Bassett. I went weak in the knees because I’ve always wanted to work with her. She’s one of my idols. Finding out she was so down to earth and chill and fun, it was amazing working with her. When we wrapped, I just had to go over and knock on her trailer and let her know how much it meant to me, and I almost started crying.

If you could go back in time, what would you tell your 15-year-old self?

I would tell her not to stress so much about the future, because the future will be just fine. I used to stress myself out, especially with … my track career. I used to stress myself out … and would have to tell myself to relax, and just go with the flow. Let things be. Things will always work out.

This conversation has been edited for clarity and length.

Pots & pans: We need to celebrate our heroes and heroines both past and present this Juneteenth No matter the when, they are all making it possible for blacks to realize the true American dream

On this date in 1865, black people enslaved in Galveston, Texas, were told the Union forces had won the Civil War and that they were free. Since then, black Americans have marked Juneteenth with jubilation, feasts, strawberry soda and other red drinks.

Today, I raise my glass of strawberry soda to salute some of the people I believe exemplify the continuing struggle to gain full civil and human rights for black people in our country, a struggle that has helped America draw closer to the vision outlined in the Declaration of Independence.

Consequently, I toast LeBron James and Kevin Durant. Since 2010, James has gone from the Cleveland Cavaliers to the Miami Heat and back again, winning three NBA championships along the way. This season, K.D. moved from the Oklahoma City Thunder to the Golden State Warriors and led that team to a 4-1 victory in the NBA Finals over LeBron’s Cavs, the defending champs. Furthermore, they triumphed by competing against each other vigorously while respecting each other as athletes and as men.

Although some deride and dismiss the significance of millionaire black athletes deciding their fates, their actions represent a generation of black athletes who feel free to pursue happiness and league championships on their own terms.

I toast broadcast journalist April Ryan and U.S. Sen. Kamala Harris from California, wonder women who seek to lasso the truth with their probing questions. They have asked questions that revealed inconvenient truths about the white male political establishment that has sought, without success, to dismiss them and shut them up.

Meanwhile, I toast Ta-Nehisi Coates and Chadwick Boseman. The two Howard University men continue the integration of the nation and the world’s fantasy life. Coates, a John D. and Catherine T. MacArthur Foundation genius grant winner, has been writing the comic book Black Panther, about a genius inventor and one of the world’s smartest people. Boseman, who has captured the physicality and emotional complications of James Brown and Jackie Robinson on screen, will continue playing the Black Panther in an eponymous 2018 movie.

As Coates and Boseman champion black inclusion in society through a superhero, Lynn Nottage uses ordinary people to help America better understand today’s challenges, which are made worse by racial and class divisions.

She earns a strawberry soda salute with her bittersweet Sweat, her Pulitzer Prize-winning play that explores the end of work and the emotional chaos that follows. Colson Whitehead, a Pulitzer Prize winner for The Underground Railroad gives us a poetic vision of slavery and its aftermath. And Tracy K. Smith, another Pulitzer Prize winner (Life on Mars), and the new poet laureate of the United States, finds majesty in the everyday, just as Gwendolyn Brooks and Rita Dove did before her.

They meld the intellectual ambition of W.E.B DuBois and Booker T. Washington’s veneration for sweat and craft. They show that the road to higher ground is paved with a commitment to excellence. They show that great art is fundamental to our survival. I toast them all.

And I toast all the black people, especially the slaves, lost to the years. They bore the lash. They prayed. They loved.

And they live in today’s triumphs, undefeated and unbowed, now and forever.

‘Black Panther’ teaser trailer is serving looks Marvel blessed us during the NBA Finals, and it’s visually stunning

We were sitting around a table, casually discussing whatever we had to catch up as a group of friends. We weren’t all facing the television, so one person said, “Shut up, the Black Panther teaser is on.” Another friend continued, not realizing that this wasn’t just the first time he’d seen it, but the first time anyone had. “Look, I’ll address that after this ends,” he was told again. We all stared.

I don’t really remember if it was between the first two quarters of the game or somewhere in the second, because it felt like time stopped. At the point where Chadwick Boseman is executing whatever midair flip in slow motion he was doing, my body naturally stood up from the table and gravitated toward the television that was hanging on a wall in the bar. By the time it was done I turned around to look at the squad, and we all had the same looks on our faces.

“Holy s—, that was incredible.”

Black Panther was real and happening, and it looked amazing. The game instantly became a secondary conversation to what we’d just witnessed from the Marvel Universe. What I enjoyed so much about it was that it appealed to everyone, off the break. Of course, there are serious megafans of the comics who will have various things to deconstruct and dislike, but coming out of the gate, the clear distinctions were great.

For one, Wakanda is clearly not some Third World wasteland. Its technological advancements are clearly on par with most things in that universe, which is dope. This is the capital city, and vibranium, the mineral that the nation has major reserves of, allows it to stay on the cusp of what’s modern. Also, look. At. That. Ship. The last thing we wanted was a bunch of souped-up tribesmen to further create disastrous stereotypes in the superhero world.

Here are some of our favorite still shots.

Wait till y’all see me at the function next spring rocking this joint until Future’s “Mask Off” comes on. Then I’m turning all the way up.

This is a look goal if I’ve ever seen one. Lupita Nyong’o, no stranger to action movies, is not here for your nonsense.

When you’re trying to address the congregation but someone’s phone keeps going off.

Oh, that’s my phone? Do something. That’s what I thought.

When you waited all weekend to get fly for your little friend at school and they were home sick that day.


Meanwhile, the shade being thrown is predictable and, in many cases, very funny. What folks act like when this movie comes out is going to be serious. Nobody in America is ready for the squad cosplay that the film could bring to the theaters and premieres. It’ll be the blackest big-budget superhero movie. Not to mention it’s actually about a fictional African place. Believe that folks will be deep at the box office. And it comes out during Black History Month? Sheeeeeeee … just kidding. That doesn’t matter at all.

In all seriousness, that moment Friday night was like nothing I’ve ever experienced. My phone was blowing up with texts, and my whole TL was taken over by Wakanda jokes and the like. We don’t need that Coming to America remake. Black Panther, from the looks of it, will do just fine. This is dope, though.

This is a full shot-by-shot breakdown of the teaser trailer with story analysis. It’s with director Ryan Coogler and Marvel Studios president Kevin Feige.