Friday, September 27, 2019

Queer Black Panther


NOTE: A less sexually explicit version of this article is posted at The Leveret's brother site, The Wild Reed.


Ryan Coogler's Black Panther was one of my favorite films of last year, mainly because of how groundbreaking it was on a number of levels. Most notably, Black Panther was the first film of the Marvel Cinematic Universe to place a black superhero front and center. It's also one of only a very few films to feature a black director (Coogler) and a majority black cast (including Chadwick Boseman, Michael B Jordan, Angela Bassett, Daniel Kaluuya, Lupita Nyong’o, Danai Gurira, and Forest Whitaker). In addition, Black Panther explores questions and issues about race and identity to a depth never before attempted by a film in the "superhero" genre.

Film critic Kenneth Turan succinctly sums up the significance and appeal of Black Panther when he writes: "A superhero movie whose characters have integrity and dramatic heft, laced with socially conscious commentary as well as wicked laughs, Black Panther is the model of what an involving popular entertainment ought to be but hardly ever is."


Queer appeal

Black Panther is, of course, based on Stan Lee and Jack Kirby's revolutionary comic book character of the same name.

As both a comic book and a film, Black Panther has a queer appeal. What do I mean by this? Well, I've come to understand that to be "queer" is to attempt to expand or go beyond (in thought, word or deed) the parameters of gender, race, heterosexuality, patriarchy, and other socially-constructed (or manipulated) concepts. Laurence Coleman, in discussing vocalist Dusty Springfield as a queer icon, says that embracing this understanding of queer “denotes a spectrum not only of identity and practice but also inquiry.” Accordingly, to be queer is to be a questioner and subverter of what Michael Warner has called “regimes of the normal,” and not just in matters to do with sexuality and sexual expression, but also in matters of gender, class, and race.

For many people, a definite appeal of Black Panther is that it boldly questions and subverts in entertaining ways, “regimes of the normal” as they relate to gender and race. (It almost did the same with sexuality, as Linda Lang documents here.)

I celebrate the subversion and transformation of any status quo that is oppressive and limiting, and without doubt Black Panther does this. Accordingly, I think it's fair to say that it is queer in the broadest and deepest sense of the word.


Queer male sexuality

Black Panther is also queer in the more focused sense of sexuality. Though not as obvious or resolute as its focus on race and gender, a queer take on sexuality is nonetheless observable, simply and beautifully, in the film's celebration of the impressive physiques of the main Wakandan characters (both male and female); in Black Panther's body-hugging outfit (one that emphasizes the male body's "tools of attraction"); in the sensual, cat-like way T'challa / Black Panther moves; and in the young king of Wakanda's journey and travails in becoming a hero.

This last observation is important as for many people who do not identify exclusively as heterosexual, the trials of comic book superheroes are often perceived to reflect their own struggle to be who they really are in a world that fears and misunderstands them.

“When I was a teenager,” one gay man told Gerard Jones, author of the book Men of Tomorrow: Geeks, Gangsters and the Birth of the Comic Book, “superheroes were obviously about being queer. Clark Kent shedding that hideous [business] suit and shooting into the sky in his tights? What else [could it be about]?”

I think a very similar thing can be said for T'challa, not only in his donning of his tight-fitting Black Panther suit, but in his efforts to move Wakanda out of the shadows so as to openly reveal and share the country's immense riches and unique gifts with the wider world, a move that is both liberating and risky, much like coming out as queer.



I think it's also important to note that this sexuality-focused display of male queerness as described above is present in the original and current Black Panther comic books, as the illustrations below clearly show.


– Art by Rich Buckler and Glynis Wein; text by Don McGregor (1973)


– Art by Bob Brown; text by Steve Englehart (1973)


– Art by John Romita Jr. (2018)






Queer fan art

Of course, as has been noted previously at The Wild Reed, in the always entertaining world of fan art, many popular superheroes are often depicted as queer, particularly in relation to sex and sexuality.

The image at right by Steven Garcia and below by Wally Rainbow are two of the more explicit examples of this. Yet regardless of how in-your-face or subtle such depictions may be, they all speak to just how many queer superhero fans there are out there, and how strongly they want to see themselves represented by and within this particular genre.


A common theme in a lot of "queer fan art" conveys the notion that the fierce tension and antagonism that exists between certain male superheroes is actually a sign of mutual (though repressed) sexual desire. The role of the fan artist, it would seem, is to give these characters an opportunity to let loose with this desire.

In the world of Wakanda, we see this depicted primarily in images showing T'Challa / Black Panther with Erik "Killmonger" Stevens (left, by NightWolf), but also with Bucky Barnes / the Winter Soldier, Steve Rogers / Captain America, and M’Baku, leader of Wakanda's Jabari tribe.

Following are a few more examples of fan art that depicts a queer Black Panther.




Above and below: T'Challa / Black Panther and Erik "Killmonger."


Skaky


– Artist unknown


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Source


Source


– Artist unknown


– Artist unknown


– Artist unknown


Source

Above and below: T'Challa / Black Panther and Bucky Barnes / the Winter Soldier.


– Artist unknown

– Artist unknown

– Artist unknown


Above: T'Challa / Black Panther and Steve Rogers / Captain America.


Yacksa


Above: T'Challa / Black Panther (right) and M’Baku, leader of Wakanda's Jabari tribe.



Source


Above: Erik "Killmonger," T'Challa / Black Panther, and M’Baku.


Source

Source


Related Off-site Links:
The Racial Politics of Black Panther – Mikhail Lyubansky (Psychology Today, February 20, 2018).
The Revolutionary Power of Black Panther – Jamil Smith (Time, February 2018).
10 Important Things You Might Have Missed While Watching Marvel's Black Panther – Lanette Mantle (Odyssey, March 20, 2018).
Why Black Panther Is Such a Big Deal for Women – Emily Rems (Salon, April 4, 2018).
Black Panther Sequel Set for 2022 Release – Erin Nyren (Variety, August 24, 2019).

See also the previous Wild Reed posts:
The Important Cultural Moment That Is Black Panther
Celebrating Black Panther – Then and Now
“Avengers Assemble!”
Jason Johnson on Stan Lee's Revolutionary Legacy
Another First for Black Panther
“Something Special,” Indeed!
Wolvie
Season of the (Scarlet) Witch
One Divine Hammer
What the Vatican Can Learn from the X-Men
The New Superman: Not Necessarily Gay, But Definitely Queer
Adam Sandel on the Queer Appeal of Harry Potter
Musings on the Possibility of “FinnPoe” in the Star Wars Saga
Thoughts on Queer Cinema


Monday, September 23, 2019

A Time of Transformation



September: Time of the darkening equinox, the balance between sun and shadow. Full of the magic of change – not always a comfortable magic. Its twilight empties the heart of its mortal dream. Yet, September is not a bleak month, but a time of transformation. There is no dream as fair as the host rushing “twixt night and day,” a symbol of the continuance of life in the Otherworld. This is the Celtic spiral of life – death and rebirth. This balance . . . it is the mystery of the time of the Autumnal Equinox.

– Cliff Séruntine

See also the previous posts:
Welcoming the Autumn Equinox
Autumn Hare
Autumn Beauty

And on The Leveret's brother site, The Wild Reed, see:
Autumn's "Wordless Message"
Autumnal (and Rather Pagan) Thoughts on the Making of “All Things New”
The Prayer Tree . . . Aflame
Autumn . . . Within and Beyond (2018)
Autumn . . . Within and Beyond (2016)
O Sacred Season of Autumn
“Thou Hast Thy Music Too”
Autumn Hues

Image:September Fields” by Nicholas Hely Hutchinson.

Monday, September 16, 2019

Joe


Joe Wicks (born September 21, 1985), otherwise known as “The Body Coach,” is an English fitness coach, TV presenter and author, specialising in cooking and fitness books. His fitness method uses short intense High Intensity Interval Training (HIIT or collequally 'HIT') workouts.

Starting off by posting 15-second recipe videos on social media, Wicks grew his brand to become one the most followed fitness accounts on Instagram.

His first published cookbook Lean in 15: 15-minute Meals was a best-selling book in 2015, having sold over 900,000 copies. The book contains a “90 Day Plan” with workouts and meals with tailored portions to the individual. In 2016 Wicks began presenting his own television show, The Body Coach, on Britain's Channel 4.

Wicks attended Blenheim High School in Epsom, Surrey and technology college in Epsom. It has been reported that he is of Egyptian heritage on his father's side. He went on to study sports science at St Mary's University in Twickenham.

Source









See also the previous posts: Mark | Jason | Jamie | Lyriq | Philip | Don | LeBron | Jayjay | Donald | Geremy | Jerome | Solomon | Colin | Luis | Nyle | Philip | Charlie | Sukdeep | Rafael | Mon Bel Ami

Images: Photographers unknown.

Thursday, September 12, 2019

Sunday, September 8, 2019

The Art of Liam Campbell


Elska is a bimonthly male photography, culture and travel magazine that bills itself as “part intellectual queer pinup mag and part sexy anthropology journal.” Every two months it features images and stories from queer men living in a different international location, including Yokohama, Japan; Haifa, Israel; Mumbai, India; Taipei, Taiwan; Bogotá, Colombia; Cape Town, South Africa; and Perth, Australia.

Writing in the online magazine Hornet, Daniel Villarreal notes that the recent Los Angeles edition of Elska features “some of L.A.’s most talented gays in their natural habitat” as photographed by Liam Campbell, Elska's founder, editor and chief photographer.

Born in Chicago, Campbell has spent most of his life in London where he studied photography for a year before attempting to get a “real job.” He returned to photography full-time in 2014 after, he says, life without art had become “too much like suffering.” Since then he has worked in fashion, engaged in portrait work, and launched Elska in 2015.

In Villarreal's Hornet article, Campbell is quoted as saying that his images for Elska: Los Angeles are “natural, un-airbrushed and spontaneous; and the stories [of the subjects featured] are personal tales rather than regurgitated press releases.” Adds Villarreal: “[T]here’s also a refreshing mix of queer men of different races, ages and body types, giving you a clearer, more intimate glimpse of Los Angeles that you’d ever get from glossy magazines or through the Hollywood machine.”










Related Off-site Link: Elska Magazine

See also: The Art of Richard Vyse | David Jester | Aaron Moth | Travis Chantar | Douglas Simonson | Guglielmo Plüschow | Vilela Valentin | Dante Cirquero | Nebojsa Zdravkovic | Brenden Sanborn | Wilhelm von Gloeden | Richard Haines | John MacConnell | Leo Rydell Jost | Jim Ferringer | Juliusz Lewandowski | Felix d'Eon | Herbert List | Joe Ziolkowski

See also the previous post:
The Naked Calendar That Celebrates Gay Men With “Ordinary” Bodies