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This is a very informative article about the reconstruction era. This article was written by Henry Louis Gates Jr. who is a Alphonse Fletcher University Professor and Director of the Hutchins Center for African and African American Research at Harvard University

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During an interview with Chris Rock for my PBS series African American Lives 2, we traced the ancestry of several well-known African Americans. When I told Rock that his great-great-grandfather Julius Caesar Tingman had served in the U.S. Colored Troops during the Civil War - enrolling on March 7, 1865, a little more than a month after the Confederates evacuated from Charleston, S.C. - he was brought to tears. I explained that seven years later, while still a young man in his mid-20s, this same ancestor was elected to the South Carolina house of representatives as part of that state's Reconstruction government. Rock was flabbergasted, his pride in his ancestor rivaled only by gratitude that Julius' story had been revealed at last. "It's sad that all this stuff was kind of buried and that I went through a whole childhood and most of my adulthood not knowing," Rock said. "How in the world could I not know this?"

I realized then that even descendants of black heroes of Reconstruction had lost the memory of their ancestors' heroic achievements. I have been interested in Reconstruction and its tragic aftermath since I was an undergraduate at Yale University, and I have been teaching works by black authors from the second half of the 19th century for decades. But the urgent need for a broader public conversation about the period first struck me only in that conversation with Rock.

Reconstruction, the period in American history that followed the Civil War, was an era filled with great hope and expectations, but it proved far too short to ensure a successful transition from bondage to free labor for the almost 4 million black human beings who'd been born into slavery in the U.S. During Reconstruction, the U.S. government maintained an active presence in the former Confederate states to protect the rights of the newly freed slaves and to help them, however incompletely, on the path to becoming full citizens. A little more than a decade later, the era came to an end when the contested presidential election of 1876 was resolved by trading the electoral votes of South Carolina, Louisiana and Florida for the removal of federal troops from the last Southern statehouses.

Today, many of us know precious little about what happened during those years. But, regardless of its brevity, Reconstruction remains one of the most pivotal eras in the history of race relations in American history - and probably the most misunderstood.

Reconstruction was fundamentally about who got to be an American citizen. It was in that period that the Constitution was amended to establish birthright citizenship through the 14th Amendment, which also guaranteed equality before the law regardless of race. The 15th Amendment, ratified in 1870, barred racial discrimination in voting, thus securing the ballot for black men nationwide. As Eric Foner, the leading historian of the era, puts it, "The issues central to Reconstruction - citizenship, voting rights, terrorist violence, the relationship between economic and political democracy - continue to roil our society and politics today, making an understanding of Reconstruction even more vital." A key lesson of Reconstruction, and of its violent, racist rollback, is, Foner continues, "that achievements thought permanent can be overturned and rights can never be taken for granted."

Another lesson this era of our history teaches us is that, even when stripped of their rights by courts, legislatures and revised state constitutions, African Americans never surrendered to white supremacy. Resistance, too, is their legacy.

By 1877, in a climate of economic crisis, the "cost" of protecting the freedoms of African Americans became a price the American government was no longer willing to pay. The long rollback began in earnest: the period of retrenchment, voter suppression, Jim Crow segregation and quasi re-enslavement that was called by white Southerners, ironically, "Redemption." As a worried Frederick Douglass, sensing the storm clouds gathering on the horizon, put it in a speech at the Republican National Convention on June 14, 1876: "You say you have emancipated us. You have; and I thank you for it. You say you have enfranchised us; and I thank you for it. But what is your emancipation? - What is your enfranchisement? What does it all amount to if the black man, after having been made free by the letter of your law, is unable to exercise that freedom, and, after having been freed from the slaveholder's lash, he is to be subject to the slaveholder's shotgun?"

What confounds me is how much longer the rollback of Reconstruction was than Reconstruction itself, how dogged was the determination of the "Redeemed South" to obliterate any trace of the gains made by freed people. In South Carolina, for example, the state university that had been integrated during Reconstruction (indeed, Harvard's first black college graduate, Richard T. Greener, was a professor there) was swiftly shut down and reopened three years later for whites only. That color line remained in place there until 1963.

In addition to their moves to strip African Americans of their voting rights, "Redeemer" governments across the South slashed government investments in infrastructure and social programs across the board, including those for the region's first state-funded public-school systems, a product of Reconstruction. In doing so, they re-empowered a private sphere dominated by the white planter class. A new wave of state constitutional conventions followed, starting with Mississippi in 1890. These effectively undermined the Reconstruction Amendments, especially the right of black men to vote, in each of the former Confederate states by 1908. To take just one example: whereas in Louisiana, 130,000 black men were registered to vote before the state instituted its new constitution in 1898, by 1904 that number had been reduced to 1,342.

And at what the historian Rayford W. Logan dubbed the "nadir" of American race relations-the time of political, economic, social and legal hardening around segregation - widespread violence, disenfranchisement and lynching coincided with a hardening of racist concepts of "race."

This painfully long period following Reconstruction saw the explosion of white-supremacist ideology across an array of media and through an extraordinary variety of forms, all designed to warp the mind toward white-supremacist beliefs. Minstrelsy and racist visual imagery were weapons in the battle over the status of African Americans in postslavery America, and some continue to be manufactured to this day.

The process of dehumanization triggered a resistance movement. Among a rising generation of the black elite, this resistance was represented after 1895 through the concept of "The New Negro," a counter to the avalanche of racist images of black people that proliferated throughout Gilded Age American society in advertisements, posters and postcards, helped along by technological innovations that enabled the cheap mass production of multicolored prints. Not surprisingly, racist images of black people - characterized by exaggerated physical features, the blackest of skin tones, the whitest of eyes and the reddest of lips - were a favorite subject of these multicolored prints during the rollback of Reconstruction and the birth of Jim Crow segregation in the 1890s.

We can think of the New Negro as Black America's first superhero, locked in combat against the white-supremacist fiction of African Americans as "Sambos," by nature lazy, mentally inferior, licentious and, beneath the surface, lurking sexual predators. The New Negro would undergo several transformations within the race between the mid-1890s and the Harlem Renaissance of the 1920s, but, in its essence, it was a trope - summarized by one writer in 1928 as a continuously evolving "mythological figure" - that would be drawn upon and revised over three decades by black leaders in the country's first social-media war: the New Negro vs. Sambo.

The concept would prove to be quite volatile. Supposedly New Negroes could be supplanted by even "newer" Negroes. For example, Booker T. Washington, the conservative, accommodationist educator, would be hailed as the first New Negro in 1895, only to be dethroned exactly a decade later on the cover of the Voice of the Negro magazine by his nemesis, W.E.B. Du Bois, the Harvard-trained historian. Du Bois had globalized his version of the New Negro in a landmark photography exhibition at the 1900 Paris Exposition and then, three years later, in his monumental work, The Souls of Black Folk, mounted a devastating attack on Washington's philosophy of race relations as dangerously complicitous with Jim Crow segregation and, especially, black male disenfranchisement. Du Bois, a founder of the militant Niagara Movement in 1905, would co-found the NAACP in 1909. And while Douglass had already seen the potential of photography to present an authentic face of black America, and thus to counteract the onslaught of negative stereotypes pervading American society, the children of Reconstruction were the ones who picked up the torch after his death in 1895.

This new generation experimented with a range of artistic mediums to carve out a space for a New Negro who would lead the race - and the country - into the rising century, one whose racial attitudes would be more modern and cosmopolitan than those of the previous century, marred by slavery and Civil War. When D.W. Griffith released his racist Lost Cause fantasy film The Birth of a Nation in 1915, New Negro activists responded not only with protest but also with support for African American artists like the pioneering independent producer and director Oscar Micheaux, whose reels of silent films exposed the horrors of white supremacy while advancing a fuller, more humanistic take on black life.

Their pushback against Redemption took many forms. Denied the ballot box, African American women and men organized political associations, churches, schools and social clubs, both to nurture their own culture and to speak out as forcefully as they could against the suffocating oppression unfolding around them. Though brutalized by the shockingly extensive practices of lynching and rape, reinforced by terrorism and vigilante violence, they exposed the crimes and hypocrisy of white supremacy in their own newspapers and magazines, and in marches and political rallies. But no weapon was drawn upon more frequently than images of the New Negro and what the historian Evelyn Higginbotham calls "the politics of respectability."

Assaulted by the degrading, mass-produced imagery of the Lost Cause, its romanticization of the Old South and stereotypes of "Sambo" and the "Old Negro," they avidly counterpunched with their own images of modern women and men, which they widely disseminated in journalism, photography, literature and the arts. Drawing on the tradition of agitation epitomized by the black Reconstruction Congressmen, such as John Mercer Langston, and former abolitionists, such as the inimitable Douglass, the children of Reconstruction would lay the foundation for the civil rights revolution to come in the 20th century.

But what also seems clear to me today is that it was in that period that white-supremacist ideology, especially as it was transmuted into powerful new forms of media, poisoned the American imagination in ways that have long outlasted its origin. You might say that anti-black racism once helped fuel an economic system, and that black crude was pumped and freighted around the world. Now, more than a century and a half since the end of slavery in the U.S., it drifts like a toxic oil slick as the supertanker lists into the sea.

When Dylann Roof murdered the Reverend Clementa Pinckney and the eight other innocents in Mother Emanuel AME Church in Charleston, S.C., on June 17, 2015, he didn't need to have read any of this history; it had, unfortunately, long become part of our country's cultural DNA and, it seems, imprinted on his own. It is important that we both celebrate the triumphs of African Americans following the Civil War and explain how the forces of white supremacy did their best to undermine those triumphs-then and in all the years since, through to the present.

Gates is the Alphonse Fletcher university professor and director of the Hutchins Center for African and African American Research at Harvard University. His PBS series on Reconstruction airs April 9 and April 16. This essay is adapted from his new book, Stony the Road: Reconstruction, White Supremacy, and the Rise of Jim Crow. Published by Penguin Press, an imprint of Penguin Publishing Group, a division of Penguin Random House LLC. Copyright © 2019 by Henry Louis Gates, Jr.

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How Reconstruction Still Shapes American Racism

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Even descendants of black heroes of Reconstruction lost the memory of their ancestors' heroic achievements, writes Henry Louis Gates Jr.

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This also another time magazine! It's very interesting read about how reconstruction. Different perspective.

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Reconstruction Didn’t Fail. It Was Overthrown

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But Reconstruction might have turned out a good deal worse than it did

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I think that this a very good video explaining who Toni Morrison is and the role she played in Black literature . Therefore if you have any friends or family members who are interested to learn about Toni Morrrison you could show them this video!

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Toni Morrison: Crash Course Black American History #48

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I would highly recommend everyone to check this out if they're highly interested in the history African-American literature . This article provides pivotal authors that played a key role in Black literature. + They mention some amazing book too that I would recommend everyone check out.

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Explore the rich tapestry of African American literature through our GIS StoryMap project. Journey through the historical and cultural landscape that has shaped the works of iconic authors like Langston Hughes, Toni Morrison, and James Baldwin. Discover the geographical contexts, key literary movements, and contemporary issues that have influenced and continue to inspire African American writers.

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This article discusses about the Harlem renaissance which was a impactful cultural movement by Black-Americans. The Harlem renaissance started in Harlem, New York and celebrated the creativity and culture of Black-Americans that flourished during challenging times. < I felt like this article fit with topics that were mentioned week 5 &7.>

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National Museum of African American History and Culture

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A New African American Identity: The Harlem Renaissance

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Between the end of World War I and the mid-1930s, African Americans produced one of the most significant eras of cultural expression in the nation’s history—the Harlem Renaissance.

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I found this video made by PBS which I found interesting!

Angela Davis FBI poster was an attempt to criminalize multiple black activists and black people who looked like her, to create fear but it backfired and her poster became a symbol for Black power.

Angela Davis was an iconography for black power , her afro was a powerful symbol for freedom and black pride. When thinking about it her fro was multivalent, like rejection to assimilate to the Eurocentric beauty construct.

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How an FBI Poster Became a Black Power Symbol | The Bigger Picture with Vincent Brown | PBS

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This article had an in-depth analysis of what Black nationalism and the ideologies that founded Black nationalism.This is one the quotes the have "Black Nationalism emerged in the early nineteenth century because African Americans felt a disconnect between American ideals--liberty, independence, democracy--and the everyday realities--slavery, racism, oppression--that they faced because of their skin color."(The Illusion of Inclusion: The Nubian Message in the 1990s)

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Black Nationalism in Historical Context · The Illusion of Inclusion: The Nubian Message in the 1990s · The State of History

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Staff writers at The Nubian Message were not alone in adopting tenets of Black Nationalism as they critiqued social and political developments in the 1990s. As Africana Studies scholar Melanye Price argues, Black Nationalist thought is “one of the oldest and most enduring ideological constructs developed by African Americans to make sense of their social and political world.”[1] Yet, Black Nationalism has manifested itself in different ways in different historical eras. Understanding the development of Black Nationalism over time helps to situate The Nubian Message’s views within a broader historical context. In turn, identifying Black Nationalist influences on The Nubian Message reveals that America was hardly a “post-racial” society in the 1990s. On the contrary, ongoing racism and political conservatism continued to push African Americans, including The Nubian Message staff, to embrace Black Nationalist ideologies.

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This is a website I found where you can see Black panthers newspapers from back then.

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The Black Panther was the official newspaper of the Black Panther Party. It began as a four-page newsletter in Oakland, California, in 1967, and was founded by Huey P. Newton and Bobby Seale. It was the main publication of the party and was soon sold in several large cities across the United States, as well as having an international readership. The newspaper distributed information about the party's activities, and expressed through articles the ideology of the Black Panther Party, focusing on both international revolutions as inspiration and contemporary racial struggles of African Americans across the United States.

The Black Panther Party maintained a commitment to community service including various "survival programs" developed by individual chapters that, by 1969, became part of the national party's "serve the people program" to connect their commitments to basic social services with community organizing and consciousness raising. The Black Panther Party's Intercommunal News Service published The Black Panther Party Newspaper as a critical part of its consciousness raising program.

The Black Panther Party Newspaper is also known as The Black Panther Intercommunal News Service, Black Panther Black Community News Service, and Black Community News Service, was published by the Black Panther Party from 1967 to 1980. The newspaper was most popular from 1968-1972, and during this time sold a hundred thousand copies a week.

An undergraduate student at San Francisco State, Judy Juanita, served as editor at The Black Panther Party Newspaper during the later 1960s. In 1969, two-thirds of Black Panther Party members were women.

In its later years it was used to rally support for members of the party who became political prisoners.

"The BPP newspaper grew from a four-page newsletter to a full newspaper in about a year and [537] issues were printed".

Circulation was national and international. From 1968 to 1971, The Black Panther Party Newspaper was the most widely read Black newspaper in the United States, with a weekly circulation of more than 300,000. It sold for 25 cents. Every Panther was required to read and study the newspaper before they could sell it. As it became nationally circulated, The Black Panther Party Newspaper national distribution center was located in San Francisco, with a distribution team led by Andrew Austin, Sam Napier, and Ellis White. Other distribution centers were in Chicago, Kansas, Los Angeles, New York, and Seattle.

The copies of The Black Panther collected here were made publically available here: https://www.reddit.com/r/communism/comments/4m7axa/a_complete_archive_of_the_black_panther_partys/ In 1968 a copyright symbol started to appear on the masthead of The Black Panther. In investigating this copyright it appears to gone into irrelevancy asnpapers were subsequently filed with regards to the ownership of the copyright with the Copyright Office at the Library of Congress. The Marxists Internet Archive will assume it has fallen into the Public Domain. We welcome any discussion of the legality of this. Please contact us.

For text file of the missing issues, please click here

Black Panther: Volume 1, 1967
Vol. 1, No. 1, April 25, 1967 Vol. 1, No. 2, May 25, 1967 Vol. 1, No. 3, June 20, 1967 Vol. 1, No. 4, July 3, 1967 Vol. 1, No. 5, July 20, 1967 Vol. 1, No. 6, November 23, 1967
Black Panther: Volume 2, 1968-1969
Vol. 2, No. 2, May 4, 1968 Vol. 2, No. 3, May 18, 1968 Vol. 2, No. 5, September 7, 1968 Vol. 2, No. 6, September 14, 1968 Vol. 2, No. 7, September 28, 1968 Vol. 2, No. 8, October 5, 1968 Vol. 2, No. 9, October 12, 1968 Vol. 2, No. 9, October 19, 1968 Vol. 2, No. 10, October 26, 1968 Vol. 2, No. 11, November 2, 1968 Vol. 2, Nos. 12-14, November 16, 1968 Vol. 2, Nos. 15-17, December 7, 1968 Vol. 2, No. 18, December 21, 1968 Vol. 2, No. 19, January 4, 1969 Vol. 2, No. 20, January 15, 1969 Vol. 2, No. 21, January 25, 1969 Vol. 2, No. 22, February 2, 1969 Vol. 2, No. 23, February 17, 1969 Vol. 2, No. 24, March 3, 1969 Vol. 2, No. 25, March 9, 1969 Vol. 2, No. 26, March 16, 1969 Vol. 2, No. 27, March 23, 1969 Vol. 2, No. 28, March 31, 1969 Vol. 2, No. 29, April 6, 1969 Vol. 2, No. 30, April 20, 1969
Black Panther: Volume 3, 1969
Vol. 3, No. 1, April 27, 1969 Vol. 3, No. 2, May 4, 1969 Vol. 3, No. 3, May 11, 1969 Vol. 3, No. 4, May 19, 1969 Vol. 3, No. 5, May 25, 1969 Vol. 3, No. 6, May 31, 1969 Vol. 3, No. 7, June 7, 1969 Vol. 3, No. 8, June 14, 1969 Vol. 3, No. 9, June 21, 1969 Vol. 3, No. 10, June 28, 1969 Vol. 3, No. 11, July 5, 1969 Vol. 3, No. 12, July 12, 1969 Vol. 3, No. 13, July 19, 1969 Vol. 3, No. 14, , 1969 Vol. 3, No. 15, August 2, 1969 Vol. 3, No. 16, August 9, 1969 Vol. 3, No. 17, August 16, 1969 Vol. 3, No. 19, August 30, 1969 Vol. 3, No. 20, September 6, 1969 Vol. 3, No. 21, September 13, 1969 Vol. 3, No. 22, September 20, 1969 Vol. 3, No. 23, September 27, 1969 Vol. 3, No. 24, October 4, 1969 Vol. 3, No. 25, October 11, 1969 Vol. 3, No. 26, October 18, 1969 Vol. 3, No. 27, October 25, 1969 Vol. 3, No. 28, November 1, 1969 Vol. 3, No. 29, November 8, 1969 Vol. 3, No. 30, November 15, 1969 Vol. 3, No. 31, November 22, 1969 Vol. 3, No. 33, November 29, 1969
Black Panther: Volume 4, 1969-1970
Vol. 4, no o. 1, December 6, 1969 Vol. 4, no o. 2, December 13, 1969
Vol. 4, no o. 3, July 25, 1970
Vol. 4, no o. 4, December 27, 1970 Vol. 4, no o. 5, January 3, 1970 Vol. 4, no o. 6, January 10, 1970 Vol. 4, no o. 7, January 17, 1970 Vol. 4, no o. 8, January 24, 1970
Vol. 4, no o. 8, January 31, 1970
Vol. 4, No. 9, February 9, 1970 Vol. 4, No. 10, February 17, 1970 Vol. 4, No. 12, February 21, 1970 Vol. 4, No. 13, February 28, 1970 Vol. 4, No. 14, March 7, 1970 Vol. 4, No. 15, March 15, 1970 Vol. 4, No. 16, March 21, 1970 Vol. 4, No. 17, March 28, 1970 Vol. 4, No. 19, April 11, 1970 Vol. 4, No. 20, April 18, 1970 Vol. 4, No. 22, April 25, 1970 Vol. 4, No. 23, May 9, 1970 Vol. 4, No. 24, May 19, 1970 Vol. 4, No. 25, May 31, 1970 Vol. 4, No. 27, June 6, 1970 Vol. 4, No. 28, June 13, 1970 Vol. 4, No. 29, June 20, 1970 Vol. 4, No. 30, June 27, 1970
Black Panther: Volume 5, 1970-1971

Vol. 5, No. 1, July 4, 1970

Vol. 5, No. 2, July 11, 1970
Vol. 5, No. 2, July 18, 1970 Vol. 5, No. 4, August 1, 1970 Vol. 5, No. 6, August 8, 1970 Vol. 5, No. 7, August 15, 1970 Vol. 5, No. 8, August 21, 1970 Vol. 5, No. 9, August 29, 1970 Vol. 5, No. 1, September 5, 1970 Vol. 5, No. 11, September 12, 1970 Vol. 5, No. 13, September 26, 1970 Vol. 5, No. 14, October 3, 1970 Vol. 5, No. 15, October 10, 1970 Vol. 5, No. 16, October 17, 1970 Vol. 5, No. 17, October 24, 1970 Vol. 5, No. 18, October 31, 1970 Vol. 5, No. 19, November 7, 1970 Vol. 5, No. 20, November 14, 1970 Vol. 5, No. 21, November 21, 1970 Vol. 5, No. 22, November 28, 1970 Vol. 5, No. 23, December 5, 1970 Vol. 5, No. 24, December 14, 1970 Vol. 5, No. 25, December 19, 1970 Vol. 5, No. 26, December 26, 1970 Vol. 5, No. 27, January 2, 1971 Vol. 5, No. 28, January 9, 1971 Vol. 5, No. 29, January 16, 1971 Vol. 5, No. 30, January 23, 1971
Black Panther: Volume 6, 1971
Vol. 6, No. 1, January 30, 1971 Vol. 6, No. 2, February 6, 1971 Vol. 6, No. 3, February 13, 1971 Vol. 6, No. 4, February 20, 1971 Vol. 6, No. 5, February 27, 1971 Vol. 6, No. 6, March , 1971 Vol. 6, 7, March , 1971 Vol. 6, 8, March , 1971 Vol. 6, 9, March , 1971 Vol. 6, No. 11, 1971 Vol. 6, No. 12, 1971 Vol. 6, No. 13, 1971 Vol. 6, No. 15, 1971 Vol. 6, No. 16, 1971 Vol. 6, No. 17, 1971 Vol. 6, No. 18, 1971 Vol. 6, No. 20, 1971 Vol. 6, No. 21, 1971 Vol. 6, No. 22, 1971 Vol. 6, No. 23, 1971 Vol. 6, No. 24, 1971 Vol. 6, No. 25, 1971 Vol. 6, No. 26, 1971 Vol. 6, No. 27, 1971 Vol. 6, No. 28, 1971 Vol. 6, No. 29, 1971 Vol. 6, No. 30, 1971
Black Panther: Volume 7, 1971-1972
Vol. 7, No. 1, August 28, 1971 Vol. 7, No. 2, September 4, 1971 Vol. 7, No. 3, September 11, 1971 Vol. 7, No. 4, September 18, 1971 Vol. 7, No. 5, September 25, 1971
Vol. 7, No. 5, October 4, 1971
Vol. 7, No. 6, October 9, 1971 Vol. 7, No. 8, October 16, 1971 Vol. 7, No. 9, October 23, 1971 Vol. 7, No. 10, October 30, 1971 Vol. 7, No. 11, November 6, 1971 Vol. 7, No. 12, November 13, 1971 Vol. 7, No. 13, November 20, 1971 Vol. 7, No. 14, November 29, 1971 Vol. 7, No. 15, December 4, 1971 Vol. 7, No. 16, December 11, 1971 Vol. 7, No. 17, December 18, 1971 Vol. 7, No. 18, December 25, 1971 Vol. 7, No. 19, January 1, 1971 Vol. 7, No. 20, January 8, 1971 Vol. 7, No. 22, January 22, 1971 Vol. 7, No. 23, January 29, 1971 Vol. 7, No. 24, February 5, 1971 Vol. 7, No. 25, February 12, 1971 Vol. 7, No. 26, February 19, 1971 Vol. 7, No. 27, February 26, 1971 Vol. 7, No. 28, March 4, 1971 Vol. 7, No. 29, March 11, 1971 Vol. 7, No. 30, March 18, 1971
Black Panther: Volume 8, 1972
Vol. 8, No. 1, March 25, 1972 Vol. 8, No. 2, April 1, 1972 Vol. 8, No. 3, April 8, 1972 Vol. 8, No. 4, April 15, 1972 Vol. 8, No. 5, April 22, 1972 Vol. 8, No. 6, April 29, 1972 Vol. 8, No. 7, May 6, 1972 Vol. 8, No. 8, May 13, 1972 Vol. 8, No. 9, May 20, 1972 Vol. 8, No. 10, May 27, 1972 Vol. 8, No. 11, June 3, 1972 Vol. 8, No. 12, June 10, 1972 Vol. 8, No. 13, June 17, 1972 Vol. 8, No. 14, June 24, 1972 Vol. 8, No. 15, July 1, 1972 Vol. 8, No. 16, July 8, 1972 Vol. 8, No. 17, July 15, 1972 Vol. 8, No. 18, July 22, 1972 Vol. 8, No. 19, July 29, 1972 Vol. 8, No. 20, August 5, 1972 Vol. 8, No. 21, August 12, 1972 Vol. 8, No. 22, August 19, 1972 Vol. 8, No. 23, August 23, 1972 Vol. 8, No. 24, September 2, 1972 Vol. 8, No. 25, September 9, 1972 Vol. 8, No. 26, September 16, 1972 Vol. 8, No. 27, September 23, 1972 Vol. 8, No. 28, September 30, 1972 Vol. 8, No. 29, October 7, 1972 Vol. 8, No. 30, October 14, 1972
Black Panther: Volume 9, 1972
Vol. 9, No. 1,October 21, 1972 Vol. 9, No. 2, October 28, 1972 Vol. 9, No. 3, November 4, 1972 Vol. 9, No. 4, November 9, 1972 Vol. 9, No. 5, November 16, 1972 Vol. 9, No. 6, November 23, 1972 Vol. 9, No. 7, November 30, 1972 Vol. 9, No. 8, December 7, 1972 Vol. 9, No. 9, December 16, 1972 Vol. 9, No. 10, December 23, 1972 Vol. 9, No. 11, December 30, 1972
Black Panther: Volume 10, 1973
Vol. 10, No. 1, May 19, 1973 Vol. 10, No. 2, May 26, 1973 Vol. 10, No. 3, June 2, 1973 Vol. 10, No. 4, June 9, 1973 Vol. 10, No. 5, June 16, 1973 Vol. 10, No. 6, June 23, 1973 Vol. 10, No. 7, June 30, 1973 Vol. 10, No. 8, July 7, 1973 Vol. 10, No. 9, July 14, 1973 Vol. 10, No. 10, July 21, 1973 Vol. 10, No. 11, July 28, 1973 Vol. 10, No. 12, August 4, 1973 Vol. 10, No. 13, August 11, 1973 Vol. 10, No. 14, August 18, 1973 Vol. 10, No. 15, August 25, 1973 Vol. 10, No. 16, September 1, 1973 Vol. 10, No. 17, September 8, 1973 Vol. 10, No. 18, September 15, 1973 Vol. 10, No. 19, September 22, 1973 Vol. 10, No. 20, September 29, 1973 Vol. 10, No. 22, October 13, 1973 Vol. 10, No. 23, October 20, 1973 Vol. 10, No. 24, October 27, 1973 Vol. 10, No. 25, November 3, 1973 Vol. 10, No. 26, November 10, 1973 Vol. 10, No. 27, November 17, 1973 Vol. 10, No. 28, November 24, 1973 Vol. 10, No. 30, December 8, 1973
Black Panther: Volume 11, 1974
Vol. 11, No. 2, January 5, 1974 Vol. 11, No. 3, January 12, 1974 Vol. 11, No. 4, January 19, 1974 Vol. 11, No. 5, January 26, 1974 Vol. 11, No. 6, February 2, 1974 Vol. 11, No. 7, February 9, 1974 Vol. 11, No. 8, February 16, 1974 Vol. 11, No. 9, February 23, 1974 Vol. 11, No. 10, March 2, 1974 Vol. 11, No. 11, March 9, 1974 Vol. 11, No. 12, March 16, 1974 Vol. 11, No. 13, March 23, 1974 Vol. 11, No. 14, March 30, 1974 Vol. 11, No. 15, April 6, 1974 Vol. 11, No. 16, April 13, 1974 Vol. 11, No. 17, April 20, 1974 Vol. 11, No. 18, April 27, 1974 Vol. 11, No. 19, May 4, 1974 Vol. 11, No. 20, May 11, 1974 Vol. 11, No. 21, May 18, 1974 Vol. 11, No. 22, May 25, 1974 Vol. 11, No. 23, June 8, 1974 Vol. 11, No. 24, June 15, 1974 Vol. 11, No. 25, June 29, 1974 Vol. 11, No. 27, July 6, 1974 Vol. 11, No. 28, July 13, 1974 Vol. 11, No. 29, July 20, 1974
Black Panther: Volume 12, 1974
Vol. 12, No. 2, August 3, 1974 Vol. 12, No. 3, August 10, 1974 Vol. 12, No. 4, August 17, 1974 Vol. 12, No. 5, August 24, 1974 Vol. 12, No. 6, August 31, 1974 Vol. 12, No. 7, September 7, 1974 Vol. 12, No. 8, September 14, 1974 Vol. 12, No. 9, September 21, 1974 Vol. 12, No. 10, September 28, 1974 Vol. 12, No. 11, October 5, 1974 Vol. 12, No. 12, October 12, 1974 Vol. 12, No. 13, October 19, 1974 Vol. 12, No. 14, October 26, 1974 Vol. 12, No. 15, November 2, 1974 Vol. 12, No. 16, November 9, 1974 Vol. 12, No. 17, November 16, 1974 Vol. 12, No. 18, November 23, 1974 Vol. 12, No. 19, November 30, 1974 Vol. 12, No. 20, December 7, 1974 Vol. 12, No. 21, December 14, 1974 Vol. 12, No. 22, December 21, 1974 Vol. 12, No. 23, December 28, 1974 Vol. 12, No. 24, January 4, 1974 Vol. 12, No. 25, January 11, 1974 Vol. 12, No. 26, January 18, 1974 Vol. 12, No. 27, January 25, 1974 Vol. 12, No. 28, February 1, 1974 Vol. 12, No. 30, February 15, 1974
Black Panther: Volume 13, 1975
Vol. 13, No. 1, February, 1975 Vol. 13, No. 2, March 1, 1975 Vol. 13, No. 3, March 8, 1975 Vol. 13, No. 4, March 15, 1975 Vol. 13, No. 5, March 22, 1975 Vol. 13, No. 6, March 29, 1975 Vol. 13, No. 7, April 5, 1975 Vol. 13, No. 8, April 12, 1975 Vol. 13, No. 9, April 10, 1975 Vol. 13, No. 10, April 28, 1975 Vol. 13, No. 11, May 5, 1975 Vol. 13, No. 12, May 12, 1975 Vol. 13, No. 13, May 19, 1975 Vol. 13, No. 14, May 26, 1975 Vol. 13, No. 15, June 2, 1975 Vol. 13, No. 16, June 9, 1975 Vol. 13, No. 17, June 16, 1975 Vol. 13, No. 18, June 23, 1975 Vol. 13, No. 19, June 30, 1975 Vol. 13, No. 20, July 7, 1975 Vol. 13, No. 21, July 14, 1975 Vol. 13, No. 22, July 21, 1975 Vol. 13, No. 23, July 28, 1975 Vol. 13, No. 24, August 4, 1975 Vol. 13, No. 25, August 11, 1975 Vol. 13, No. 26, August 18, 1975 Vol. 13, No. 27, August 25, 1975 Vol. 13, No. 28, September 1, 1975 Vol. 13, No. 29, September 8, 1975 Vol. 13, No. 30, September 15, 1975
Black Panther: Volume 14, 1975
Vol. 14, No. 1, September 22, 1975 Vol. 14, No. 2, September 29, 1975 Vol. 14, No. 3, October 6, 1975 Vol. 14, No. 4, October 14, 1975 Vol. 14, No. 5, October 18, 1975 Vol. 14, No. 6, October 25, 1975 Vol. 14, No. 7, November 1, 1975 Vol. 14, No. 9, November 15, 1975 Vol. 14, No. 10, November 22, 1975 Vol. 14, No. 12, December 6, 1975 Vol. 14, No. 13, December 13, 1975 Vol. 14, No. 14, December 20, 1975 Vol. 14, No. 15, December 27, 1975 Vol. 14, No. 16, January 3, 1976 Vol. 14, No. 17, January 10, 1976 Vol. 14, No. 18, January 17, 1976 Vol. 14, No. 19, January 24, 1976 Vol. 14, No. 20, January 31, 1976 Vol. 14, No. 21, February 7, 1976 Vol. 14, No. 22, February 14, 1976 Vol. 14, No. 23, February 21, 1976 Vol. 14, No. 24, February 28, 1976 Vol. 14, No. 25, March 6, 1976 Vol. 14, No. 26, March 13, 1976 Vol. 14, No. 27, March 20, 1976 Vol. 14, No. 28, March 27, 1976 Vol. 14, No. 29, April 3, 1976 Vol. 14, No. 30, April 10, 1976
Black Panther: Volume 15, 1976
Vol. 15, No. 1, April 17, 1976 Vol. 15, No. 2, April 24, 1976 Vol. 15, No. 3, May 1, 1976 Vol. 15, No. 4, May 8, 1976 Vol. 15, No. 5, May 15, 1976 Vol. 15, No. 6, May 22, 1976 Vol. 15, No. 7, May 29, 1976 Vol. 15, No. 8, June 5, 1976 Vol. 15, No. 9, June 12, 1976 Vol. 15, No. 10, June 19, 1976 Vol. 15, No. 11, June 26, 1976 Vol. 15, No. 12, July 3, 1976 Vol. 15, No. 13, July 10, 1976 Vol. 15, No. 14, July 17, 1976 Vol. 15, No. 15, July 24, 1976 Vol. 15, No. 17, August , 1976 Vol. 15, No. 18, August , 1976 Vol. 15, No. 19, August , 1976 Vol. 15, No. 20, August , 1976 Vol. 15, No. 21, September , 1976 Vol. 15, No. 22, September , 1976 Vol. 15, No. 23, September , 1976 Vol. 15, No. 24, September , 1976 Vol. 15, No. 25, October , 1976 Vol. 15, No. 26, October , 1976 Vol. 15, No. 27, October , 1976 Vol. 15, No. 28, October , 1976 Vol. 15, No. 29, October , 1976 Vol. 15, No. 30, November , 1976

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The Black Panther was the official newspaper of the Black Panther Party. It began as a four-page newsletter in Oakland, California, in 1967, and was founded by Huey P. Newton and Bobby Seale. It was the main publication of the party and was soon sold in several large cities across the United States, as well as having an international readership.

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This is a video I found that explained what the Black arts movement was, how it started and the impact it left! Overall very informative.

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'The Revolution Will Not Be Televised': The Black Arts Movement

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This is one of my favorite music videos by kendrick!

The song is very meaningful, as every lyric has been written with a nuance.

THE MV showcases:

Black youths and the impact of music and representation

Police brutality

Black pride

Poetic narration ( ties in the 1st and 3rd bullet point)

Theres a lot more that this mv and the album to pimp a butterfly showcases I highly recommend everyone to check it out.

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Kendrick Lamar - Alright (Official Music Video)

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 WEEK 8 : Black Aesthetic Theory & Practice

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 WEEK 8 : Black Aesthetic Theory & Practice

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This video in youtube is an in-depth anaylsis on Black fashion /style. It was very interesting watch I highly highly recommend everyone to watch this!! Its interesting to see how trends of fashion can go all the way to slavery.

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To continue on with the topic of Black Aesthetic Theory & Practice. Many non-Black people use Blaccent which is having an accent that a black person raised in America would have and also heavily misuse AAVE ( African American Vernacular Language). This is an issue because there is a double standard , Black people get made fun of , judged and discriminated just based of the way they speak and look but when a non-black person uses AAVE they suddenly praised and given credit.

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What Is Blaccent And Why Do People Keep Using It?

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 WEEK 9 : Afrosurrealism and Afrofuturism

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 WEEK 9 : Afrosurrealism and Afrofuturism

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I watched the show Atlanta and I felt like this video gives a really good explanation of how the show potrays afrosurrealism.

https://youtu.be/4c3n-vYuCug?si=NfEUN7QBrWKdG4WH this is a good video explaining what afrosurrealism is.

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Why Donald Glover's Atlanta Feels So Weird

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The wizard of Oz was first released in 1939 introducing magic and futuristic elements. The Wiz was released in 1978 as recreation to the movie Wizard of Oz along with cultural significance.

The WIZ:

All black-Cast

Element of Afro-futurism

More elements of SciFi and tech

New York city = Land of OZ

The wiz was filmed with cultural significance of the Black Urban Life.

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Traveling beyond the Yellow Brick Road: “The Wiz” and its lasting impact on black culture

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From Broadway to the silver screen, “The Wiz” has changed lives and shaped American theater culture for generations to come.