Ladies and Gentleman, the man that will be in history books. He was throwing the burning tear gas. Not to the cops but away from the children protesting. In his American Shirt and bag of chips. Check his twitter.



Just needs to be stated again! 

Not to the cops but away from the children protesting”

Reblogged from venomwithinher

August Payday giving roundup

I gave to the following projects. Maybe you want to as well! Every little bit helps. I am not rich or anything, but I have enough to give a little to make the world a better place!

I became a monthly contributor to the ACLU, inspired by their work for LGBT rights and their help to the people of Ferguson, Mo with the ongoing police oppression there:

Became a monthly contributor to the UCSF Alliance Health Project, where I got tested the other day (negative! not that I am at much risk), to support their work with LGBTQ folks and the HIV+ community, including mental health services and free HIV testing:

My pal and former neighbor Megan Mosholder’s Art Prize installation, Mijimendan vta Ziibi (Remember the River): an interactive artwork that encourages environmental awareness and cultural compassion.:

The awesome documentary and community project my pal Alyce is working on: “We’re launching our feature documentary on Somali hiphop group Waayaha Cusub alongside a counter-violence campaign with youth in Mogadishu, Nairobi & Dadaab.”

I helped save the Icelandic Goat from extinction:

And that’s it for this month. 

Luke Cage was created in 1972.

Four years earlier, in 1968, Martin Luther King, Jr. was shot and killed.

Five years before that, in 1963, Medgar Evers was shot and killed.

Eight years before that, in 1955, a young Black man named Emmett Till was tortured, then shot and killed.

These events, and numerous others with frightening similarity, happened in a line, and in the early years of the first decade to reap the social benefits of the Civil Rights Movement, Marvel Comics gives the fans (and the world) a Black male superhero whose primary superhuman aspect… is that he’s bulletproof.

Not flight, or super speed, or a power ring.

The superhuman ability of being impervious to bullets.

Superheroes. Action heroes. Fantasy heroes.

Power fantasies.

Is there any doubt the power fantasy of the Black man in the years following multiple assassinations of his leaders and children by way of the gun would be superhuman resistance to bullets?

In American society, the Black man has come a long way from the terrors of the past handful of centuries, only to crash right into the terrors of the 21st century. Some of those terrors being the same exact ones their grandparents had to face and survive — or not.

There are Black men who are wealthy, powerful, formidable and/or dangerous. They can affect change undreamt of by their parents, and their parents’ parents. Their children will be able to change the world in ways we can intuit and others we can barely begin to try and predict.

But a bullet can rip through their flesh and their future with no effort whatsoever.

And so we look at Luke Cage, a man who gets shot on a regular basis, whose body language is such that he is expecting to be shot at, prepared for the impact — because he knows he can take it.

And maybe, in the subconscious of the uni-mind of Marvel Comics, is the understanding that Luke Cage may unfortunately always be a relevant fantasy idea for the Black man.

2012 – Trayvon Martin is shot and killed.

2013 – Jonathan Ferrell is shot and killed.

2014 – Michael Brown is shot and killed.

2015/2016 – Luke Cage premieres on Netflix.

I look forward to seeing if the Luke Cage of that show will have a true understanding of his power and what he symbolizes.

Real Life Proves Why Luke Cage Endures (via fyeahlilbit3point0)

There’s a whole section in “black power” about Luke Cage existing as an anti-lynching fantasy

(via blacksupervillain)



If I woke up tomorrow and found myself blessed with infinite money, time, and linguistic resources, the first thing I would do would be to set up a doomed-to-fail-within-five-years-but-oh-what-a-glorious-run publishing company, to issue a line of high-quality English translations of classic world comics; aiming for somewhere between the the Criterion Collection and the NYRB Classics, in terms of highfalutin brand consolidation. The five countries I’d focus on to begin with would be France, Spain, Italy, Argentina, and the Netherlands (Belgians would be go into either the first group or the last depending on language), and I’d start with black-and-white comics if only so that it would later be an event when we started putting out work in color. The main period of concentration — again, at first — would be the late sixties through the early eighties, when international comics were still figuring out the limits of experimental storytelling within traditional forms. Something like the above would be the first wave of books I’d want to get out, encompassing as wide a variety in graphic style, aesthetic approach, tone, genre, and content as possible, while still framing it as Art To Be Taken Seriously; not in opposition to the notion of comics as Junk Culture For Pop Weirdos, but arm in arm with it.


  1. Jean-Claude Forest, La jonque fantôme vue de l’orchestre
  2. Ted Benoît, Berceuse eléctrique
  3. Alfons Figueras, Topolino, el último héroe
  4. Luis García & Victor Mora, Las crónicas del sin nombre
  5. Andrea Pazienza, Le straordinaire avventure du Pentothal
  6. Sergio Toppi, “Warramunga 1856”
  7. Roberto Fontanarrosa, “Nevada Jim”
  8. Alberto Breccia & Carlos Trillo, Buscavidas
  9. Dick Matena, Lazarus Stone
  10. Evert Geradts, Wankele Schreden

I would buy all the books

Reblogged from mercurialblonde