WE’RE HERE II: Black Creators of Science Fiction, Fantasy and Horror in Film & Fiction

WE’RE HERE II: Black Creators of Science Fiction, Fantasy and Horror in Film & Fiction

In my last post, I provided a listing of popular fandom events with a major Black presence.

I now offer you We’re Here, part II.

Coincidentally (?),  friend and fellow speculative fiction author, SR Torris, asked me, shortly after I scheduled this article to post, to check out a video in which the narrator launched a scathing attack on Black writers for our “lack of a literary capacity or intellectual competence to write such stories [Science Fiction and Fantasy]“ and “Because most Black writers have no knowledge of anything other than pimping hoes and hearing women complain about not being able to find a man.”

As I have said before, I do not believe in coincidence; I know this post is right on time and much needed.

The lack of knowledge of the existence of great Black writers of speculative fiction by the narrator of that video – a man who calls himself “theblackauthOrity” – proves that.

I would like to introduce you to just a few of the people who – at present – are on the cutting edge of creating works that attract fans from throughout the geekosphere and who are regular guests of honor, vendors and panelists at fan conventions, festivals and symposiums around the globe, or regular bloggers on all things Black and Nerdy.

We’re here, theblackauthOrity.

We’re here.

Here is my list. There are many more great Black authors and filmmakers out there. Please, feel free to suggest others.

Charles R. Saunders

Charles 2Born in Elizabeth, Pennsylvania, near Pittsburgh, in 1946, but living in Canada since 1969, this brilliant African American author and journalist has, during his long career, written everything from novels to screenplays and radio plays to magazine articles on boxing.

Charles is also the founder and father of Sword & Soul – African-inspired epic and heroic fantasy.

I first read a work by Charles in 1987 in Dragon Magazine #122, entitled Out of Africa. Unaware that Charles was Black at the time I said “This white guy got it right, but one day, I’ll do better. As a brother, I have to!”

Ah, the blissful ignorance of youth.

Of course, by the time I discovered Charles – who is now at the top of the list of my favorite authors – he had already published his first Imaro story over a decade earlier and had released the first Sword & Soul novel, Imaro, six years before that Dragon Magazine article.

In addition to the mega-popular Imaro series of books, Charles is also the author of the Dossouye series of novels about the adventures of the titular woman-warrior and Damballa – a pulp novel about a scientist / shaman / warrior who fights against Nazis in 1930s Harlem.

His latest work, “Mtimu”, can be read in the anthology Black Pulp.

Reginald Hudlin

here 5A pioneer of the modern black film movement, creating such successful and influential movies as House PartyBoomerang and the animated Bebe’s Kids, Reginald Hudlin is unique in the entertainment business because of his success as a writer, producer, director and executive.

Hudlin is also the executive producer and writer of the Black Panther animated series and was executive producer of The Boondocks.

Hudlin received an Oscar nomination as Producer on the blockbuster film, Django Unchained, which also won two Golden Globes, two NAACP Image Awards and is writer / director Quentin Tarantino’s most profitable film and one of most successful westerns ever made.

In addition to his success in films and animation, Hudlin has found much success on the “small screen” as an executive producer of the 2013 NAACP Image Awards, which aired on NBC. The broadcast got the highest ratings for the show since 2009.

Other works in television include his directing the pilot of the hit series Everybody Hates Chris and his work as producer and director of The Bernie Mac Show. Hudlin has also directed episodes of Modern FamilyThe OfficeThe Middle, and Psych.

During his tenure as the first President of Entertainment for Black Entertainment Television, Hudlin created some of the most successful shows in the history of the network including the award-winning reality show, Keyshia Cole: The Way It Is; American Gangster; and Sunday Best.  He created the BET Hip Hop Awards and the BET Honors.

Reginald is also one of the most successful Black writers in the field of comics, writing award winning runs of Spider Man and Black Panther for Marvel Comics. He adapted Quentin Tarantino’s original screenplay for Django Unchained into a six issue limited series for DC/Vertigo Comics and co-authored the intelligent, witty and moving graphic novel Birth of a Nation.

Milton Davis

MiltonA self described “chemist by day and writer by night”, Milton has proven to be that and so much more.

A friend, writing partner, filmmaking partner and jegna (“mentor”) of mine, Milton has been a strong influence on my work.

Together, Milton and I produced the successful Mahogany Masquerade: An evening of Steamfunk and Film and the Black Science Fiction Film Festival, now both annual events.

He is the author of two Sword & Soul series, Changa’s Safari (Volumes I & II) and Meji (Books I & II) and he, together with the Father and Founder of Sword & Soul, Fantasy fiction pioneer, Charles R. Saunders, is the Co-Editor of Griots: A Sword and Soul Anthology, the definitive work of Sword & Soul, featuring stories from fourteen different black writers. The first such anthology of its kind, Milton also published this masterpiece through his multimedia company, MVmedia, a micro-publisher and film production company dedicated to bringing diversity to the science-fiction and fantasy fields.

Milton is also Co-Editor, with Balogun Ojetade, of the Sword and Soul anthology Ki-Khanga –which is an introduction to the world in which the table-top role-playing game of the same name they created is set – and the wildly popular Steamfunk!, an anthology featuring twelve masterfully crafted stories of Steampunk, told from an African / African-American perspective.

Milton is also publisher of Balogun’s Sword and Soul novel, Once Upon A Time In Afrika, the co-creator of the graphic novel, The Blood Seekers, with artist Kristopher Mosby and will release his own fifth Sword and Soul novel, the highly anticipated Woman of the Woods, in mid-June.

Milton is also co-producer and executive producer of the Steamfunk short film, Rite of Passage: Initiation and co-producer and executive producer of the Steamfunk feature film, Rite of Passage.

Balogun Ojetade

7Balogun began his career as an author in non-fiction, as writer of the bestselling Afrikan Martial Arts: Discovering the Warrior Within, which is also used as the manual for the Afrikan Martial Arts Institute, in which Balogun is Master Instructor and Technical Director.

His career in speculative fiction, however, began as screenwriter, producer and director of the films, Reynolds War and A Single Link.

He is one of the leading authorities on Steamfunk and writes about it, the craft of writing, Sword & Soul, Steampunk and fandom in general, on his website, the popular Chronicles of Harriet.

He is author of three novels – the Steamfunk bestseller, MOSES: The Chronicles of Harriet Tubman (Books 1 & 2); the science fiction gangster saga, Redeemer; and the Sword & Soul epic, Once Upon A Time In Afrika. He is contributing co-editor of two anthologies: Ki: Khanga: The Anthology and Steamfunk! and is the screenwriter, director and co-producer of the short Steamfunk film, Rite of Passage: Initiation.

Along with creative partner Milton Davis, Balogun produces the popular annual events, the Mahogany Masquerade: An Evening of Steamfunk & Film and the Black Science Fiction Film Festival.

At present, Balogun is directing and fight choreographing the Steamfunk feature film, Rite of Passage.

Tananarive Due and Steven Barnes

AE2Dynamic Duo…Wonder Twins…Mr. and Mrs. Smith…these descriptors do not begin to describe this epitome of the definition of “power couple”.

The First Family of Speculative Fiction, these authors and filmmakers are movements by themselves and forces of nature together.

Steven Barnes has written several episodes of The Outer Limits and Baywatch. He also wrote the episode “Brief Candle” for Stargate SG-1 and the “The Sum of Its Parts” an episode of Andromeda.

Barnes’ first published piece of fiction, the 1979 novelette The Locusts, was written with Larry Niven, and was a Hugo Award nominee.

Barnes has gone on to author nearly thirty great novels, including the speculative fiction novels, Street Lethal, Lion’s Blood, Zulu Heart and with Tananarive Due, the Tennyson Hardwick mystery novel series.

The first person of African descent to find success as an author of horror fiction, Tananarive Due is an icon, a living legend and immensely popular worldwide.

Beginning with the scary-as-hell, The Between, in 1995, Due followed up with the equally frightening The Good House, a book that gave my wife nightmares every night she perused its pages and still gives her goose-bumps whenever the book is mentioned. After that came Joplin’s Ghost, and then the African Immortals series – my favorite – then, the Tennyson Hardwick mystery series with her husband, Steven Barnes in partnership with the actor, Blair Underwood.

Recently, Steven Barnes and Tananarive Due have teamed up to create the “zombie” YA novel series, which includes Devil’s Wake and Domino Falls.

This series inspired the horror short film, Danger Word, which Barnes and Due wrote and produced.

R.L. Scott

here 6R.L. wrote, produced and directed his first short film at the age of seventeen. He has since gone on to involvement in over fifty short and feature films in many capacities including writing, directing, fight choreography, cinematography, post production work, and editing.

In 2006, R.L. wrote, directed, produced and choreographed the fan film Black Panther: Blood Ties, a film I, my wife and several of my students had the pleasure of acting and performing stunts in.

In 2007 R.L. brought us Champion Road, a popular martial arts / fantasy feature film he wrote, directed, choreographed and produced and in 2008, took on the same roles for its sequel, Champion Road: Arena.

Full disclosure: I play the heroic hermit / martial arts master, Soleem, in both films.

In 2012, R.L. choreographed the fight scenes for the feature film entitled Call Me King, which stars international superstar Bai Ling (Red Corner). Call Me King is scheduled to be released early 2014.

Recently, R.L. acquired the film rights to the Street Team brand of indie graphic novels, which feature street-level (think Wolverine and Batman) superheroes of African descent.

Rasheedah Phillips

here 7Rasheedah Phillips, Esq. is a 2008 graduate of Temple University Beasley School of Law.

Rasheedah’s life is one that inspires and educates. A mother at the age of fourteen, Rasheedah raised her daughter while attending high school, and college and, in spite of her many responsibilities, she was able to earn a cumulative 3.79 GPA, graduating Summa Cum Laude from Temple in three years with a Bachelors in Criminal Justice. In the fall of 2005, she began her first semester at Temple University Beasley School of Law, earning her J.D. in Spring, 2008 and becoming a member of the Pennsylvania Bar in Fall 2008.

Because of her perseverance and success in spite of personal difficulties, her story was featured in several publications, including The Philadelphia Inquirer and The Temple Times, as well as a few books, including It Couldnt Happen to Me: Three True Stories of Teenage Moms by Beth Johnson.

An educator, attorney, activist and advocate for teen moms, Rasheedah writes science fiction stories and essays on Philosophy and Metaphysics in her spare time. She has had a work of short fiction published in an anthology entitled Growing Up Girl, inspirational essays published in Sister to Sister: Black Women Speak to Young Black Women and Professor May I Bring My Baby to Class. She will publish her first science fiction novel, Recurrence Plot, in Fall 2013.

In 2011, Rasheedah created The AfroFuturist Affair, an organization dedicated to celebrating and promoting Afrofuturistic culture, art, and literature through creative events and creative writing.

Through The Afrofuturist Affair, Rasheedah has created the annual Charity and Costume Ball, an Afrofuturist-themed costume ball that features artists, authors, and performers who present creations using Afrofuturism and Science Fiction as vehicles for expression and agency.

Black Tribbles

here 1Black Tribbles is a radio show about geek culture and media in which five people of African American descent engage in thought-provoking conversation and provide critical insight into a culture that is often devoid of a Black influence. The show is witty, irreverent and informative, simultaneously entertaining as it educates.

Every Thursday night, the Tribbles – Jason “Spider Tribble” Richardson; producer, Len “Bat Tribble Webb; co-producer, Kennedy “Storm Tribble” Allen; Erik “Master Tribble” Darden; and Randy “Super Tribble” Green – gather in the radio studio to banter about the nerdy things that excite them, from comic books and fantasy movies to science, history and ancient mythology.

Recently, they hosted a special show – Octavia City – in which original tales of afrofuturism from some of science fiction and fantasy’s upcoming and brightest stars were performed live.

Of course, this list could be expanded to include many more Black men and women who are doing great things in speculative fiction and film. If you would like more authors and filmmakers featured, please, let me know and I will be glad to introduce you to others.

Until then, happy reading and watching!

here 4

WE’RE HERE: Ending the Search for Black Fandom

WE’RE HERE: Ending the Search for Black Fandom

Black Cosplay

searchRecently, I read an excellent – and somewhat saddening – post on the Rude Girl Magazine blog entitled A Search for Black Fandom.

The author laments: “A lot of times when I watch things, and am seeking out internet reactions and discussion, I wish I had access to other black opinions. Sometimes fandom is like watching a movie with a room full of white people – when someone does something kinda shady and racist, you want to lean over and be like ‘did this motherfucker just really,’ but then you realize you’re the only black person there so you have to weigh whether or not you’re in the mood for bullshit, because that’s what you’ll get by bringing this up with white people.”

The author thought that she was all alone in the nerdiverse. That there were no other Black people into Science Fiction, comic books, cosplay, Steampunk and Dungeons and Dragons and she felt crippled by this: “It’s no secret that fandom can be racist. Like, really, really racist…if you, as a black person, want to enjoy something – anything –  in most popular fandom, you kind of have to decide not to bring up problematic aspects of the source material if you’re not ready to break out the bingo card for yet another tragic game of ‘No That’s Not Racist Toward Black People, Let Me Tell You Why,’ during which white people from all corners of the globe will gather to attempt to invalidate your thoughts, feelings and experiences.”

I am constantly reminded of just how important the work I and the other members of our authors, filmmakers and artists collective – State of Black Science Fiction – do really is. We tell the stories that need to be told – stories of heroes that have been ignored; history that has been forgotten…or denied.

Author Milton Davis & Author / Filmmaker Balogun Ojetade at the Mahogany Masquerade

Author Milton Davis & Author / Filmmaker Balogun Ojetade at the Mahogany Masquerade

Steamfunk, Sword and Soul and Rococoa are subgenres of fiction, fashion and film that convey the heroes and history of Africa, African-America and, indeed, the entire Diaspora. There are also many great tales of science fiction, horror, action-adventure and the paranormal with heroes of African descent.

I have been a guest and panelist at several small and major fandom conventions and I – along with my friend and author Milton Davis – am the curator of the popular Black Science Fiction Film Festival and The Mahogany Masquerade and I am happy to say that there is a multitude of Black fans of speculative fiction and film and the numbers are growing rapidly and immensely.

SONY DSCHowever, every time I get comfortable, a blog, an attendee at a panel discussion, or a fan at a convention will say “I thought I was the only one reading, doing and / or writing this,” or “If I had known Black people were writing this kind of stuff (or making these kinds of movies), I would have gotten into this a long time ago.”

Statements like that tell me that there is a lot more work to do and that there are a lot more people to reach.

I want my sister at Rude Girl Magazine to know that she need lament no longer and that she is certainly not alone.

We’re here my dear sister.

We’re here.

Below is a list of great recent fandom events with a strong Black presence. Most are annual events, so put them on your calendar and be sure to attend.

Black Speculative Fiction Film Festival, August 2012 – Auburn Avenue Research Library; Atlanta, GA

OnyxCon 4th Annual Black Age of Comics Convention, August 2012 – Southwest Arts Center; Atlanta, GA

State of Black Science Fiction Panel, August 2012 – Dragon*Con; Atlanta, GA

The Mahogany Masquerade: An Evening of Steamfunk and Film, October 2012 – Alien Encounters (an annual Black Fandom Symposium); Atlanta, GA

The Afrofuturist Affair Museum of Time 2nd Annual Charity & Costume Ball, November 2012 – Philadelphia, PA (an annual costume ball and afrofuturism presentation / performance)

Black Science Fiction Film Festival, February 2013 – Georgia Institute of Technology; Atlanta, GA (an annual film festival featuring fantasy, science fiction and horror films by and about people of African descent from around the world); Atlanta, GA

Multiculturalism in Alternate History Panel, February 2013 – AnachroCon; Atlanta, GA

Octavia E. Butler Celebration of the Fantastic Arts, March 2013 – Spelman College; Atlanta, GA

12th Annual East Coast Black Age of Comics Convention (ECBACC), May 2013; Philadelphia, PA

State of Black Science Fiction Panel, June 2013 – SciFi Summer Con; Atlanta, GA

State of Black Science Fiction Panel, June 15, 2013 – Wesley Chapel Library; Atlanta, GA (upcoming)

MORE FANTASTICAL THAN SWORD & SOUL AND STEAMFUNK: Dispelling the ‘Crabs in a Barrel’ Myth

MORE FANTASTICAL THAN SWORD & SOUL AND STEAMFUNK: Dispelling the ‘Crabs in a Barrel’ Myth

From catherinetterings.deviantart.com

From catherinetterings.deviantart.com

Recently, on Facebook, I posted this photo of a Steampunk crab as my profile picture. One of my Facebook friends asked what the significance of the photograph was.

I posted the photograph as a joke with my friend, creative partner and one of the Producers of the Steamfunk movie, Rite of Passage author Milton Davis after he and I were unceremoniously booted from a little website for having a “crab-in-the-barrel mentality”, according to the Administrator of that little website.

Since anyone who disagrees with this person is labeled a “crab-in-the-barrel” and because the crab-in-a-barrel mentality among Black people is just another excuse – along with the “White man”; the Illuminati; Satan; the Boule and Hollywood – for our own laziness and / or complacency, I wasn’t bothered by the accusation and really didn’t care one ounce I was removed from that little website, which I rarely frequented anyway.

crabs 2For those who don’t know, the Crab Mentality is a phrase popular among People of Color – particularly Filipinos and Blacks – and was first coined by Filipino writer and feminist, Ninotchka Rosca. The Crab Mentality describes an “if I can’t have it, neither can you”-way of thinking. The metaphor refers to a pot of crabs. Individually, the crabs could easily escape from the pot, but instead, they grab at each other in a useless “king of the hill” competition that prevents any crab from escaping and ensures their collective demise.

The analogy in human behavior is that members of a group will attempt to “pull down”, or “hate on” – diminish the importance, or negate the efforts, of – any member who achieves success beyond the others, out of envy, self-hate or competitiveness.

While there may, indeed, be others who seek to pull you down, the only one who can keep you down is you.

If you give someone so much power over you that they can prevent your rise and ensure your eventual demise, you are a fool…or were not going anywhere anyway and using that as an excuse.

And we do love our excuses, don’t we?

A student in my martial arts class – a man in his very early twenties, yet possessing the muscle tone of a cup of chocolate pudding wrapped in silk – said to me that he decided he would no longer go to school or work because he wasn’t “plugged in” (initiated) to the Boule (also known as Sigma Pi Phi – believed by many to be the Black branch of Illuminati), so any attempts at success were futile. Since he considers me successful, I took that to mean he felt I was “plugged in”. He went on to say he would get plugged, but he refuses to have “relations” with another man, as the Boule is allegedly required to do, according to him and others. I asked him how he, or whoever his source is, knew this was a requirement unless they are Boule and participated in such “relations”. He paused for a long time and then responded “Damn, I fell for that bullshit.”

Yep. He did. It was easier to sit on his ass and do nothing, with the excuse that, since he wasn’t “plugged in”, anything he tried would fail anyway, than to get up, get out and get something.

Because, God forbid, he might break a sweat…or a nail.

He let himself fall for “that bullshit.”

And many of you have, too.

crabs 1Many people seek to blame some external force for their lack of success, or wait upon some external force to deliver it. Whatever we call this external force, we should call it by its real names – laziness and/or ignorance, which are both rooted in fear, the very opposite of power.

I am a Steamfunkateer. Like Steampunks, we subscribe to the Do-It-Yourself Mentality.

Furthermore, I am an African traditionalist. As such, reliance on external forces is completely foreign to me, so I do not – I cannot operate from a position of fear. I refuse to wait on some savior to rescue me. I rely on my wits, my skills; my experience and my relationships with others.

And no, I’m not “plugged in” – not to the Illuminati anyway (*insert evil laugh here*).

Okanran-Osa, one of the 256 patterns of life in the ancient binary system of the Yoruba peoples of Nigeria says “Hoes cannot cultivate a farm by themselves; we human beings are the force behind them…cutlasses cannot, by themselves, clear a forest; we human beings are their aids…but what forces are working as aids to humanity, other than Olorun (the source of creation; the essence of evolution) and human beings themselves?”

Simply put, you are the catalyst for your own growth; for your own success; for your own failure. Others may assist you, but it is you who is ultimately responsible.

So, get off your ass, claw your way out of that barrel and get to work…or prepare to get eaten… with a buttery garlic sauce and some cheddar biscuits.

ORGANIZED NOISE: Prison Songs in the Age of Steam & Beyond

ORGANIZED NOISE: Prison Songs in the Age of Steam & Beyond

prison 1Music is the organization of noise.

Prison – a form of political organization for the United States, at least since the beginning of the 19th century – has, in all its cold, hard cruelty, produced its own form of music (or “organized noise”). This music – all of its songs from, or about, prisons and prison life – helps trace the history of human containment sonically. Prison music awakens us to the possibilities of sonic and political escape from incarceration.

The beginnings of prison music in the United States can be traced to the War of 1812. A poet named Francis Scott Key met with British officers aboard a ship off the coast of Maryland to negotiate the release of American prisoners. He was detained and from his dank cell on that ship, Key watched the Battle of Baltimore at Fort McHenry and reported at dawn to the prisoners below deck that he was still able to see the American flag waving.

He chronicled the experience in a poem titled, In Defence of Fort McHenry, which he later put to music. Eventually, the song came to be known as The Star-Spangled Banner. In 1889, the Secretary of the Navy designated “The Star Spangled Banner” as the official tune to be played at the raising of the U.S. flag, and in 1916 the song was declared the national anthem of the United States.

The relationship between prison and music in the United States can be heard most clearly through Black soundings of voice, tools, instruments and technology. It is a sonic protest against imprisonment, even as prison labor is being performed. It is simultaneous containment and escape.

Prison is a necessary function of white supremacist patriarchal capitalism – a warehousing of surplus bodies for exploitation or elimination. Prison music is a documentation of this process. Listening to, and perhaps playing, prison music is our attempt to hear ourselves survive within these dehumanizing systems.

prison 2Prison inmates were put to work in the various institutions where they were housed. Working in the cotton or tobacco fields, road and chain gangs, or clearing forests, there were different types of songs for each type of labor. A team would choose a leader as their singer, usually a man with a clear voice who could easily be heard. Proper singing wasn’t necessary but the volume of the voice was. Sometimes, teams or crews of as many as eight men were put to work cutting a tree down, with each member of that team supplied an axe. The reason the work song was so important to the team was simple; with eight men swinging individual axes at the same target, without a rhythm to work by, havoc would be the natural outcome. In an eight man team, four men would follow the lead voice on the downbeat, swinging their axes into the base of a tree, the opposite team would strike the tree on the next downbeat.

prison 3These songs were often sang in coded language and expressed the prisoners’ – many of them former slaves – feelings of re-enslavement after Emancipation. These songs of the Steam Age and beyond represent testimonials about the injustice of the criminal legal system for Black people.

Take, for instance, these lines from the haunting prison song Early in the Mornin’, which lament the rape of prisoners by the Caucasian guards:

Boy, the peckerwood a-peck-in on the,

On the schoolhouse door, sugar

Well the peckerwood a-peck-in on the,

On the schoolhouse door,

Well 

Well the peckerwood a-peckin on the,

On the schoolhouse door, Lordy, sugar,

Well he peck so hard, Lordy, baby, until his pecker got sore

Well

The theme of wrongful imprisonment and mistreatment of prisoners permeates many prison songs, which have become the foundation of what we now know as the Blues and even today, songs about the hardships of prison life are commonly found in Hip-Hop. R&B / Hip-Hop star, Akon, had written for mega stars, including the King of Pop – Michael Jackson – but his own career as a performer did not take off until the release of Locked Up, his song about his time behind bars.

In the Steamfunk feature film, Rite of Passage, we further examine prison songs and the effect those songs have on the legendary steel drivin’ man, John Henry.

What type of music provides escape for you? Which songs set you free?

THE ORIGIN OF A STEAMFUNK FEATURE FILM by Author Milton J. Davis!

THE ORIGIN OF A STEAMFUNK FEATURE FILM

A Story of History, Fantasy and Steamfunk

Rite of Passage is 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. Based on a story by Milton Davis, Rite of Passage blends history, fantasy and Steamfunk into an exciting action movie that draws you into the mysterious, intriguing – and sometimes frightening – world of Rite of Passage and the even bigger adventure yet to come.

How It Began

RITE OF PASSAGE 1In 2011 author Milton Davis wrote a short story entitled, Rite of Passage. The story was about a young black man who was escaping the antebellum South to freedom  under the protection of Harriet Tubman. That night the young man had a unique encounter with another man who possessed amazing powers and abilities. Years later he encounters that same man and is recruited to help him. At the end of their adventure the ‘superman’ passes onto the young man a necklace that gives him the powers he first witnessed in his youth. His charge is to use those powers to protect those like him.

Balogun Ojetade read Rite of Passage and was captured by its message. A writer, director, martial artist and admirer of Harriet Tubman, he saw the potential of the story encompassing much more. The young man in the story became the young woman Dorothy and through the imaginations of both Balogun and Milton, the Rite of Passage mythos expanded, introducing new characters and exciting stories.

From Paper to Film

As the story ideas continued to flow, Balogun and Milton’s vision grew from prose to film. Balogun pulled together a skilled and creative team of filmmakers to produce Rite of Passage: Initiation. The purpose of this short film was to give a glimpse of the Rite of Passage world and show the skills of those involved in order to raise funds to make a Rite of Passage feature-length movie.

An Unexpected Proposal

GT LogoIn addition to working on Rite of Passage together, Balogun and Milton are a part of the State of Black Science Fiction Collective, a group of speculative fiction writers dedicated to promoting black speculative fiction. Their first program was held February 2012 at Georgia Tech in partnership with Lisa Yasek, Professor and Director of Undergraduate Studies, School of Literature, Media, and Communication. In 2013, the group returned to Georgia Tech, this time for the Black Science Fiction Film Festival, which Balogun and Milton produced. The event was a rousing success; so much so that, when Lisa heard of the Rite of Passage project, she gathered together the creative resources of the university and offered their help with the creation of the movie.

A Unique Story Uniquely Told

MiltonRoaring Lions Production, MVmedia and the School of Literature, Media and Communication at Georgia Tech have come together to create a movie that combines the history and spirit of the African American experience with the fantastic foundation of Steampunk to create the first Steamfunk movie. Join us in making history and in telling the stories that need to be told!

Milton Davis is a research and development chemist who lives in Metropolitan Atlanta, Georgia, with his wife and two children. A publisher, author and film producer, Milton is dedicated to bringing diversity to the Science Fiction and Fantasy field. His books and films focus on presenting people of color in positive ways, thereby challenging the stereotypes and misconceptions common in the general marketplace. Find him and his amazing works of Steamfunk and Sword and Soul at his website and at his social media site, which is dedicated to authors, filmmakers and fans of science fiction and fantasy.

THE (almost) FORGOTTEN FRIEND OF STEAMFUNK!

THE (almost) FORGOTTEN FRIEND OF STEAMFUNK!

IndiegogoCrowdfunding - or crowdFUNKing, in our case, dear Steamfunkateers - fundraising (or funkraising) by collecting relatively small amounts of money from many different people, has become quite popular in recent years.

We all know about the ever-so- popular Kickstarter, considered by many to be the king of crowdfunding, but we often forget the first startup to help the “little guy” bring his or her big creations to the world: San Francisco-based IndieGoGo, which has proven to be quite successful at helping to bring amazing Steampunk projects to life.

Founded in January 2008, IndieGoGo has continuously fulfilled its vision by helping multitudes fulfill theirs. “We’re really aiming to empower the dreams of many, whether it be through getting money for a liver transplant, or a new album, or a restaurant,” says CEO Slava Rubin.

IndieGoGo vs KickstarterIndieGoGo differs from Kickstarter in several important ways:

IndieGoGo campaigns receive all the money they have been pledged, whether the initial funding goal was reached or not. Kickstarter campaigns only receive their money if they reach their initial funding goal by its designated date.

IndieGoGo is available internationally, while Kickstarter requires a U.S. bank account.

IndieGoGo takes a 4 percent fee on funds raised. Kickstarter’s fee is 5 percent.

To be sure, both Kickstarter and IndieGoGo have their perks. Kickstarter is hugely popular, particularly because it is fantastic for finding and funding creative projects such as music albums or independent graphic novels.  But IndieGoGo funds all kinds of projects, from helping bands travel to – and play at – the Steampunk World’s Fair to raising money for an individual who needs cancer treatment.

Iyalogun as Harriet TubmanWhen we decided to crowdfund our film, Rite of Passage, we decided to entrust our project to IndieGoGo because they provide better perks and a more intimate relationship with their customers than the other startups.

We felt that the first Steamfunk feature film in the history of man deserved a crowdfunding site as magnificent as the series is. After extensive research, we went with Indiegogo.

Please share your crowdfunding experiences. We would love to hear them!

To support our project and to help tell the stories that need to be told, please visit
http://www.indiegogo.com/projects/rite-of-passage-the-steamfunk-movie/x/3264298
.

RITE OF PASSAGE: The Web

RITE OF PASSAGE: The Web

The soles of Jake Jessup’s feet were on fire. Pine cones and dry twigs bit into his flesh as he sprinted through the dense forest.

The full moon cast a silver glow upon the leaves that crackled beneath Jake’s heels.

He no longer heard the dogs, or the curses of Master William Jessup’s slave-catchers, so he stopped to rest his weary muscles and catch his breath. “For a short spell,” he thought.

“Welcome to my parlor, said the spider to the fly.”

Jake whirled toward the source of the voice, raising a silver carving knife – still sticky with his former master’s blood – chest high.

The most beautiful woman Jake had ever laid eyes upon stepped out of the shadows. The corners of her full lips were spread in an inviting smile. “I’m sorry, did I frighten you?” Her husky voice revealed a hint of an English accent.

“You obviously ain’t from around here,” Jake said, studying her tall, muscular frame. “You sound like this man who come from England and train me and the other catchers.”

“I’m from London, England,” the woman said. I moved here a while ago. I bought my freedom from…wait…catchers? What did you catch?”

“Runaways,” Jake replied.

“And now, it appears that you are the one who is running away,” the woman said.

“I was the worst catcher ever born,” Jake said. “Every runaway I went after got away.

“They just happened to get away, eh?” The woman snickered.

“My old master got wise to me,” Jake replied. “He decided to make an example of me…killed my wife; my daughter…so I killed him. Been runnin’ since.”

“Well, you are safe here for the night,” the woman said. “The locals are afraid of this forest. They say a terrible beast roams these parts.”

“Then, what you doin’ out here?” Jake asked.

“I love the outdoors,” the woman replied. “Besides, beasts don’t frighten me; men do.”

“Well, this man won’t do you no harm,” Jake said. “My name’s Jake, by the way. Jake Jessup.”

“I’m Tara Malloy,” the woman said, offering her hand.

Jake took Tara’s smooth, mahogany hand in his and kissed the back of it. “Pleasure, ma’am.”

Suddenly, Tara’s hand became a vice around Jake’s fingers, crushing the dense bones as easily as if she was squeezing an egg in her fist.

Jake screamed in agony.

Tara threw her head back as a growl escaped her throat. She snapped her head forward, fixing her maddened gaze on Jake. Her beautiful face had been replaced by what Jake could only describe as the visage of a rabid wolf.

Jake tried to snatch his pulverized hand out of Tara’s grip, but she was too strong and his pain was too great.

Tara yanked Jake toward her. The runaway’s head snapped back from the force as his feet skittered across the dirt and dry foliage.

Tara opened her mouth wide, revealing a mouth full of vicious canine teeth. She closed the toothy maw down upon Jake’s shoulder, rending sinew and bone.

Jake thrust forward with his carving knife, sinking it deep into Tara’s chest.

Tara staggered backward, coughing as a crimson cloud of ichor spewed from her mouth.

Jake collapsed to his knees. Tara fell onto her back, convulsed once; twice; and then, lay still.

Jake crawled to a large tree and rested his back against it. The pain in his hand and shoulder made it difficult to think; to understand what just happened and darkness encroached upon him, blurring his vision.

“Still alive, eh?”

Jake turned his head toward the voice. Tara stood beside him. He turned his gaze toward her beastly form, still lying where she fell.

“How?” Jake whispered. He wanted to leap to his feet and run, but the pain would not allow it. “What are you?”

“What was I, you mean,” Tara replied. “A werewolf; a child of Eshu; blessed with his gift.”

Tara pointed toward Jake’s wounded shoulder. “Now, you have his blessing, too.”

“I…I’m gon’ turn into a thing like you, now?” Jake spat.

“Maybe,” Tara answered. “You become what your spirit is.”

“I’m gon’ kill you!” Jake bellowed.

“You already have,” Tara said, nodding toward her corpse.”

This was all too much for Jake to bear. He shut his eyes and succumbed to the darkness.

****

Sunlight kissed his eyelids, awakening him.

Jake felt soft, warm flesh on his chest. He looked down. Staring up at him was a pretty woman with full, pouty lips and skin the color of sweet cream.

“Good morning, lover,” the woman said, flashing a smile. Her dimpled cheeks accented her beauty.

“You’d better give up that body, Tara,” Jake said, looking at the clock on the far wall of the inn’s room. “You only have a few minutes.”

“Jake, can we talk?” Tara asked, caressing his chest with borrowed fingers.

“Time’s tickin’,” Jake replied.

“I love you,” Tara whispered.

“You what?” Jake pushed Tara’s head off his chest and sat upright.

“I love you, Jake,” Tara repeated.

“We don’t have time for this,” Jake said. “A second past those six hours and this woman dies from shock or goes mad.”

Jake hopped out of bed. His flesh shifted; flowed, as if it was some thick, ebon fluid and then trousers, boots, a shirt and a leather overcoat – all a very dark brown – formed around his naked frame.

“You’re a haint, Tara…a ghost…the undead. I – hell we – hunt the undead. Love ain’t in the cards for us. ‘Sides, you did try to kill me, remember?”

“That was two-hundred forty-seven years ago!” Tara replied.

“Seems like yesterday to me,” Jake said.

A loud, sucking din echoed throughout the room as Tara rose out of the woman’s body. “We’ll talk more later.”

The woman sat bolt upright. She leapt from the bed, locking her gaze on Jake’s broad back. An ebony, wide-brimmed planter hat formed atop Jake’s head. The woman gasped and darted out of the room.

“Creole women,” Tara said, shaking her head. “So…emotional.”

“Let’s go,” Jake said, sauntering toward the door. “Ms. Tubman should have sent that telegram by now.”

****

Bourbon Street was busy.

On the ground, carriages carried people to-and-from the retail shops, restaurants, inns and houses of ill-repute. In the sky, out of the view of the common people – but not out of Jake’s view – the very wealthy and the military traversed the bustling city by ornate airships and hot air balloons.

“Isn’t it beautiful? Tara sighed.

“Nope,” Jake replied.

“What do you see, then, Mister Doom-and-Gloom?” Tara asked.

“I see smoke…and steel,” Jake answered. “I see children worked to death in dirty factories…widows turned into whores to feed their babies…and we’re still swingin’ from the end of the white man’s rope.”

“Like I said…Doom-and-Gloom,” Tara snickered.

“We’re here,” Jake said, pointing toward a large store nestled between a candy shop and a dentist’s office.

Jake entered the telegraph office. A man sat before each of the three telegraph machines.

“How can we help you fine folks?” One of the men asked, looking up from his machine.

Jake and Tara exchanged glances. Jake took a step back toward the door.

“Oh, don’t worry,” the man said, smiling. “Negro money spends here.”

“That’s not our concern,” Jake said.

“What, then?” The man said, rising from his chair.

“Well, considerin’ my lady friend here is a haint and y’all can see her without her willing it, y’all must be haints, too.” Jake replied.

The man directed his attention to Tara. “You’re a ghost, correct?”

“That’s right,” Tara replied.

“The two other men stood.

“We’re ghasts,” the man said. “A bit…stronger than our ghost brethren,”

“Hmm…ghasts,” Jake said, studying the trio. “Never had the pleasure of killing one of you. Ms. Tubman said you’re fast and can possess a body for days at a time.

“Ah, Ms. Tubman,” The ghast crooned. “After we kill you, we’ll have to pay her a visit.”

“The bloodsuckers got you interceptin’ her messages, now?” Jake asked.

“She has been sending her merry, little band all over to hunt down our kind…your kind!” The ghast spat. That nigger has to die!”

“Give me the message,” Jake said, unmoved.

“I don’t think so,” the ghast hissed.

“Jake raised his palms before his chest. His hands shifted, changing into a pair of ebon broadswords. “I reckon I’ll have to take it then.”

The trio of ghasts exploded forward. Jake leapt forward to meet them.

Jake’s body shattered into a cloud of miniscule, venomous spiders. Each of the thousands of spiders was armed with a scythe-like claw on each of its eight legs. The spider-cloud washed over the ghasts. A moment later, a reformed Jake landed in front of one of the telegraph machines.

The ghasts fell, their tattered bodies covered with an uncountable number of gashes; the organs of their hosts reduced to liquid by the venom racing through their veins.

Jake rustled through the telegrams until he found the one from Harriet Tubman. “Ms. Tubman found the nest.”

“Where to?” Tara inquired.

“Atlanta.”

****

The sweet-green smell of kudzu permeated the night air. Jake stood high above the ground upon the thick limb of an old oak tree. “Go check it out,” he said, pointing toward a large ranch house an acre away.

“Be back in a bit, lover,” Tara said, blowing him a kiss as she leapt from the limb. She floated toward the house like a feather held aloft in a gentle breeze, landing gracefully at the door of the house. With a quick step, she passed through the closed door as if it was not there.

Jake studied the house. The windows were all covered with a dense, black cloth, preventing any light from getting in or out; a sure sign of a vampire nest.

Tara appeared on the limb. She fanned her hand in front of her nose. “Lord, it smells like the flatulence of a thousand mules in there!”

“Any vampires?” Jake inquired.

“Three,” Tara replied. “It looks like they are getting ready to call it a night.”

“The sun will be up in a couple of hours,” Jake said. “Coffins?”

“No,” Tara answered. “Dirt. The whole house is covered in about two feet of it.”

“These are Old Ones, then,” Jake said. “Good. Kill an Old One and all their progeny die, too.”

Jake leapt from the tree limb. He landed silently below. The hunter knelt at the base of the tree and thrust his hands into the dirt. A moment later, he pulled out a suede sack that was filled with something metallic by the clinking sound of it. “Good old General Tubman,” Jake whispered. “Right where she said it would be.”

Jake tossed the sack over his shoulder and sprinted toward the house. His boots made no sound as they glided across the soft, red, Georgia clay.

Tara floated closely behind him. Upon reaching the house, she stepped through the door. A few seconds later, Jake heard the door’s bolt lock slide back. He tested the door, slowly turning its knob. The door opened.

Jake slipped into the house. He reached into the sack and withdrew a tiny, wedged shape device. The device, constructed of bronze, had a miniscule, amber crystal at its center.

Tara raised her thumb and smiled.

Jake placed the wedge back into the bag and crept forward down the long hallway. He felt something hard beneath the dirt sink under his feet. Iron shackles sprang up around his ankles. Jake transformed into the swarm of spiders to escape, but it was too late. Walls of thick glass sprang up from the floor, slamming into the ceiling with a tremendous thud. Jake was encased in an impenetrable, airtight cube.

The Old Ones stepped out of a room at the end of the hallway and strode toward Jake. Huge grins were spread across their pallid faces, exposing their fangs.

Tara floated toward them.

“I can feel you, darlin’,” the lead Old One – a tall, lean man, with the dress and ruggedness of a cowboy – said. “Well done.”

“Tara?” Jake gasped.

Tara turned her gaze away from Jake and cast her eyes downward.

“Oh, don’t act so surprised, son,” the lead Old One said. “You’ve been betrayin’ your kind for a couple of centuries.”

My kind are the servants of Eshu, charged with keeping the balance between the light and the darkness…between the Natural and the Unnatural, like yourselves,” Jake said. “My kind are the livin’.”

“Living; dead; undead…some of us are hunters; some prey,” the Old One said. “That – and blood – are all that matter.” The Old One stepped closer to the glass. “Where are my manners? In all of this excitement, I neglected to introduce myself. I am Henrick.” Henrick pointed his thumb over his shoulder. “The rather large gentleman behind me is Malloy and the enthralling beauty is Bloody Jane.”

“Let me out of here, so we can all shake hands,” Jake said.

Henrick laughed. “I like you, hunter. It’s a shame you’ll be dead soon. We could have been friends.”

The vampires walked past Jake’s cell toward the door.

Henrick glanced over his shoulder. “We are heading out for a quick bite. Don’t go anywhere.”

The vampires left the house. Their sardonic laughter cleaved the darkness outside and echoed throughout the house.

“How could you do this, Tara?” Jake spat.

“I am sorry, Jake,” Tara replied. “One day, you’ll understand.”

“Just a few days ago, you said you loved me,” Jake said. “You sure as hell have a funny way of showin’ it.”

“I do love you,” Tara cried. “That’s why I’m doing this.”

“You ain’t makin’ no sense at all,” Jake said.

“Soon, you’ll run out of air,” Tara said. “You’ll die; then, you’ll have an eternity to fall in love with me.”

“That’s haint obsession talkin’,” Jake said. “After a while, every haint goes mad. I thought you had it beat. I reckon it just took you a little longer.”

“I am not crazy, Jake!” Tara shouted. “But, love makes us do crazy things.”

“If I die on account of you settin’ me up, do you really think I’m gon’ ever love you?”

“I…I’m not sure,” Tara sighed. I hope that you’ll…”

“I’ll hate you,” Jake said. “But, if you let me out of here, there might be a chance for us.”

“You’re just saying that to convince me to set you free,” Tara said.

Jake stared into Tara’s eyes. “Have I ever lied to you?”

Tara stepped into Jake’s cell. “I don’t know where the release switch is.”

Jake nodded toward his suede sack, which lay at his feet. “Then persuade those bloodsuckers to tell you.”

Tara closed her eyes and stretched her incorporeal fingers toward the sack. For a moment, her fingers became somatic and she grabbed it. A second later, she was, once again, incorporeal, as was the sack and its contents. She walked out of the cube, taking the sack with her.

Tara floated down the hallway and through the door, leaving Jake alone in his cell.

Jake launched a powerful side-kick at one of the walls of the cell. His heel slammed into the glass. Jake’s foot felt as if it had slammed into the side of a mountain. “Magically enhanced,” he mused. Jake sat, cross-legged, on the floor. He closed his eyes and concentrated on his breathing, slowing it.

A while later, Tara returned. “It’s done.”

Jake’s opened his eyes. “Did you get all the windows? The roof?”

“I was quite thorough,” she replied.

“Hope so.”

“Tara!” A voice wailed on the other side of the door.

Tara floated to the door. She willed her hand to become corporeal and used it to open the door.

A web of intense light crisscrossed the entrance.

Henrick stood a few yards away from the doorway. Malloy and Bloody Jane stood behind him.

Tara willed herself visible to the vampire’s eyes.

You’ve been a bad girl, Tara,” Henrick said. “What have you done to our house?”

“They’re called Thread Bombs,” Tara replied. Each one releases a thread of light akin to the light of the sun. I planted nearly a thousand around your house to encase it in a web of sunlight.”

“Well, be a dear and turn them off, please,” Henrick said, affecting a warm smile.

“I can’t,” Tara said. “Only Jake can.”

“And why is that?” Henrick asked, struggling to maintain his friendly demeanor.

“Every bomb has to be turned off at the exact same time, or they will explode, blanketing a square mile in their light,” Tara answered. “Jake can become a swarm of spiders and turn off each bomb simultaneously.”

“And how do we know he will do that for us once he is free?” Henrick inquired.

“You don’t,” Tara replied. “But, what choice do you have?” If you set Jake free, he might shut down the web; leave him in that cell to die and you’ll all burn.”

“Quite the fickle one, aren’t you?” Henrick said. “Okay, we’ll bite, so to speak, but know that if you cause the death of three Old Ones and their children, there is nowhere you can run; nowhere you can hide. We will find you…and even a ghost can be destroyed.”

“Duly noted,” Tara said. “Now, where is the switch?”

“In the study,” Henrick replied. “There is a brass statue of a tiger in there. Turn its tail clockwise and the walls will come down.”

“I’ll be right back,” Tara said, vanishing from sight.

“Hurry back, child,” Henrick said, looking skyward. “It’ll be dawn soon.”

A whirring sound rose from beneath Jake. A moment later, the glass walls slid back into the floor.

Jake breathed deeply, welcoming fetid, but cool air into his lungs.

Refreshed, Jake sauntered toward the door.

“We have upheld our end of the bargain,” Henrick said. “Your turn.”

“Bargain?” Jake said. “I don’t bargain with Unnaturals.”

Henrick’s smile faded. “Tara said…”

“Your deal was with Tara,” Jake said, interrupting the Old One. “Not with me.”

Henrick’s eyes turned crimson and his face twisted into a snarl. “Turn off this goddamned web!”

“Nope,” Jake replied, picking dirt from his nails.

“You bastard!” Henrick hissed, baring his fangs.

Malloy and Bloody Jane screamed as sunlight cut through the clouds and seared their flesh.

“Turn it off,” Henrick wailed, his skin turning black where the sun kissed it. “Please!”

“Nope.”

The Old Ones burst into flames. Their chilling screams rending the night sky until their vocal chords were to charred to emit sound.

Within moments, three piles of gray ash lay near the entrance to the house.

Tara materialized beside Jake. “I hope this makes things right between us, lover,”

“Nope,” Jake replied.

“What now, then?” Tara asked.

“We keep killin’ Unnaturals,” Jake answered.

A broad smile spread across the ghost’s pretty face. “So, we’re still partners?”

“For now,” Jake replied. “We make a good team. ‘Sides, huntin’ can be lonely work. But, I promise you, you ever betray me again and you get the sigil.”

“To use a sigil on a ghost, you have to know that ghost’s real name, Jake,” Tara said. “I never told you – or anyone – my real name.”

“Your ex-husband says different,” Jake said.

Tara’s eyes widened and her jaw fell slack. “My ex…?”

“I met a conjurer a few years back by the name of Laveau,” Jake replied. “She channeled your ex-husband, Kayode, and, boy, did he have a story to tell!”

“What did he tell you?” Tara asked.

“Let’s get out of here,” Jake said. This place stinks.”

“Jake, what did he say?” Tara’s voice was shaky. “Jake?”

The corners of Jake’s mouth curled into a slight smile as he stepped through the web and into the welcoming dawn.

For more about the world of Rite of Passage before the release of the movie, check out author Milton Davis’ Rite of Passage: Kiowa Rising Series and the Rite of Passage website.

EXPRESSING THE INEXPRESSIBLE: A Steamfunk Soundtrack!

EXPRESSING THE INEXPRESSIBLE: A Steamfunk Soundtrack!

Carolina Chocolate Drops

Carolina Chocolate Drops

Would The Matrix have been a success if its action scenes had been accompanied by a romantic harp and piano score?

Would The Titanic have been a blockbuster if its emotional scenes were driven by a gangster rap score, or even L.L. Cool J’s sugary I need Love?

Of course not.

Music – the type and where it is placed within scenes – can make or break a movie.

One unforgettable scene in Django Unchained is when Django – played by Jamie Foxx –  rides off on horseback, using the horse’s mane as its reins, to save his wife, Broomhilda. The scene’s music score – the moving Who Did That To You, performed by John Legend – enhances the powerful image and evokes strong emotions in the audience. The score is an effective one, forcing us to remember the scene long after we have seen the movie. In the movie Malcolm X, when Malcolm – portrayed by Denzel Washington – heads to the Audobon Ballroom for what is to be his final speech and the place where he is murdered, many in the audience were moved to tears by the scene’s image of a sullen Malcolm walking alone toward his fate and the score – the iconic and powerful A Change is Gonna Come – performed by Sam Cooke.

Music has helped to enhance movie scenes since the era of silent films. The first known use of music in a movie are the silent films of the Lumiere family of Paris, who played the piano at a screening of their films at the Grand Café in Boulevard de Capucines on December 28, 1895. The Lumiere family then presented their films – with the piano score – to audiences in London on February 20, 1896. Within a few months, several London theatres adopted the same approach, drafting orchestras to give live music accompaniment to their movies. Audiences felt more fulfilled and enjoyed the musically enhanced films much more than the previous ghostly silence they experienced in the theatres.

The first movie with its own score was L’Assassinat du Dur de Guise, released in 1908.

Filmmakers came to realize that by toying with our emotions through music, our vision of what we see onscreen is enhanced.

For most, the function of a film’s music is not easily defined. It is part of an audiovisual system that allows spectators to escape. Movies allow audiences to perceive reality in a passive framework and a movie’s music provides a reconstruction of old experiences and a proposal of new ones.

A film’s score helps far-fetched ideas to become plausible. Alien abductions, serial murders and love affairs in the White House are not usually associated with our everyday experiences, so how does cinema extrapolate such experiences so realistically? Music plays an important role as it provides a rhythmic beat that enable the audience to measure internally the psychological time of the film, relating it to the basic sensation of real time.

Furthermore, the relative time passed between events on screen can be expressed through the music. A narrative that spans decades can logically take place within a ninety minute film because the music in the movie helps us to experience the sensation and speed of time and recreates our sense of reality.

A film’s score constantly alerts us to the feelings that are congruent with what we see – the worlds on the silver screen are, indeed, emotionally perspicuous.

This concept is well illustrated by the classic martial arts masterpiece, Drunken Master 2, directed by Lau Kar-Leung and Jackie Chan. The use of music in the final fight scene allows the viewer to achieve a comprehension beyond that of real life experience. The depressed, drunken state of the hero, Wong Fei Hung, is portrayed brilliantly by Jackie Chan. At the same time, the aggression and power felt by Wong Fei Hung is illustrated by synchronizing each strike with a driving beat and erratic string instruments and horns. By combining an audible expression of emotion with a visual one, this scene allows the viewer to experience two emotions simultaneously – an effect that is impossible in everyday life.

Not only does music function in allowing the virtual replication of time, it also allows events on screen to achieve clarity beyond that of our everyday experiences.

Through music, the spectator is engaged beyond the visual action into a realm consisting of unconscious emotional receptions. After all, the best film scores are heard at a subconscious level.

Music organizes and dredges memory, invoking something akin to a feedback system. The repetition of musical experience creates a residual psychic structure that becomes archetypal.

A film’s score can convey a wide range of emotions – afraid; happy; sad; romantic; angry –because it involves the coordination of two different symbol systems – music and movies – two symbol systems in a complementary relationship; each system supplying something that the other system lacks, or, at least, does not possess with the same degree of effectiveness that the other system does.

By listening to the music and by employing a comparison between pre-experienced musical idioms (usually unconsciously), the audience can engage contextually with the experience being offered through the film.

Music can use its timeless quality to increase audience understanding and to enhance the effect of a film by serving as a kind of binding veneer that holds the film together.

Music creates tension by setting up anticipations and prolonging their resolution.

Rhythm and intonation also play a part in the emotional effect a score has on its audience. Rhythms familiar to a culture and regularity of rhythm will have a soothing, safe effect on an audience.

In contrast, sudden tempo changes jolt our perceived notions of rhythm and make us feel uneasy.

Lookin’ For the Perfect Beat…through Brass Goggles

In the Steamfunk feature film, Rite of Passage, the score will feature what Director, Balogun Ojetade and Producer, Milton Davis have dubbed “Steamfunk Music” – a combination of Funk, Hip-Hop and Southern U.S. Folk Music.

Now, before you blow a cog, let me remind you that, as Joshua Pfeiffer, founder of the Steampunk band Vernian Process, and co-founder of the Steampunk-centric record label/collective Gilded Age Records, says – “There is no defining element to Steampunk music. Steampunk music is different to every individual’s interpretation of it.”

Right on, Josh!

Mr. Pfeiffer goes on to say – “The only true definition (of Steampunk) could be – ‘Music created by Steampunk fans, or music that Steampunk fans find invokes the atmosphere they expect from a Steampunk setting or aesthetic’. Steampunk music, as I see it, more often than not consists of a mixture of genres; usually a mixture of genres from various periods in music history; be it Ragtime with Punk Rock, Industrial and Neo-Classical, Chamber music and Electronica, Swing and Hip-Hop, or any other variety of combinations. The only constant element that must be present is some form of vintage – 19th or early 20th Century – musical influence.”

Some of you may shrug and say “Fine by me; hell, I don’t know exactly what funk is anyway.” Well, let me explain…

What is Funk?

Bootsy Collins

Bootsy Collins

Funk is a very distinct style of music based on R&B, soul and jazz which is characterized by a strong bassline – often in the percussive “slap bass” style of Larry Graham (originally of Sly & the Family Stone), complex rhythms and a simple song structure.

The name “Funk” originated in the 1950s, when “funk” and “funky” were used increasingly as adjectives in the context of soul music — the meaning being transformed from the original one of a strong, pungent odor to a strong, distinctive groove.

Funk de-emphasizes melody and harmony and brings a strong rhythmic groove of electric bass and drums to the foreground. Funk songs are often based on an extended vamp on a single chord, distinguishing it from R&B and soul songs, which are centered on chord progressions.

Funk typically consists of a complex groove with rhythm instruments such as electric guitar, electric bass, Hammond organ, and drums playing interlocking rhythms. Funk bands sometimes have a horn section of several saxophones, trumpets, and in some cases, a trombone, which plays rhythmic “hits”.

In early jam sessions, musicians would encourage each other to “get down” by telling one another, “Now, put some stank on it!” At least as early as 1907, jazz songs carried titles such as Funky Butt.

Some of the best known and most skillful soloists in funk have jazz backgrounds. Trombonist Fred Wesley and saxophonist Maceo Parker are among the most notable musicians in the funk music genre – both of them working with funk maestros, James Brown, George Clinton and Prince.

Now, I am willing to bet that you know what Hip-Hop is…even you die-hard, Maine born and bred Caucasian Steampunks out there. Why? Because Hip Hop and Steampunk are cut from the same cloth.

Oh, that cog is about to pop, now!

Don’t believe me that Hip Hop and Steampunk are apples that dangle from the same tree? Disagree? Read on.

What is Hip-Hop?

Hip Hop Artist, T-Pain

Hip Hop Artist, T-Pain

Hip Hop is an art form that includes deejaying (mixing, cutting and scratching records); emceeing/rapping; breakdancing; and graffiti art. Hip Hop originated in the South Bronx section of New York City around the mid 1970s.

From a sociological perspective, Hip Hop has been one of the main contributing factors to the curtailing of gang violence, as many adults and youth found Hip Hop effective for channeling their anger and aggression.

Hip Hop caught on because it offered young urban youth a chance to freely express themselves. More importantly, it was an art form accessible to anyone. A member of the Hip Hop community did not need a lot of money or expensive resources to express any of the four elements of Hip Hop. A member of the movement did not have to invest in lessons or anything like that.

Hip Hop also became popular because it offered diverse and unlimited challenges. There were no real set rules, except to be original. Anything was possible. The ultimate goal was to be perceived as being “def” (“good”) by one’s peers.

Finally, Hip Hop, because of its inclusive aspects, allowed its members to accurately and efficiently inject their personality.

No two people expressed Hip Hop the same, even when mixing the same record, reciting the same rhyme or dancing to the same beat.

The Hip Hop movement continues to be popular among today’s youth for the same reasons urban youth were drawn to it in the early days – it is an accessible form of self expression capable of eliciting positive affirmation from one’s peers.

Throughout history, music, art, dance and literature originating from America’s Black communities has always had an accompanying subculture reflective of the political, social and economic conditions of the time. Hip Hop is no different.

Hip hop is a lifestyle with its own language, style of dress, music and mindset that is continuously evolving.

Defining Characteristics of Hip Hop

Defining characteristics of Hip Hop include:

Most members of the movement take on a nom de plume and many even assume an alter-ego.

Most members of the movement wear fashions readily identifiable with Hip Hop.

Resistance to a hierarchical, oppressive society.

Resistance to mainstream, “industry” representations of the culture.

A literary (rap; spoken word), visual art (graffiti; fashion), musical (deejaying) and dance (breakdancing; krumping) component.

Blends future and past (cave drawings with drawing on walls and trains; ancient African martial arts with modern dance moves; ancient African rhythms with contemporary music).

Uses creativity and innovation to solve problems and to challenge limits. A do-it-yourself attitude.

Defining Characteristics of Steampunk

Now, let’s compare the defining characteristics of Hip Hop with those of Steampunk:

Most members of the movement take on a nom de plume and many even assume an alter ego.

Nearly all members of the movement wear fashions readily identifiable with Steampunk.

Resistance to hierarchical society; often attempts to resist oppressive, imperialistic society by ignoring its existence or by rewriting and redefining history.

Resistance to mainstream, “industry” representations of the culture.

A literary, visual art and musical component.

Blends future and past (anachronism; retrofuturism).

Uses creativity and innovation to solve problems and to challenge limits. A do-it-yourself attitude.

Sound familiar?

Hip Hop and Steampunk bear strong resemblances to one another and both have their origins in resistance to an establishment that begs for escape or rebellion.

For many “Hip Hop Heads” (aka “B-Boys” or “B-Girls”) – what those heavily immersed in the Hip Hop culture are often called – Steampunk provides an attractive aesthetic due to its similarities in attitudes and its differences in style. The gadgets are especially attractive and new to Hip Hop Heads and sightings of Steampunked turntables and headphones are bound to happen soon.

The members of the Hip Hop culture, always seeking to bring something old to the movement and make it new and cutting edge (remember the marriage of Rock and Hip Hop, ala Run DMC and the Beastie Boys?), are fiercely anachronistic and cannot help but find a kinship with their fellow rebels in Steampunk.

Thus, the rise of Chap Hop in the UK, the emergence of Steampunk MCs (rappers) in the U.S. and mainstream Hip Hop megastars going Steampunk.

For the opening credits for Rite of Passage, we are hoping to get permission to use the song, Snowden’s Jig, by the Grammy Award-winning Carolina Chocolate Drops.

Who are the Carolina Chocolate Drops, you ask?

Read on.

Grammy Award-Winning Band, the Carolina Chocolate Drops

Grammy Award-Winning Band, the Carolina Chocolate Drops

The Carolina Chocolate Drops is an old-time string band from Durham, North Carolina. Their album, Genuine Negro Jig (2010), won the Grammy Award for Best Traditional Folk Album.

Formed in November 2005, following the members’ attendance at the first Black Banjo Gathering, all of the musicians sing and trade instruments including banjo, fiddle, guitar, harmonica, snare drum, bones, jug, and kazoo. The group learned much of their repertoire, which is based on the traditional music of the Piedmont region of North and South Carolina, from the late African American master fiddler, Joe Thompson, although they also perform old-time versions of some modern songs such as Blu Cantrell’s R&B hit Hit ‘em Up Style (Oops!).

The Harlem James Gang

The Harlem James Gang

For the closing credits for Rite of Passage, we hope to get permission to use the song Shut it Down by The Harlem James Gang – a throw-back Neo Vaudevillian performance troupe that puts the entertainment factor back into music, combining music, dance, theatre, song and magic into their live show.

The Harlem James Gang mashes up the sounds of the 20s and 30s with hip-hop to create a unique, original and infectious sound sure to have audiences at the end of our film bobbing their heads and dancing in the aisles.

Be sure to reserve your seat for the red carpet premiere of Rite of Passage in February, 2014…and let the movie and its masterful musical score transport you through time and space to the town of Nicodemus.

THE MAKING OF A STEAMFUNK MOVIE, Part 3: Inside the Mind of an Actor

THE MAKING OF A STEAMFUNK MOVIE, Part 3: Inside the Mind of an Actor

Dr. WalcottRecently, the great character actor, martial artist and fight choreographer, Osceola Thaxton – who plays the physician / scientist / inventor Dr. Walcott in the Steamfunk feature film, Rite of Passage – sent an inquiry about the character: “PEACE FAM! I hope all is well….please, send me some background info on Dr. Walcott.  Is he a mad scientist? Is he crazy at all? What kind of GENIUS is he? What drives him? Money…..power…women? What are his fears…his passions?

Oh, and does he speak proper English?”

Why so many questions? Why not just learn his lines, show up on the set and “act”?

From the perspective of someone who has never acted before, or from someone who has only done a school play, acting probably seems like an endeavor in which all you have to do is memorize lines.

To this effect, the way in which actors engage with material – by thinking about characterization, intention and the subtext underneath their lines – increases their memory for the material. It is by thinking about the meaning behind the words, rather than just the words themselves, that actors are able to memorize long scenes and entire plays.

This approach can help individuals, including elderly adults, who have never had an acting lesson increase their memories. So, the next time you need to memorize a speech, think about why you are speaking each sentence, in addition to just what words need to come out in what order.

An actor’s role (pun intended), however, goes far beyond just memorizing lines.

Actors are charged with creating a character from words on a page. To achieve this daunting task, first the actors have to figure out what the character wants – the goals and objectives that must be achieved within the context of the play, movie, or television program. Often a script is only the bare bones of the character’s objectives – the lines the character will say, and the lines that others will say in response. From these bones the actor creates a skeleton of characterization – a frame upon which his or her character is built.

There is a trio of critical psychological skills that help an actor create such a skeleton: theory of mindempathy, and emotion regulation.

Theory of Mind

The ability to understand what others are thinking, feeling, believing, and desiring. Infants seem to have a preliminary theory of mind and children are able to fully understand the beliefs and desires of others by three years of age. The ability to read another’s intentions and desires varies as a function of our relationship with that person, our own attention, and the degree to which we are trained to do so. Actors, psychologists and individuals who read a lot of fiction normally have highly developed Theory of Mind skills.

Empathy

Refers to a feeling we get that is appropriate and emotional in response to someone else’s emotion. This can mean being happy that your best friend is having a baby, or anger when that same friend’s now teenaged daughter stays out all night with her loser boyfriend. The use of empathy in acting is somewhat controversial – some actors think they must feel all of their character’s emotions – that they that must really feel sad, angry, or in love if you are to portray that emotion correctly. Other actors think that all that feeling gets in the way of acting, and that physical portrayal of an emotion will be enough to get it across to the audience and create a realistic portrayal and then there are those actors who will switch between both methods, depending on their personal mood and the needs of the performance.

Emotion Regulation

An actor’s control of his or her own emotions and the replacement of them with the emotions of the character.

Denzel Washington in "The Book of Eli"

Denzel Washington in “The Book of Eli”

Most of the methods used by an actor, however, are unconscious. Too deep of a conscious analysis of character by an actor can be detrimental. Stellar actor Denzel Washington does extensive preparation and uses physical reminders in order to masterfully play his roles. However, when it comes to the moments of actually acting, of creating that character’s words and actions while the camera rolls, Mr. Washington has no idea how he is going to bring the character to life; he just does it. In fact, Mr. Washington believes that analyzing the character too deeply might make his grasp on the character go away. He has, instead, learned to just trust himself.

Acting is difficult. Ask any director or actor. There seems to be a delicate balance between overt preparation and unconscious performance. Bad performances are often criticized as being “self conscious” – the actor was aware of what she was doing, or aware of the character’s faults, and could not help projecting them as she played the character.

Our behavior is changed by all sorts of unconscious processes, motivations, and influences that we don’t even notice. And these influences can be manipulated extremely easily. In a classic study, John Bargh, a psychologist at Yale University, primed students with words relating to old age.

After rearranging lists of words into sensible sentences, the subjects – all New York University undergraduates – were told that the experiment was about language ability. It was not. In fact, the real test began once the subject exited the room. In the hallway was a graduate student with a stopwatch hidden beneath her coat. She pretended to wait for a meeting but was really working with the researchers. The grad student timed how long it took the test subjects to walk from the doorway to a strip of silver tape a little more than 30 feet down the hall.

The words the subjects were asked to rearrange were not random, although they seemed to be. They were words such as “bingo,” “retirement,” “Florida,”, “wrinkles,” “bitter” and “alone.”

Reading the list, you can envision a stooped, elderly person shuffling about a tiny studio apartment that reeks of mothballs, hissing curses at the television.

A control group unscrambled words that evoked no theme. When the walking times of the two groups were compared, the Florida-retirement-bingo-alone subjects walked, on average, much slower than the control group.

Words on a page made them act old.

Bargh and his associates conducted another similar experiment in which they tested Caucasian and Asian subjects to see if they were more hostile when primed with an African-American’s face. They were.

In a third experiment, the subjects were primed with rude words to see if those words would make them more likely to interrupt a conversation. They did.

Currently, Dr. Bargh’s work is showing surprising findings about unconscious priming of behavior and attitudes, such as how holding a warm cup of coffee can make you feel socially closer to those around you – no wonder most of my meetings are held at Starbucks.

So, tell me your thoughts – is acting intuitive? Can the author of the screenplay, play or teleplay use certain words to put an actor into character? Or, does preparation enable actors to “forget” themselves when in the moment of acting?  Does it matter whether you have “preexisting talent”? Or is training and preparation more important?

Your feedback – as always – is welcome and encouraged.

A STEAMFUNK VIDEO PRIMER!

A STEAMFUNK VIDEO PRIMER

Primer 1At our first Info Session for the Steamfunk movie Rite of Passage, GA-Tech Professor and an Associate Director of the film, Lisa Yaszek, asked who was familiar with Steamfunk. Three hands – not including those of our crew – went up in the packed room. She then asked who was familiar with Steampunk. Five hands went up.

We then proceeded to give those in attendance a list of books to read and movies to watch to familiarize themselves.

feat 8As Lisa defined what Steampunk and Steamfunk are, I realized just how important the making of Rite of Passage is. Steamfunk’s / Steampunk’s do-it-yourself philosophy, reverence for history and its focus on craftsmanship, originality, history and creativity is much needed for the building of a future and for the betterment of the present.

For all of you – and for anyone you know who may struggle with the concept of Steamfunk – I offer below a video primer that defines the subgenre and can serve as a reference for future works. Enjoy!

As always, your feedback is welcome and encouraged!

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The Saga Continues…

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