Balogun Ojetade's Blog, page 23

STEAMFUNK AIRSHIP PILOTS: Black Aviators in the Diesel Age

STEAMFUNK AIRSHIP PILOTS: Black Aviators in the Diesel Age

In this instance of the League of Extraordinary Black People Series, Steamfunk would actually be a misnomer as the first known Black pilots of an airship flew during the Diesel Age, thus these are actually Dieselfunk Airship Pilots, but I figured with Steamfunk picking up…well…steam and Rococoa on the cusp of becoming a movement – especially with the upcoming Mahogany Masquerade, which will feature Steamfunk and Rococoa and the Black Caesar graphic novel, coming in 2014 from Yours Truly and the brilliant artist, Kristopher Mosby – I figured I would wait to start pushing Dieselfunk until we open submissions to the Steamfunk II: Dieselfunk anthology, so Steamfunk Airship Pilots it is.

Many people know of the Tuskegee Airmen – especially since George Lucas’ Red Tails soared onto the silver screen – and their long list of accomplishments over the skies of Europe during the second World War.

The Tuskegee Airmen flew in the segregated 99th Pursuit Squadron and successfully completed several high-risk missions. By the end of WWII, they were the most requested squadron for bomber escort and when the United States Air Force became its own separate entity after World War II, segregation in the Armed forces had completely ended and fighter pilots of all races flew in the same squadrons.

But the Tuskegee Airmen were not the first Black fighter pilots and most certainly not the first Black aviators. There were a few Black fighter pilots in The Great War, now also known as World War I.

So grab your goggles, throw on that bomber jacket and climb into the cockpit of the airship Sweet Chariot with me as we get a bird’s-eye view of those pilots – and other great Black aviators – below:

Eugene J. Bullard

Often touted as the first Black fighter pilot, Eugene J. Bullard – who hailed from Columbus, Georgia – was a fighter pilot for the French in The Great War.

Born in 1894, in the rural South, Bullard grew tired of the racist and oppressive treatment he suffered at the hands of whites and in 1913, at the age of 19, he caught a boat going to Scotland, and then later took up residence in Paris, France.

Bullard made a good life for himself as a boxer and as a musician before joining the French Foreign Legion at the start of WWI.

Bullard did well in the Legion and served with distinction. He later transferred to the Service Aeronautique and eventually came to serve as a Spad pilot in Escadrille SPA 93 and SPA 85. His accomplishments in the Lafayette Flying Corps – the name given to the American volunteer pilots who flew for the French during World War I – include flying over 20 combat missions and two confirmed kills.

The United States, who entered the war in 1917, sought to recruit some of the Americans that were already flying for the Lafayette Flying Corps. Bullard passed the medical examination, but was denied the opportunity to fly for the United States Army Air Corps because he was Black.

When The Great War ended, Bullard returned to France and enjoyed life as a Paris socialite.

When Nazi Germany invaded France, Bullard found himself on the run. He managed to escape France and returned to the United States.  Unfortunately, shortly after his arrival, he was subjected to an even more brutal brutal system of oppression than the one he had escaped.

Bullard was never given the respect and admiration in the United States that he had in Europe and he grew ill from the stress. In 1961, he died of stomach cancer.

Marcel Pliat

Marcel Pliat – also known as Marseille Plage, or Marseille Plya – was a Black airman who served in the Russian Air Force as a gunner-engine mechanic on the huge Sikorsky Il’ya Muromets bombers.

He is credited with one confirmed victory and two probables in 1916. According to the book, The Imperial Russian Air Service by Durkota, Darcey and Kulikov, this made him a two-time recipient of The Order of St. George for his actions and the first Black aviator credited with shooting down an aircraft in combat, as his victory precedes Bullard’s.

Pliat, born in 1890, was born in Tahiti – known, at the time, as French Polynesia – but at the age of seventeen, moved to Russia with his mother, a nurse, and became a volunteer in the Russian Air Force.

Originally, Pliat served in the Russian Army as a driver, but was soon transferred to the Imperial Air Force, where he performed dual responsibilities as motor mechanic and gunner.

On April 13, 1916, Pliat took part in an air raid on the fortified German flak station, Daudzevas. The aircraft and crew of the Sikorsky Il’ya Muromets took major damage from bullets and shrapnel. Knowing the plane would soon crash, Pliat climbed out of the plane and onto the wing, remained there for nearly an hour, repairing the plane’s damaged engines.

Due to Pliat’s actions, the Ilya Muromets was able to land, despite suffering seventy bullet holes in its body, wings and engines. Pliat was awarded the title of senior non-commissioned officer.

In early November of 1916, Pliat, regarded as an experienced and skilled marksman, requested – and was rewarded – the tail gunner position upon the sophisticated Muromtsev bomber. During a mission in that same month, Pliat proved his skill by shooting down a reported three German fighter planes.

Unfortunately, the fate of Marcel Pliat after November 1916, is unknown as most records of the Imperial Air Force were destroyed when the Bolsheviks came into power in 1917.

Ahmet Ali Celikten

Naval Pilot Engineer, Lieutenant Ahmet Ali Celikten, of the Naval Flying School at Yesilkoy, was a Black airman who flew for the Central Powers in the Turkish Navy.

Born in 1883 in Smyrna (present day İzmir), Celikten’s mother Zenciye Emine Hanım, was of Yoruba ancestry and his father, Ali Bey, of Afro-Arab ancestry.

Celikten aimed to become a naval sailor and entered the Naval Technical School, Haddehâne Mektebi in 1904.

In 1908, he graduated as a First Lieutenant (“Mülâzım-ı evvel”) and then went to aviation courses in the Naval Flight School (“Deniz Tayyare Mektebi”),  earning his wings in 1914 at Yeşilköy, which makes Celikten the first Black military pilot in aviation history.

 

Bessie Coleman

Born on January 26, 1892 in Atlanta, Texas, Bessie Coleman was one of 13 children to Susan and George Coleman, who both worked as sharecroppers.

At twelve years old, Coleman began attending the Missionary Baptist Church in Texas and, after graduating, embarked on a journey to Oklahoma to attend the Oklahoma Colored Agricultural and Normal University (Langston University), where she completed only one term due to financial constraints.

In 1915, at 23 years of age, Coleman moved to Chicago, where she lived with her brothers and worked as a manicurist.

Not long after her move to Chicago, Coleman began listening to and reading stories of World War I pilots, which sparked her interest in aviation.

Because flying schools in the United States denied her entry, she taught herself French, moved to France and enrolled in the well-known Caudron Brother’s School of Aviation.

In 1922, After just seven months of training, Coleman broke barriers and became the world’s first Black woman to earn a pilot’s license.

Desiring to start a flying school for African Americans when she returned to the U.S., Coleman used her aerial skills to earn money, entertaining crowds with her amazing stunt flying, parachuting, barnstorming and aerial tricks. Also in 1922, Coleman broke yet another barrier, performing the first public flight by an African-American woman in the United States.

Tragically, on April 30, 1926, Coleman was killed in an accident during a rehearsal for an aerial show. She was only 33 years old.

Black flyers founded the Bessie Coleman Aero Clubs, right after her death and the famed The Bessie Aviators organization was founded by Black women pilots in 1975.

In 1990, Chicago renamed a road near O’Hare International Airport for Bessie Coleman. That same year, St. Louis’ International Airport unveiled a mural honoring Black Americans in Flight, including Bessie Coleman.

In 1995, the U.S. Postal Service honored Bessie Coleman with a commemorative stamp.

In October, 2002, Bessie Coleman was inducted into the National Women’s Hall of Fame in New York.

J. Herman Banning 

Born in 1899 in Oklahoma, the son of Riley and Cora Banning, James Banning felt in his heart of hearts that he would one day be the first licensed Black pilot.

And he was right.

Banning studied electrical engineering at Iowa State College for a little more than a year after which he became “air-minded.” He took up lessons, learning to fly at Raymond Fisher’s Flying Field in Des Moines, Iowa and obtained his aviator license from the U. S. Dept. of Commerce.

Banning operated the J. H. Banning Auto Repair Shop in Ames from 1922 to 1928 but in 1929, left Ames to live in Los Angeles, where he became the chief pilot for the Bessie Coleman Aero Club.

Banning and another Black pilot, Thomas C. Allen became the first Black pilots to fly coast-to-coast – from Los Angeles to Long Island, NY – in 1932. Using a plane pieced together from junkyard parts, they made the 3,300 mile trip in less than 42 hours aloft. However, the trip actually required 21 days to complete because the pilots had to raise money each time they stopped.

Banning was a passenger in a biplane, sitting in the front open cockpit without controls, during a San Diego air show. The Navy pilot at the controls, trying to impress his more accomplished passenger, pulled the nose of the tiny plane up into a steep climb. The plane stalled and fell into a fatal spin in front of hundreds of horrified spectators.

Oscar Wayman Holmes

Oscar Wayman Holmes, who never really thought of himself as a pioneer, actually broke three color barriers, becoming the first African American air traffic controller in 1941 and a year later becoming the first commissioned Black officer in the U.S. Navy and the first Black Navy pilot.

Holmes never set out to break down racial barriers – he just wanted to fly.

Born on January 31, 1916, in Dunbar, West Virginia, Holmes attended a segregated school in nearby Charleston. Upon graduating from Garnet High School in 1932, he entered West Virginia State College, a land-grant institution for Black citizens of segregated West Virginia and earned a B.S. in chemistry in 1936.

With a graduate assistantship funded by the National Youth Administration, Holmes earned a M.S. in chemistry from Ohio State University three years later.

A superb student, Holmes’ graduate research became the basis for a coauthored article in the Journal of the American Chemical Society – a rare feat for a master’s student. Although he later claimed to hate chemistry, Holmes taught the subject for three years at Claflin College in Orangeburg, South Carolina.

Tired of the low paying teaching job, he subsequently found a part-time position as a water and fuel analyst for a power company in Erie, Pennsylvania.

While in Erie, Holmes entered the Civilian Pilot Training Program (CPTP). Established in 1939 by the federal government, the CPTP introduced young Americans to aviation. Holmes successfully completed the program and earned his private pilot’s certificate. Shortly thereafter, he spotted a civil service job announcement at the Erie post office that put him on the path to a new career. The Civil Aeronautics Administration (CAA) was looking for air traffic controller applicants with a college degree and a private pilot’s license.

In 1941, once he completed his training, the CAA offered Holmes a position as an assistant controller at the New York airway traffic control center with an annual salary of $1,800 per year. After he accepted the position, the CAA required Holmes to fill out a questionnaire that included a question on race.

Although he got the job and excelled in it, he was denied a promotion due to his race. Frustrated by this, Holmes applied to the U.S. Navy in 1942. The Navy was offering commissions to men who had pilots’ licenses and 100 hours of flying time to train as flight instructors and ferry pilots.

Although he did not have the requisite flying time, Holmes applied and soon had an ensign’s commission. The Navy did not know it had commissioned an African-American because of Holmes’ light complexion (The Navy did not knowingly commission a Black officer until March 1944.)

At Colgate University, where the Navy had enrolled Holmes in the War Training Service Program, newly commissioned officers had to submit, among other things, a birth certificate. At this point, Holmes later explained, “they realized they now had commissioned a Negro in their Navy . . . They didn’t know what to do about it, and I suppose rather than make a fuss . . . and try to get rid of me they said, ‘Oh, we’ve got him now, we’ll just let him stay.’”

Finishing flight instructor training at the New Orleans Naval Air Station, Holmes became the first Black flying officer. The Navy assigned him first to sit on the Aviation Cadet Selection Board and then in 1944 as a ferry pilot for the Naval Air Transport Service, Air Ferry Squadron III.  The Navy treated Holmes as any other officer, which was unique at the time since the military was segregated. Black sailors served in the “Black” Navy, and Black aviators in the Army Air Corps served in segregated units and were not allowed in officers’ clubs. As Holmes explained, “The Navy knew I was black, and I knew I was black, but not many other people knew it.”

After the war, Holmes returned to his job at the CAA’s New York airway traffic center, finally receiving his promotion as well as a second promotion six months later. In 1950, he became a senior controller. While at his job in New York, Holmes attended Brooklyn Law School as a part-time student. He graduated with a bachelor of laws (LL.B.) degree in 1954. He earned a master of laws (LL.M.) the following year. Admitted to the New York State bar, he opened a part-time law practice. He gave up his practice when he accepted a position at the Federal Aviation Agency’s headquarters in June 1959. There he advanced his career and retired as a GS-15 hearing officer in 1973.

The Tuskegee Airmen

Due to racial discrimination, African-American servicemen were not allowed to learn to fly until 1941, when African American college graduates were selected for what the Army called “an experiment” – the creation of the segregated 99th Fighter Squadron, which trained at an airfield adjacent to Alabama’s Tuskegee Institute.

The experiment involved training Black pilots and ground support members who originally formed the 99th Pursuit Squadron. The squadron, quickly dubbed the Tuskegee Airmen, was activated on March 22, 1941, and redesignated as the 99th Fighter Squadron on May 15, 1942.

For every Black pilot in the Tuskegee Airmen, there were ten Black civilian, officer and enlisted men and women on ground support duty.

Charles Alfred Anderson, one of the first African-American’s to earn his pilot’s license, became the first flight instructor when the Civilian Pilot Training Program (CPTP) was organized at Tuskegee Institute in October 1939. The army decided to model its training program on the CPTP and hired Anderson to teach the Tuskegee pilots.

When Eleanor Roosevelt visited Tuskegee Army Air Field in 1941, she insisted on taking a ride in an airplane with a Black pilot at the controls. Roosevelt’s pilot was Charles Anderson. She then insisted that her flight with Anderson be photographed and the film developed immediately so that she could take the photographs back to Washington when she left the field. Roosevelt used this photograph as part of her campaign to convince her husband, President F.D. Roosevelt, to activate the participation of the Tuskegee Airmen in North Africa and in the European Theater and in June 1943, the Tuskegee Airmen entered into combat over North Africa.

The Airmen exemplified courage, skill and dedication in combat. They flew P-39-, P-40-, P-47- and P-51-type aircraft in more than 15,000 sorties, completing over 1,500 missions during the war. They never lost an escorted bomber to enemy fighters, a record no other escort unit could claim.

When the war ended, the Tuskegee Airmen returned home with one hundred and fifty Distinguished Flying Crosses, Legions of Merit and the Red Star of Yugoslavia. The group was deactivated in May 1946 but its success would contribute to the eventual integration of the United States military in 1948.

INGLORIOUS BASTARDS: Is Independent Filmmaking illegitimate?

INGLORIOUS BASTARDS: Is Independent Filmmaking illegitimate?

Poster from the original Inglorious Bastards film.

Last week, in the State of Black Science Fiction group, another minor kerfuffle – oh yeah, Black speculative fiction authors and fans do love their heated discourses – occurred after Milton Davis – oh yeah, fifty-something chemist / author / publishers do like to set it off – posted this status:

“Apparently if you are self published you are not a legitimate writer. Wow.”

This statement was made in regard to another author, who said he was looking for Black women speculative fiction authors for a documentary he is doing, but only wanted “legit” authors: “I need MORE AFRICAN-AMERICAN WOMEN WRITERS of Science-Fiction, Fantasy or comics!!! To be considered for the documentary you need to have: been published by a legit publishing company (no self-publishers).”

The aftermath was – to put things lightly – passionate…yeah, that’s it. Passionate.

I will say, the “offending” author did try to clear things up – kind of – and even went so far as to contact me personally to explain he meant “traditional”, not “legit,” which perplexed me a bit because my only comment on Milton’s status was “Name NAMES, Milton!” Y’all know me…I’m a researcher and researchers, by nature, are a curious lot.

Anywho, i know you’re dying to see what was said in response to Milton’s comment. Here are a few of those responses – the names, however, are not included to protect the (not so) innocent:

“So if I’m an indie singer, I’m not legitimate? If I’m an indie film maker, I’m not legitimate? If I’m Indie Jones, I’m not a legitimate archaeologist and college professor?”

“They’re just mad because we won’t go away–and we’re stealing away their readers.”

“That’s just bougie perpetraters using their status to over inflate their already bloated egos, to the detriment and baseless shaming of others.”

“ Hmmm…that’s funny. My royalty checks seem to be legitimate.”

“That’s bs!”

In response, the “offending author” had this to say:

“For the sake of clarity and common sense, I must make something known – Earlier today I posted a call for Black Women writers for my documentary Brave New Souls. I used the word “legit” instead of “traditional” when describing the criteria for my interview subjects. Somehow, that has been construed as a slight against self-publishers and that isn’t the case at all. So let me be as clear as possible here: 

1) I want to use Black creators who have mainstream credits because there is a great misconception and lack of awareness about the presence of Black writers within the mainstream entertainment industry. I wanted to show aspiring talent that they CAN make it in the mainstream industry and that it doesn’t require “selling out” or compromising your value system. 

2) Roughly 60% of my extremely limited literary entertainment budget is spent on self-published and independent material from Black creators. Let me repeat, 60%. If you don’t believe me ask the hundreds of Black creators I’ve met at conventions over the last 15 years whether or not I put my money where my mouth is. Ask folks like Thaddeus Atreides, Ray Height, Daniel McNeal, Jaycen Wise, etc. 

3) I also spend a ton of time mentoring people behind the scenes. I have an entire FB group dedicated to the mentoring of writers of all backgrounds and I rarely talk about what I do because I don’t need to pat myself on the back. 

4) Brave New Souls is my documentary, and I can do whatever I wish with the material. 

I hope that clears things up, otherwise, most of you know how to find me, and if you still have a problem, I will be at the Hollywood Black Film Festival from Oct 2 – 6 and at NY Comic Con hanging around the Lion Forge booth from Oct 10 – 13. Feel free to approach me to discuss the matter. “

So, this is what was said by a few of his associates and friends:

“lol. Don’t mess with the big dog. Ya might get bit.”

“Whenever someone steps up, someone else has to find something wrong.”

“4) Brave New Souls is my documentary, and I can do whatever I wish with the material.” That’s all you needed to say.”

“Did E*****n just pull a ‘Tony Stark from Iron Man 3′-move? ‘Here’s my address, come find me!!’”

“You haven’t seen his arsenal yet…”

“Seems nowadays people are in search of reasons to be pissed–not ways to make things work well… leaping beyond these words in order to give yourself (an in-general “yourself”) a perpetual underwear knot–& ignoring an avalanche of counter-balancing evidence–is small-minded. I’m less & less patient with this approach to life as I get older.” 

This little skirmish set my thoughts in motion and, since I am in nearing the end of production on the Steamfunk feature film, Rite of Passage, I pondered whether the same beef – indie vs. mainstream – exists in the world of film?

As early as 1908, independent film has been paving the way for filmmakers to fight the corporate way of creating their art form. Around 1924, a group of independent filmmakers in Europe created the London Film Society. This group was the first to preserve the artistic nature of filmmaking. Some of the founding members included H.G. Wells and Charlie Chaplin, film directors who began a revolution with their movie making.

In a short time, independent filmmakers all over Europe were introducing new and exciting genres to their movies, such as horror and suspense. After World War II, science fiction was introduced by independent filmmakers to the American audience.

A new wave of American filmmakers began creating films outside of the control of the corrupt major studios and a Golden Age of independent films began.

For these independent filmmakers, the best way to showcase their work was at local film festivals.

One such festival, The Sundance Film Festival, run by Robert Redford’s Sundance Institute, began as the Utah / U.S. Film Festival in 1978. The festival – founded by Brigham Young University Film School graduate, Sterling Van Wagenen and Utah Film Commissioners, Cirina Hampton Catania and John Earle – showcased independent films created in the United States.

In 1985, Redford’s institute took over management of the festival and changed the name to Sundance. In 1991, the Sundance Institute bought the rights to the festival and officially changed the name to the Sundance Film Festival. Since then, Sundance has included international independent films in its screenings and has launched the careers of some of today’s hottest directors such as, Quentin Tarantino, Robert Rodriguez, James Wan and Jim Jarmusch.

Viewed as the leader in independent filmmaking, the Sundance Film Festival innovates ways to help small productions gain mainstream notoriety.

Last year, this festival brought Utah $92 million dollars in revenue, further cementing both the importance of the festival and the films that it showcases.

But what, exactly is an “independent film”, you ask?

An independent, or indie, film is one that is primarily funded outside of the major studios, also known as “the Big Six” – Warner Brothers, Paramount, Walt Disney, Columbia Pictures, Universal Studios and 20th Century Fox.

Independent films have the freedom to explore many subjects in society that are seen as taboo or unmarketable by the Big Six.

Most independent films achieve nothing more than critical acclaim at film festivals, but every once in a while, an indie film creates such a loud buzz at a film festival that it is purchased by a major film studio and screened in major theaters all over the world. One such film is The Blair Witch Project, which screened at the Sundance Film Festival on January 23, 1999. Writers-Directors Daniel Myrick and Eduardo Sanchez, who made The Blair Witch Project for $25,000, had sold their movie, by the end of the festival, to Artisan Entertainment for 1.1 million dollars. Artisan then went on to make $248 million with this “little” independent film!

However, when an indie film hits the “big time”, like The Blair Witch Project, it is no longer considered to be an independent film because, even though the film was produced on a shoestring budget, the marketing budget that Artisan Entertainment implemented when they purchased the film put The Blair Witch Project way over the 50% funding category.

While, technically, the Blair Witch Project is no longer considered an indie film, it possesses one characteristic that most certainly sets it apart from “mainstream” films, a characteristic that films produced by the Big Six will never have – the willingness to take risks with their storytelling.

The Big Six film studios are large corporations, and corporations of that size do not allow risk-taking in their business practices.

They will only invest in actors and stories that have already been proven to make a lot of money. This may lead to financial success, but also leads to creative stagnation.

Independent films are about original and creative story-telling by filmmakers who are not afraid to try new techniques or put their creative and financial necks on the line.

Are they legit? Hell yeah!

Are they traditional? Well, since the definition of traditional is ‘existing in or as part of a tradition; long-established‘, “Hell yeah,” to that too!

Disagree?

I will be at the Alien Encounters Black Speculative Fiction, Film and Art Conference October 25 – 27. Feel free to approach me to discuss the matter.

Did I, like that “offending author”, just pull a ‘Tony Stark from Iron Man 3′-move?’

Well, we Black speculative fiction authors do love our heated discourses.

 

 

“IT’S LIKE STEAMPUNK BUFFY THE VAMPIRE SLAYER…WITH BLACK FOLKS!”

“IT’S LIKE STEAMPUNK BUFFY THE VAMPIRE SLAYER…WITH BLACK FOLKS!”

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Steampunk Fabricator and Cosplayer Mark Curtis plays Vampire King Grant in “Rite of Passage”

Well, that is sort of paraphrasing a description of Rite of Passage, the Steamfunk feature film, by Professor Lisa Yaszek, Director of Undergraduate Studies. School of Literature, Media and Communication and one of the Associate Producers of the film. Her actual description: “When people ask what Rite of Passage is about, I tell them to think Buffy the Vampire Slayer, set in Victorian times, with Black superheroes.”

Cool, huh?

And accurate.

Jadon Ben Israel, filmmaker and veteran actor of such films as Fast Five and Champion Road: Arena – who plays Vampire-Lord and martial arts master, Joe in Rite of Passage – describes the film as a “Black Steampunk Avengers.”

Cool, huh?

And accurate.

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Author, Publisher and Executive Producer of “Rite of Passage” in his Steamfunk persona, Zeke.

Milton Davis, author, publisher, Executive Producer of Rite of Passage and writer of the original story upon which the film is based, describes the film as “A Steamfunk movie collaboration destined to change the perception of historical fantasy. It’s the tale of the city of Nicodemus, Kansas and the special souls that have gathered to protect it. Rite of Passage blends history, fantasy and Steamfunk into an exciting action movie that gives a glimpse of the adventure yet to come.”

Cool, huh?

And, of course, accurate.

In the Rite of Passage universe, the Orisa (oh-REE-sha) – forces of nature that serve and guide humans and animals alike – have given several powerful artifacts to Oluwo (“Master Teachers; possessors of secret powers”), who are to keep those artifacts until their rightful possessors – known as Guardians – come along. The Oluwo are to help their Guardian transform, so that they are worthy to possess the artifact.

In the film, the Guardians are Dorothy Wright, Black Dispatch, Conductor on the Underground Railroad and pupil of Harriet Tubman; famed lawman, Bass Reeves; and John Henry, the legendary “steel drivin’ man.”

 

Iyalogun Ojetade as Harriet Tubman, leader of the Guardians.

Harriet Tubman – who is an artifact, given to the world to protect it – gathers the Guardians around the globe to prepare them for the coming of a powerful entity she calls Jedidiah Green, an ancient and dark being who feeds on the power of the artifacts and is drawn to their possessors.

We also learn a bit about the other Guardians, such as the brutal – and somewhat insane – Dentist of Westminster and Sherlock Holmes.

Jedidiah Green also has his team of “supervillains”, if you will: the Piper, the Blood-Kin (vampires) and the Night-Kin (zombies, ghouls, ghasts, Night Howlers and other undead).

African American rodeo owner, Nat (pronounced “Nate”) Love flees to Nicodemus, Kansas – the small town destined to be the final battlefield in the war against Jedidiah Green and home to the Guardians – after his business rival, P.T. Barnum, tries to have him murdered.

Four of the five assassins sent to destroy the town of Nicodemus.

Barnum dispatches a special team of assassins to Nicodemus to retrieve Nat Love by any means and to kill the Guardians if necessary.

And thus begins the film.

We have been in production since August 18, following the production of the tie-in, Rite of Passage: The Dentist of Westminster.

Production is going very well, although filming on a budget of fumes has proved very challenging and we had to forgo shooting once because we just did not have the money to purchase the costumes for that scene. This of course, is our biggest obstacle, so please donate and help us out. Steampunks, we would definitely appreciate any donations of old costumes and or props…oh, and we have great perks, too!

The actors are phenomenal, really bringing their characters to life.

John Henry receives instructions from his teacher, the fearsome Lana.

Recently, actor Maurice Johnson, who portrays – no, who is – John Henry, received a call from E. Roger Mitchell, who has had starring roles in Flight, alongside Denzel Washington, Battle Los Angeles, S.W.A.T. and The Crazies – and who portrayed John Henry in the short masterpiece, John Henry and the Railroad. Mitchell told Maurice that he has been following what is going on with Rite of Passage and told him “Now, you are the real John Henry!”

Cool, huh?

And accurate.

The crew is amazing and makes my job easy. Director of Photography, John Thornton, who is also Professor of Film Production at GA-Tech, brings his experience as a Director and Cinematographer for several independent and Disney films to Rite of Passage. Imed “Kunle” Patman, Cinematographer, brings his experience and artistic genius to the film, as does Assistant Director and Editor, Brandon Davis.

“We have really been blessed to have such talented and intelligent people working with us,” Akin Danny Donaldson, Producer of Rite of Passage, said. “We are making history as we make a film about our history.”

Cool, huh?

And, yep…accurate.

 

UNAPOLOGETICALLY BLACK: Lack of #DiversityInSFF is NOT a Victimless Crime!

UNAPOLOGETICALLY BLACK: Lack of #DiversityInSFF is NOT a Victimless Crime!

Cover of the novel, Dossouye by Charles Saunders. Artwork by Mshindo Kuumba I

With all the talk about #DiversityinSFF breaking Twitter and all the following blogs demanding to see more main characters – particularly heroes and sheroes – who are well, less of the old straight, white male default, you would think that authors everywhere would stand up, join hands, sing a little kum ba yah and then sit down to write some real kick-ass stories with some non-default heroes.

And in most communities they are.

However, author Milton Davis, who has been writing and publishing books about Black heroes and sheroes for the past five years and now – in partnership with Yours Truly – is bringing those protagonists to the Silver Screen, recently ranted about an issue that many of we writers in the Black community still wrestle with.

Here is what he posted in the State of Black Science Fiction group on Facebook:

“My fellow writers, this may not matter to you but it’s a big pet peeve of mine. I hate it when black writers say, ‘my character just happens to be black.’ It’s like you’re apologizing for your character’s ethnicity or culture, like you’re apologizing in advance for something that your reader might find upsetting.

If you’re going to do us, then do us with pride and no apologies. How many white writers have you heard say their characters ‘just happen to be white?’ I think I said this before; my characters don’t ‘just happen’ to be anything. If we’re going to make a difference we’ll do it without making excuses or apologizing for disturbing someone’s narrow perception. Let’s do what we do fearlessly.”

Several authors chimed in. Here are a few of our responses.

Balogun Ojetade:  “Difficult to do something fearlessly when you operate from a position of fear, not power. Apologists operate from fear: ‘What will ‘they’ say if I write this Black hero?’ ‘Will anyone buy my book if I write about a hero who is a dark-skinned Black woman?’ Fear.”

Phillip Kirby: “I have read where black writers have intentionally not written stories with black protagonists because they do not want to get pigeonholed or labeled as a “Black Writer.” I have read interviews where black writers have been angry when their scifi / fantasy novel gets placed in the African American section in book stores.

They are afraid that mainstream, or white, America will not read their novels, thinking that their stories are “just black stories.” The publishing industry follows that way of thinking too. How many novels have you read where the black protagonist is shown in silhouette on the cover? Neil Gaiman’s “Anansi Boys” and Ben Aaronovitch’s “Midnight Riot” & “Moon over Soho” novel covers are examples of this.

Now I know tons of black people who favorite heroes are Batman, Superman, Spidey, and Wonder Woman. The question is whether White, Asian, and Native American people can see a black hero/protagonist as their hero. That will only happen if seeing a black hero/protagonist happens so much in stories, novels, and films that it becomes normalized. That it becomes common. But that has to begin with Black Writers, since most writers will write what that know.

And if Black Writers do not write about Black heroes/protagonist, then who will?”

Afua Richardson: “Its a loaded topic. I think it speaks to the implications of being black. Does being black or having a black character mean you automatically have to write a character about Africa, the hood, the Egyptian dynasty, or Hip Hop?

Where those things are an important part of black culture ( and awesome things at that), there are more dimensions to what black people are and what they’ve contributed to the world. We break stereotypes when we push boundaries, even the ones of ourselves.

We must make our own. No one else will tell my story correctly. Can’t expect them to.”

Tade Thompson: “You can place a black character in ancient Egypt, on a ship looping the Horn, in Wall Street, in a submarine, in a hospital, in a nuclear power plant, at the moment of creation and witnessing the heat-death of the universe. We’re vampires, we’re sorcerers, we’re fighters. Tell the story with your whole heart and don’t bother about who exactly will read it.”

Valjeanne Jeffers:  “Awesome comments fam! My characters are vampires, werewolves daemons, queens and kings  They’re also multicultural because that’s the world I grew up in. That’s the world we live in. But you best to believe that the Black folks in my series are not stereotypes or sidekicks.”

Ds Brown:  “A shift in perspective in how you say it allows you to embolden yourself if you happen to be one of us straddling the line between righteous self-expression and marketing desire.

However, I will say the best of us will write with passion without thought for book placement or monetary gain. The art is the art is the art irrespective of the market. You write because you must, not because you want to make money. And in this, the perspective on your sentence may change and provide strength, Milt. Not, ‘My character just happens to be black.’ But rather, ‘My characters are black.’ No explanation, no apology. They are fully formed in the dimension of my mind and occupy a relevant place in my universe. It is not to be questioned.

And oh, ‘Yes, that other character is white. You can tell from the characterization. In fact, he’s Czech. Just in case you wanted to know.’”

Geoffrey Thorne:  “Personally, I don’t care what any writer says about how they feel about their characters or how they describe their process or any of that. Couldn’t care less. How *I* feel, as the reader is the only thing that matters and it should be the only thing that matters to the writer.

All I care about is the actual story they’re telling and how well or poorly they tell it.

It’s about the story, not the writer.

Neither passion nor politics is an excuse to avoid having to tell a story well and at professional standard and neither passion nor politics will help to make the mechanics of a story better.”

Taken on the set of Rite of Passage, the Steamfunk feature film. Photo courtesy of Iyalogun Ojetade

I believe that the source of Milton’s upset comes from the realization that the lack of Diversity in Science Fiction, Fantasy, Steampunk and Horror has damaged many Black people, who have been forced to make excuses for why we love speculative fiction so; why we eagerly read it; why we are compelled to write it. We have always felt the need to apologize for daring to walk into the “good ol’ boys club” and take a seat. We apologize for our very existence in the world of Tolkien and Asimov and Lovecraft. Some of us promise not to make waves and write only non-Black characters; and then, we justify that.

Think I’m exaggerating? Here are a few words from one such author, who recently spoke on the matter of race in genre fiction on a friend’s blog:

“When I began my career as an independent author, I did not think overmuch about the outer appearances of the characters in my books. I simply write the character as he or she appears in my mind with no thought to race, unless that race plays a role in that person’s personality (accent, attitudes toward others outside of a particular race, etc.).

“For me, connection with a character in a book is not based on race in the least. I have read several books with black heroines and felt no connection, while often being able to connect better with a white or Hispanic character in another book. I have always looked for the common thread between myself and a book hero or heroine. I can identify with the heroine of a book because she is a woman, regardless of her race. Perhaps a white girl from the suburbs speaks to me a bit better than a black girl from Park Avenue. For me, it has never been about race when it comes to reading. So, when I decided to tackle writing, how could I have let it be any different?

 I have encountered many black authors that will only write characters of their own race because they feel they have something to prove, or because they feel that there are too many books flooding the market about white folks, and not enough about black. I have to say that I find it disconcerting, to say the least. To many who maintain this view, I pose this question: How would those words sound to you if they were coming from a white author instead of a black author?

I have witnessed this time and time again, people of a certain race speaking of being true to ‘our people’ and ‘our culture’. If a white author were to conduct an interview and confess to having no intention of writing about characters that were not Caucasian, they would be accused of being narrow-minded, racist, and behind the times. Honestly, it makes me sad that we think this way. 

I feel that this divisive attitude has no place in the literary world…on either side. This is the beauty of America, the melting pot that is our culture as Americans. That I, a black girl from the suburbs, might be able to identify on some level with a white girl from the projects, or an Asian girl from the top of the hill is very powerful. It points to the joint culture that we share as a country, as well as the potential for cross cultural unity. If we can live this way in the real world, why not in the literary world?”

Sigh.

We African Americans have been conditioned to go around to the back door; and if there is no back door, we will insist on one.

The media – and that includes literature, folks (and yes, science fiction and fantasy is literature) –is directly responsible for this. The perpetuation of stereotypes is always done through print, television, film, radio, music and, now, the internet.

The media sets the tone for the morals, values, and images of our culture. Many people in this country believe that the degrading stereotypes of Black people are based on reality and not fiction. Everything they believe about us is determined by what they see on television, read in books and watch on the big screen.

After over a century of movie making; after nearly a century of degradation in the speculative writings of Robert E. Howard, Edgar Rice Burroughs and H.P. Lovecraft; after all this time of seeing no Black men or women of righteous and heroic stature, it is no wonder we don’t feel a Black hero is something people want to see.

Hell, we don’t want to see such a hero because, even in a world with fire-breathing dragons and mechanical men and faster-than-light travel, a dark-skinned woman who saves the world seems preposterous.

Lack of diversity in SFF is not a victimless crime.

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“Sword & Soul” by artist extraordinaire, Mshindo Kuumba

I will continue to unapologetically give you Black heroes and sheroes in the books and in the films I create. I will continue to push the Steamfunk and Sword & Soul movements – and Black speculative fiction, in general – with fellow authors, artists and filmmakers, such as Milton Davis, Charles Saunders, Valjeanne Jeffers, Hannibal Tabu, R.L. Scott, Richard Tyler, Mshindo Kuumba, James Eugene, Jadon Ben Israel, Bree Newsome and Kia T. Barbee…those who have chosen to be victor; not victim.

Those who are unapologetically Black.

UnCONventional Gatherings: Steampunk, Science Fiction and Fantasy Conventions and Conferences that target Black People

UnCONventional Gatherings: Steampunk, Science Fiction and Fantasy Conventions and Conferences that target Black People

Nearly every month of every year, there are one or more conferences, conventions, or symposiums on the subject of Science Fiction, Fantasy, Steampunk and / or Horror.

Traditionally, these gatherings have attracted the default fan of Speculative Fiction – the Straight, White Geek Male – and always will, because that is who most of these geek gatherings are marketed to. However, there has always been a small group of die-hard fans other than the default who frequent these events as well.

In fact, according to a reliable source who is very active in the development and hosting of conventions throughout the country, the fastest growing demographic at conventions across the board is…you guessed it – Black folks!

With that growth, of course, have come gatherings that target a Black audience. All are welcome; however, these gatherings showcase works by – and, more often than not, about – Black people.

I have been fortunate to attend and participate in – as a professional and a fan – several of these gatherings and I am actually the co-developer and curator of one such gathering myself.

Below, we will examine several gatherings that target the Black fan of Speculative Art, Fiction and Film.

But first, let’s give brief definitions to the types of gatherings offered:

A conference is a meeting of people who “confer” about a topic. Also known as a trade fair, a conference provides the opportunity for creators, fans and the general public to network and learn more about topics of interest through workshops, presentations and meeting vendors.

A convention is a gathering of individuals who meet at an arranged place and time in order to discuss or engage in some common interest. Conventions typically focus on a particular industry or industry segment, and feature keynote speakers, vendor displays, and other information and activities of interest to the event organizers and attendees. Such conventions are generally organized by societies dedicated to promotion of the topic of interest.

Conventions

Black Age of Comics Convention

In 1993, Turtel Onli launched the inaugural Black Age of Comics convention at the Southside Community Arts Center in Chicago and has been organizing the conventions ever since.

A trained artist with an interest in a wide range of mediums, Onli emphasizes “independent creativity” as the major subject of the convention. “Independent people need to come together and cooperate,” says Onli, who sees the Black Age of Comics Convention as a movement of artistic innovation; a movement that has grown by leaps and bounds since its humble beginnings.

Co-sponsored annually by the DuSable Museum, the Black Age of Comics Convention attracts hundreds of excited attendees each year.

East Coast Black Age of Comics Convention

The East Coast Black Age of Comics Convention, originally slated to be called the Pan-African Comic Convention (PAC-Con) or First World Komix Con (1st World Con), is an annual gathering of comic book artists, writers, their fans and retailers who are interested in discussing, buying and selling comic books, science fiction, action figures and related material by and / or about Black superheroes, super-powered characters and their adventures.

In addition, this convention also features panel discussions, self-publishing and graphic arts workshops for aspiring creators, and film screenings of works of veterans and amateurs alike.

Held in Philadelphia each May, ECBACC also features the prestigious Glyph Comics Awards. The Glyph Comic Awards recognize the best in comics made either by, for, or about Black people.

Motor City Black Age of Comics Convention

Detroit’s first convention for the aforementioned Black Age of Comics Movement was held at the Shrine of the Black Madonna Cultural Center on February 07, 2009. Since then, the Motor City Black Age of Comics Convention has continued to follow the tradition set forth by Turtel Onli, as well as the East Coast Black Age of Comics Convention, spearheaded by Yumy Odum and Maurice Waters.

Andre Batts, the CEO of the Motor City Black Age of Comics Convention is also co-creator of the well known comic book series, Urban Style Comics.

OnyxCon

OnyxCon is a progressive and diverse showcase and networking event for professionals who appreciate the African Diaspora’s contributions as it relates to popular Arts media. Like its sibling Black Age Conventions, OnyxCon’s major feature is comic books.

Not limited to comics, however, this event also showcases literary novels, video games, collectable toys and models, films and documentaries, and all other media fits the interest of their target audience.

Conferences

Alien Encounters

Alien Encounters – the annual conference for Black speculative and imaginative fiction, film and music – serves as a venue for both education and entertainment.

Co-sponsored by the State of Black Science Fiction author, artist and filmmaker collective and the Auburn Avenue Research Library on African American Culture and History and curated by author / publisher, Milton Davis and author / filmmaker, Balogun Ojetade, this conference features three days’ worth of discussions, lectures and book signings, all aimed at highlighting the wide variety of contributions by creators of color to the fields of science fiction, fantasy, Steampunk, Dieselpunk and horror.

In its fourth year, and growing larger and more popular with each annual conference, Alien Encounters promises to culminate Black Speculative Fiction Month with a bang.

Here is the schedule for 2013:

FRIDAY, OCTOBER 25, 2013

7:00 pm to 9:00 pm – The Mahogany Masquerade: Black to the Future

Come dressed in your best Rococoa, Steamfunk and Dieselfunk costumes as we enjoy Black Speculative Fiction short films and meet their creators.

Some of the films shown will be Evolve, from director Kia T. Barbee; Rite of Passage: The Dentist of Westminster, from director Balogun Ojetade and Kina Sky, from director Coretta Singer.

9:00 pm until – Mahogany Masquerade After-Party

Drop the children off at Grandma’s and parade over to the BQE Lounge with us and let’s party the night away!

SATURDAY, OCTOBER 26, 2013

4:00 to 6:00 pm – Retro-Futuristic Worlds of Steam and Diesel Funk

Join authors and creators of the Steamfunk feature film, Rite of Passage, Milton Davis and Balogun Ojetade and Steampunk and cosplayer, actor and maker of Steampunk and Dieselpunk costumes and props, Mark Curtis for a discussion on Steamfunk and Dieselfunk, the long ignored stories of the Black experience during the Victorian Era and the Great World Wars told through retrofuturistic Fantasy and Science Fiction.

6:00 to 8:00 pm – Dark and Stormy: Horror Fiction on the Black Hand Side

Join horror authors Brandon Massey and Crystal Connor for this exciting panel as they discuss horror fiction from a Black point of view.

SUNDAY, OCTOBER 27, 2013

3:00 pm to 5:00 pm – Ain’t No Such Thing As Superman

Join artist and Curator of OnyxCon, Joseph Wheeler III, comic book store owner, collector and publisher, Tony Cade and renowned comic book and animation creator and illustrator, Dawud Anyabwile as they discuss the conscious community of Black comic books and graphic novels.

Ongoing – Monday, September 3, 2013 – Sunday, November 3, 2013

The Neo-African Dynasty: Art from the Ancient Future of the Continent

This groundbreaking art exhibition, by renowned artist James Eugene, is a vibrant, afrofuturistic visual fusion of Africana ancestry, non-Western cosmologies and fantasy techno-culture.

Join James Eugene Thursday, October 3, 2013 at 7:00pm, for a discussion on his art, his creative process and the borderless Black future, rooted firmly in the African Diasporic experience, that he envisions.

PRE-CONFERENCE EVENTS

WEDNESDAY, OCTOBER 23, 2013

7:00 pm to 8:00 pm – The Animated Life of Floyd Norman: An Evening with a Legendary Walt Disney Studio Animator

Author’s Discussion and Book Signing



As a part of Alien Encounters Atlanta 2013, and in collaboration with The Wren’s Nest, Emory University and Morehouse College, the Auburn Avenue Research Library will host legendary animator, Floyd Norman, who will discuss his nearly fifty year career as an animator at Walt Disney Studios and his work with Pixar Animation Studios.

This event will also focus on Mr. Norman’s lifelong commitment to cultural diversity as an African American animation artist, his role as co-founder of the AfroKids Animation Studio, and his contributions to the animated classics Sleeping Beauty, The Jungle Book, and the original Hey! Hey! Hey! It’s Fat Albert television special.

This community discussion will be facilitated by Dr. Stephane Dunn, Co-Director of the Cinema, Television, & Emerging Media Studies Program at Morehouse College. Copies of Animated Life: A Lifetime of Tips, Tricks, Techniques and Stories from an Animation Legend will be available for purchase.

THURSDAY, OCTOBER 24, 2014

7:00 pm to 9:00 pm – “Ancient, Ancient”, by Kiini Ibura Salaam

In collaboration with Charis Books and More and Afrekete, Spelman College’s LBGTQ Student Organization, the Auburn Avenue Research Library will host acclaimed Speculative Fiction author and Spelman College alumnus Kiini Ibura Salaam, who will discuss her collection of short fiction stories Ancient, Ancient.

Winner of the 2012 James Tiptree Jr. Award, these compelling stories introduce readers to alternate worlds, built around magical realism and fantasy, which ultimately provide transformative revelations about gender, sexuality and the human condition.

There you have it. Fun-filled weekends of Blacktastic Science Fiction, Funk, Fantasy & Horror you absolutely do NOT want to miss!

I look forward to seeing you at Alien Encounters next month!

 

 

Black People Don’t Like Steampunk, Fantasy and Science Fiction!

Black People Don’t Like Steampunk, Fantasy and Science Fiction!

At this year’s Dragon*Con, an author and Steampunk scholar I know posed the question: “How come black people don’t like the fantasy / sci fi genre? I mean, there are no sci fi / fantasy films directed, produced, or starring African Americans, so why aren’t they getting behind you and supporting Rite of Passage, a film written by, directed by, produced by and starring Black people?”

First, let me say that while a few people from all ethnic backgrounds have supported the making of Rite of Passage with in-kind donations or donations, the majority of that few has been of African descent. As far as why more Black people have not supported us, or why the majority of us don’t support independent, Black-created science fiction and fantasy films in general – because we do, indeed, support big-budget Hollywood science fiction films with our hard-earned dollars – I believe there are several factors at work.

In discussing this issue with co-creator of the Rite of Passage world, author, publisher and Executive Producer of Rite of Passage, Milton Davis, his opinion is that “Most Black people want reality. Many of us struggle to make ends meet; we’re living check to check; we’re facing getting our light turned off, so we don’t have time to delve into make believe.”

In regard to those Black people to whom Milton is referring, I believe a good dose of quality Science Fiction and Fantasy is exactly what they need. Science fiction and fantasy peek into the realm of possibility and an escape from the harshness and cruelty of the “real world”.  Science Fiction and Fantasy stories deal with our real-world issues, but cover them in a veneer of the improbable and maybe even the impossible, thus making the bitter pill of life easier to swallow.

In traditional African cultures, it is through the telling of stories of heroism, bravery, the overcoming of overwhelming odds, magic, fearsome creatures, powerful artifacts and amazing technology that we instill good character in youth and encourage good character in everyone. My research tells me that the same is true of all cultures. Every culture on earth has its myths, fairytales and folklore and in most societies, djeli – bards, or griots who tell stories about a culture’s heroes, villains and history – are held in the highest regard.

Another reason why many Black people have not supported Rite of Passage is because in their minds, ultimately, they are not supposed to.

Why? Because Rite of Passage is Science Fantasy; it is Steamfunk, thus it is not “real enough” to the Black experience.

We often feel Science Fiction, Science Fantasy and Steamfunk are not “real enough” because most authors and filmmakers within those genres have not made room for an epic telling of a Black Fantasy and Science Fiction tale. We – the creators of Rite of Passage weren’t supposed to do this so, to many, the possibility of a group of Black people making an epic Science Fiction Film that is not only well-done, but is hotter than fish-grease, seems far-fetched.

A third reason – the reason why, surprisingly, most of our support has not come from the many fellow Black creators of science fiction and fantasy who know of Milton Davis’ and my work –  is that there is a perception among many people that if a Black person makes a Science Fiction film – particularly Milton and I, who create stories for and about Black people – that story will have more to do with pushing some “Black agenda”, overcoming some great racial injustice, or other political issue than with telling a great story. While Rite of Passage is set in the time of Reconstruction; while it does deal with the issues of sexism and racism; it is first and foremost a great story, told in a dynamic, exciting and entertaining way.

Rite of Passage deals with universal issues that intrigue, encourage and plague us all.

After I gave my answer the Author / Steampunk Scholar had one more question: “Where can I donate to the making of Rite of Passage?”

My response? Go here!

*We accept monetary and in-kind donations.

Here is a list of people who have already donated. We thank them so much!

And we thank you – in advance – for joining their ranks!

Elizabeth Watasin

Tade Thompson

Mark Cantwell

Chris Ahrendt

Becky Kyle

Cynthia Ward

Talitha McEachin

XPJ Seven

Jamal Narcisse

Tananarive Due

Anonymous

Barbara Murray

Kenisha Luby

Keith Gaston

Louise Howard

Steven J.Workman

Danny Rodriguez

Lynn Emery

Gerald Boney

Ron Hall

Karen Marie Mason

RESEARCH, RESEARCH, RESEARCH! Avoiding Cultural Appropriation in Steampunk

RESEARCH, RESEARCH, RESEARCH! Avoiding Cultural Appropriation in Steampunk

This past Sunday, at Dragon*Con, I had the pleasure of being a panelist on the Around the World in 80 Minutes: Steampunk Multiculturalism panel, moderated brilliantly by Diana Pho, founding editor of Beyond Victoriana. My esteemed (eSTEAMed?) co-panelists were Cherie Priest, bestselling author of the Clockwork Century Series, which includes the wildly popular Steampunk novel, Boneshaker; Marina Gurland, Kimono historian and collector and Steampunk afficianado; and Kathryn Hinds, Steampunk, Fantasy and YA novelist, poet, editor, author of over fifty nonfiction books for adults and children and teacher of Middle Eastern Dance.

The conversation was powerful, engaging and interactive and had the feel of a bunch of highly intelligent, well-informed, but really cool and down-to-earth- people getting together to discuss – and find solutions to – some serious issues.

The theme of the day? Research!

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LET THE STEAMFUNK WASH OVER YOU: The Rite of Passage Money Wave!

LET THE STEAMFUNK WASH OVER YOU: The Rite of Passage Money Wave!

Greetings Friends, Fans, Family, Steampunks and Steamfunkateers!

Today, August 30, 2013, at 6:00pm, join me in creating the Rite of Passage Money Wave.

Just donate $5.00 or more to the making of Rite of Passage, the Steamfunk movie and begin clapping. Clap until 6:05 (everyone should have donated by then, but if you’re late, still donate).

That’s it…let’s make the Rite of Passage Money Wave the sound heard ‘round the world!

http://riteofpassagethemovie.com/steamfunding-donations.html

 

ALIEN ENCOUNTERS IV: The Black Science Fiction, Fantasy & Horror Experience Returns!

ALIEN ENCOUNTERS IV: The Black Science Fiction, Fantasy & Horror Experience Returns!

Art by James Eugene.

Once again, Alien Encounters, the annual conference for Black speculative and imaginative fiction, film and music – which serves as a venue for both education and entertainment – returns to Atlanta in October, which is now recognized worldwide as Black Speculative Fiction month!

The Atlanta-based State of Black Science Fiction collective and the Auburn Avenue Research Library on African American Culture and History have collaborated to offer exciting, informational and interactive discussions, film screenings, book signings and much more that are all free and open to the public.

“About four years ago, I went to the Decatur Book Festival, and found authors of color who wrote in these genres (i.e., science fiction, fantasy, horror),” the original event organizer, Sharon E. Robinson, says.

“We got together, talked, had several meetings, and finally came up with the idea of putting together this program [Alien Encounters]. A lot of the time, our literary audiences aren’t as familiar with these genre writers as they are with, say, urban romance (authors) and others. There are a lot of writers, in the Atlanta area and across the country, who write in these genres, and we hope to increase readers’ knowledge base about them and their works,” she explains. “Our ultimate goal is to broaden visitors’ literary knowledge and understanding about these particular genres.”

The schedule for Aliens Encounters IV is as follows:

Friday, October 25, 2013

7:00 pm to 9:00 pm – The Mahogany Masquerade: Black to the Future 

Come dressed in your best Steamfunk and Dieselfunk costumes as we enjoy Black Speculative Fiction short films and meet their creators.

Some of the films shown will be Evolve, from director Kia T. Barbee; Rite of Passage: The Dentist of Westminster, from director Balogun Ojetade and Kina Sky, from director Coretta Singer.

9:00 pm until – Mahogany Masquerade After-Party

Drop the children off at Grandma’s and parade over to the BQE Lounge with us and let’s party the night away!

Saturday, October 26, 2013

4:00 to 6:00 pm – Retro-Futuristic Worlds of Steam and Diesel Funk

Steampunk and Dieselpunk cosplayers, Mark & Theresa Curtis.

Join authors and creators of the Steamfunk feature film, Rite of Passage, Milton Davis and Balogun Ojetade and Steampunk and cosplayer, actor and maker of Steampunk costumes and props, Mark Curtis for a discussion on Steamfunk and Dieselfunk, the long ignored stories of the Black experience during the Victorian Era and the Great World Wars told through retrofuturistic Fantasy and Science Fiction.

6:00 to 8:00 pm – Dark and Stormy: Horror Fiction on the Black Hand Side

Join horror authors Brandon Massey and Crystal Connor for this exciting panel as they discuss horror fiction from a Black point of view.

Sunday, October 27, 2013

3:00 pm to 5:00 pm – Ain’t No Such Thing As Superman

Join artist and Curator of OnyxCon, Joseph Wheeler III, comic book store owner, collector and publisher, Tony Cade and renowned comic book and animation creator and illustrator, Dawud Anyabwile as they discuss the conscious community of Black comic books and graphic novels.

Ongoing – Monday, September 3, 2013 – Sunday, November 3, 2013

The Neo-African Dynasty: Art from the Ancient Future of the Continent

This groundbreaking art exhibition, by renowned artist James Eugene, is a vibrant, afrofuturistic visual fusion of Africana ancestry, non-Western cosmologies and fantasy techno-culture.

Join James Eugene Thursday, October 3, 2013 at 7:00pm, for a discussion on his art, his creative process and the borderless Black future, rooted firmly in the African Diasporic experience, that he envisions.

There you have it. A fun-filled weekend of Blacktastic Science Fiction, Funk, Fantasy & Horror you absolutely do NOT want to miss!

See you there!

Art by LewisKF22

So glad you made your appointment. Let’s begin…

So glad you made your appointment. Let’s begin…

So glad you made your appointment. Let’s begin…