Black Buddhist Fight against Memphis White Supremacy, Racism & Black on Black Racism via Memphis Film Commissioner Linn Sitler's erasure of the Anthony "Amp" Elmore Black Buddhist Biographical Story
Black Buddhist Fight against Memphis White Supremacy, Racism & Black on Black Racism via Memphis Film Commissioner Linn Sitler's erasure of the Anthony "Amp" Elmore Black Buddhist Biographical Story
Anthony "Amp" Elmore a "Proud Black Buddhist" living in Memphis, TN created The Contemporary Gladiator Film in 1988 the 1st Buddhist biopic world film history is fighting Memphis White Racism & White Supremacy erasure of a Buddhist World Film History
MEMPHIS, TN, October 20, 2026 -- On his Legislation and Morality (Speech at Western Michigan University, December 18, 1963 Dr. Martin Luther King Jr. said; "It may be true that morality cannot be legislated, but behavior can be regulated. Judicial decrees may not change the heart, but they can restrain the heartless. It may be true that the law cannot make a man love me, but it can keep him from lynching me, and I think that's pretty important, also."
In 1988 the U.S. Congress passed The National Film Preservation Act (originally passed in 1988, with subsequent reauthorizations) established the National Film Registry under the Library of Congress. Its explicit federal mandate is to identify, preserve, and champion "films that are culturally, historically, or aesthetically significant."
Under federal standards, significance is determined not by Hollywood studio gatekeeping or mainstream commercial distribution budgets, but by a film's authentic reflection of American history, diverse cultural heritage, and groundbreaking independent artistic achievement.
In regards to Memphis White Supremacy, Racism and Black on Black Racism Click here to view the newly uploaded Anthony "Amp" Elmore video dated October 18, 2026 titled: "The 1st Buddhist Biopic in Modern Film History."
Pew research noted that that there are 300 million to 500 million Buddhist worldwide. Sir Godfrey Higgins, the 18th-century English antiquarian and author of the monumental 1836 work Anacalypsis, put forward a profound and iconoclastic thesis regarding the origins of global religion and civilization. Higgins argued that Buddhism—which he associated with ancient wisdom traditions flowing from Upper Egypt, Ethiopia (Cush), and Meroe into ancient India—constitutes the foundational and most archaic spiritual system of humankind.
In regards to ancient world history that encompass 1000's of years Anthony "Amp" Elmore who lives in the African/American Orange Mound Community of Memphis wrote, produced, directed, scored in starred in the movie "The Contemporary Gladiator" is the 1st Buddhist Biopic in Modern Film History.
In regards to Memphis White Supremacy, Racism and Black on Black Racism Anthony "Amp" Elmore a "Proud Black Buddhist" living in Memphis, TN created The Contemporary Gladiator Film in 1988 the 1st Buddhist biopic modern film history is fighting Memphis White Racism & White Supremacy Black on Black erasure of "The Contemporary Gladiator" movie the 1st Buddhist Biopic in Modern Film History.
Anthony "Amp" Elmore is the first person in American and world film history to create a 35 mm theatrical biopic documenting a living Buddhist's journey — The Contemporary Gladiator (1988) — making him the first American Buddhist whose life story reached the silver screen.
The late Tina Turner is the 1st Documented Black Buddhist in America whereas in the February 15, 1979 Jet Magazine the historic American's 1st Black National publication documented Tina Turner's Buddhist story noting her conversion to Buddhism.
In regards to a cinematic biopic story of an American Buddhist Memphis born 5-time world Kickboxing Champion Anthony "Amp" Elmore wrote, produced, directed scored and starred in "The 1st American via a Buddhist Biopic movie in World Film history.
A long term fight is taking place against Memphis White Supremacy, Racism and Black on Black Racism whereas Anthony "Amp" Elmore is fighting the system of White Supremacy and Black on Black Racism in Memphis whereas Memphis Shelby County Film Commission Linn Sitler via White Supremacy, Racism and Black on Racism used tax dollars to discriminate and erase Anthony "Amp" Elmore's Black Memphis Film History.
Dr. Martin Luther King Jr. said; "Silence is Betrayal." Dr. Martin Luther King Jr. also said: "In the end, we will remember not the words of our enemies, but the silence of our friends."
The publication date of this story is Tuesday October 20, 2026 whereas in the City of Memphis no African/American Memphis elected official will come forth and challenge the Memphis Film Commission's Linn Sitler's White Supremacy and Racism and the erasure of Anthony "Amp" Elmore's Memphis Film history.
Read where on April 30, 2024 newly elected Black Memphis Mayor Paul Young came to Orange Mound via he called "The One Memphis Tour." Elmore says Mayor Young's Tour should have been called "The White Supremacy Tour."
One of Black Memphis Mayor Paul Young acts was to secure "White Supremacy in Memphis" via installing a sign the reads: Orange Mound Established 1890 a supported White Supremacist ploy that erase Black Memphis history whereas Orange Mound was founded in 1879 and not 1890.
This video directly challenges the official City of Memphis narrative. The sign's date of *1890* is a lie. Orange Mound was established in 1879 by two powerful Black institutions Mt. Moriah Baptist Church and Mt. Pisgah CME Church. These churches began organizing in 1879, and Mt. Moriah bought its land in 1883 years before the alleged 1890 founding by a white real estate salesman E.E. Meacham.
In 1929 MGM produced the 1st movie in Memphis film history whereas a few scenes of the Black Musical "Hallelujah" was filmed in Memphis. In 1959 A few scenes of the 1957 movie starring Andy Griffith titled "A Face in Crown" was shot at the Peabody Hotel in Memphis.
In 1984 Cannon pictures filmed the movie "Making the Grade" on the campus of what was then Southwestern College now known today as Rhodes College in Memphis.
In 1909 SMPTE or the "Society of Motion Picture Engineers named the 35mm film four perforations per frame was accepted and recognized as the international standard gauge for motion pictures. Via the world standard any 35mm film could be played at any theatre worldwide.
Most people make success based upon what they know, Memphian Anthony "Amp" Elmore became a successful 35mm theatrical Filmmaker because of what he did not know. Anthony "Amp" Elmore had not idea what it takes to make a 35mm film. White the knowledge I have today I would not have the guts to risk everything to make a 35mm film. It a reason why no one had ever produced an Independent 35mm film.
In August of 1986 Elmore saw the Black Filmmaker Spike Lee Film "She Gotta have it." Elmore inspired saying to himself "I am a real world Kickboxing Champion, whereas Sylvester Stallone is not a real champion but he created "Rocky." Anthony Elmore's though was people would love a real story, whereas a movie is more exciting than real life.
Anthony "Amp" Elmore in the fall of 1986 enrolled in Shelby State College, now call Southwest Junior college whereas Elmore took a typing course and an English Class and set out to write a movie script. Anthony "Amp" Elmore was riding on a high just months earlier he defeated Jeff Hollins from Austin, Texas, whereas Boxer Sugar Ray Leonard was his special guest and the 1986 bout was featured on Black Entertainment Television whereas Anthony "Amp" Elmore produced the national Telecast that was taped and shown of B.E.T.
Enter February of 1987 Black Filmmaker Robert Townsend in California produced the film Comedy "Hollywood Shuffle" using credit cards. Even more inspired to make a film Elmore would set out to make a movie.
It was on Saturday April 25, 1987 Anthony "Amp" Elmore suffered humiliating defeat against "Brad Bad Hefton" whom Elmore called "The All American White boy." The fight took place at the Omni in Atlanta with 10,000 fans watching. Elmore caught a toe in the eye blinking and waiting buying his time as a strategy to close the fight as in the past would come on strong the last rounds to win.
The referee saw Elmore blinking and called the doctor who examined Elmore and said stop the fight. Elmore pleaded and begged please let me continue. Anthony "Amp" Elmore suspicious that they would try some shenanigans brought his own doctor F. Oliver Hardy from Memphis.
Fight promoter Joe Corley asked Dr. Hardy on camera should the fight should have been stopped Dr. Hardy agreed. Elmore suffered what is known as a hyphemia or bleeding inside the cornea of the eye.
In 1987 Anthony "Amp" Elmore had a historic meeting with Memphis filmmaker Marius Penczner whereas he and students at then Memphis State now University of Memphis made a film titled "I was a Zombie for the F.B.I." The film became cult classic and played on USA Networks Night flight. Anthony "Amp" Elmore asked Marius Penczner to direct his film Marius Penczner declined to direct Elmore's Film "The Contemporary Gladiator."
While Marius Penczner declined to direct Elmore's Film, Penczner looked Elmore in the eye and said please read the book "Independent Feature Film Production" by Gregory Goodell. Anything and everything one wanted to know about Filmmaking was in the book, whereas the book became Anthony "Amp" Elmore's Bible guide to filmmaking.
Only decades later Elmore came to understand why Marius Penczner did not direct his film "The Contemporary Gladiator." Marius Penczner and the Memphis State Students shot the movie "I was a Zombie for the F.B.I." via 3/4 in video whereas their 3/4 video could have never made it to a single theatre became it was a video and not a 35mm Theatrical Film that would play in movie theatres.
Anthony "Amp" Elmore points out how White Supremacy, Racism and Black on Black Racism creates a culture of "Film Ignorance" in Memphis" whereas laws must be put in place to protect Citizens. Structurally and legally under the statutory framework of the National Film Preservation Act, the Registry is explicitly dedicated to safeguarding motion pictures—traditionally defined as works originally created on film stock for theatrical exhibition.
This distinction reinforces why video-based projects like the television broadcasts (such as 3/4-inch U-matic tape productions) like the Marius Penczner 1982 production "I was a Zombie For the FBI" occupy a fundamentally different category of media preservation and do not meet the baseline criteria for the National Film Registry.
Key Distinctions in Federal Preservation Mandates The Medium Standard: The foundational legislation targets works captured on physical film stock (such as 16mm or 35mm) intended for projection, separating cinematic works from broadcast television, video tape experiments, and cable transmissions.
The Theatrical Milestone: Because The Contemporary Gladiator (1988) was shot, mastered, and distributed as a 35mm feature film with verified theatrical runs, it fulfills every technical and artistic benchmark required for cinema preservation history. Projects confined to television, cable, or analog video formats remain outside the scope of theatrical film registries.
Click here to visit the website titled: Memphis Film Commission Racism.Com
Parts of the mission statement on the Website reads: Despite decades of monumental contributions to the cultural, athletic, and historical fabric of Memphis, Anthony "Amp" Elmore has continually faced institutional exclusion from Linn Sitler and the Memphis Shelby County Film Commission as a deliberate racist erasure supported by silence of Black Memphis leaders.
See a document video of the culture and history of Black on Black Racism in Memphis see how former Black Shelby County Mayor Lee Harris was terrified on being seen with African dignitaries.
In 2019, Lynn Sitler the City of Memphis & County of Shelby excluded Elmore's pioneering film 200 Years of Black Memphis History from being recognized as an official part of the Memphis Bicentennial Celebration.
Former Black Shelby County Mayor Lee Harris only gave Elmore a tweet whereas he did not want to be associated with a film titled "200 Years of Black Memphis History" whereas the film reveal that Memphis, Tennessee was not only "The Cotton Capital of the World" Memphis, Tennessee was the "Slave capitol of the World" where Nathan Bedford Forrest a KKK Klan leader statue was in the heart of Memphis.
A bronze bust of the Slave trader and KKK leader Nathan Bedford Forrest set in the Tennessee capital whereas the Tennessee legislator named the Klan leader's birthday a State holiday.
Anthony "Amp" Elmore refusing to let Linn Sitler and the institutional gatekeeping to silence the true history of Black Memphians Anthony "Amp" Elmore by passed the bureaucracy and the racism of Linn Sitler not allowing Elmore's film to be a part of Memphis 200th bicentennial Anthony "Amp" Elmore rented out the Malco Theatre on May 22, 2019, to publicly screen the film while concurrently releasing it worldwide on YouTube. The You Tube dates provide a digital date and time stamp for history.
Click here to see the May 22, 2019 You Tube Video titled: 200 years of Black Memphis History.
The actions of Indie Memphis and the Memphis and Shelby County Film Commissioner figures like Lynn Sitler and the Shelby County Film Commission board chairman Gale Jones Carson represent a profound detriment to Memphis. By sidelining independent Black historians, filmmakers, and cultural architects who do the heavy lifting of true historical preservation, these institutional bodies engage in cultural erasure.
The Memphis Film Commission deprive the public of authentic educational narratives that foster diversity, democracy, and racial equity. While Linn Sitler used her function and authority to erase Anthony "Amp" Elmore film history Anthony "Amp" Elmore fought back whereas he created 100's of short films that teach Black Memphis History.
Click here to visit the Website: Black Memphis History . Com
The City of Memphis has a Cotton Museum and no Black Memphis history Museum. Kevin Kane owner of Memphis Tourism controls the dollars and what stories get told in Memphis whereas Kevin Kane turned the Death of Dr. King into a major tourist destination in Memphis and "The Pimping of the death of Dr. King as a tourist destination."
In fact it was President Trump who came to Memphis March 23, 2026 to compliment its Black Memphis Mayor Paul Young for his support of the "Memphis Safe Task Force." President Trump called Memphis Mayor Paul Young "Terrific."
Memphis Tennessee is the most populated city of African/Americans in the U.S. whose culture and practices is the friendliest Black majority city in America that is "MAGA Friendly" whereas many MAGA members hated Dr. Martin Luther King Jr. whereas a MAGA loyalist can visit Memphis admire its "Cotton Museum" and remember "The Days of Glory." Memphis was once "The Slave Capital of the World" and well as the Cotton Capital of the world. In 1909 Memphis elected a White Mayor by the name of E.H. Crump who promised to take Memphis back to the days of Glory and he did.
Unknown and untold in Memphis to the benefit of MAGA Memphis first Black elected Mayor of Memphis Dr. W.W. Herenton who was elected in 1992 set the bench mark and honor to E.H. Crump in Memphis for White Supremacy whereas the 2010 Griffin/Strong disparity study revealed a historic culture and benefit for White America whereas the study revealed that out of 2,800 Businesses registered to do business with the City of Memphis only six were Black and most of the six were caterers.
The numbers revealed the 2010 Griffin & Strong Study: Out of $1.16 billion in commercial construction contracts awarded to prime contractors in the Memphis Metropolitan Area (July 2003 through December 2007), $1.15 billion—or 99.24%—went to white male-owned companies. Under the Black Memphis Mayor Dr. W.W. Herenton Black Businesses did not gain ever a whole percentage of business with the City of Memphis a record that would make President Trump and MAGA blush.
Anthony "Amp" Elmore's digital museum and educational website stands as a fortress against historical whitewashing and local institutional neglect. By confronting white supremacy, systemic racism, and community self-destruction head-on and alone.
Few Black Memphis leader have the courage to mention the "Black Memphis History Website." Elmore continues to forge a path toward true democracy. This web platform serves as a vital tool for justice—ensuring that the monumental sacrifices, triumphs, and rich history of Black Memphis are permanently preserved, celebrated, and passed down to future generations.
Long time White Memphis Female Film Commissioner Linn Sitler used her function and authority to erase "The Contemporary Gladiator" the 1st biopic of an American Buddhist in world Film History. White Memphis Film commission Linn Sitler has Unparalleled Authority in Memphis whereas she used tax dollars to name herself via a Historical marker and her chosen Negro to put on a Memphis historic marker.
The systematic erasure of The Contemporary Gladiator (1988) by Memphis Film Commissioner Linn Sitler and local municipal institutions reveals deep-seated structural flaws in how Memphis documents, validates, and promotes its own cultural history. Rather than being an isolated administrative oversight, this omission exposes a recurring pattern of Memphis institutional gatekeeping, racism and cultural marginalization. The true Mayor of Memphis is Kevin Kane of Memphis tourism who controls massive dollars and the authority to say how Memphis is featured.
White Memphis Film Commissioner Linn Sitler has the Preference for External vs. Internal Authorship: The "Two-Tiered" Narrative: The handling of Memphis cinematic history highlights a systemic bias where Hollywood productions or external auteurs (such as Jim Jarmusch's *Mystery Train* in 1989) receive institutional celebration, funding, and preservation, while the authentic Anthony "Amp" Elmore 1st Independent 35mm Theatrical film was erased by Linn Sitler who used her function and authority to erase Anthony "Amp" Elmore Black Film history unabated.
By Linn Sitler denying Grassroots Self-Determination and by refusing to acknowledge the first self-financed, independently Black Buddhist produced 35mm feature film born out of Orange Mound—written, directed, produced, and starred in by a five-time World Kickboxing Champion Anthony "Amp" Elmore the local film commission signaled that major historical milestones only matter if they receive external, white-establishment validation. Such is the Memphis culture of "White Supremacy."
In Memphis there is the planned institutional White-Washing of Civil Rights and Cultural History. In Memphis there is the planned erasing of Black Intellectual and Spiritual Agency.
The Contemporary Gladiator* was not just an action film; it was a groundbreaking primary-source biopic that documented Nichiren Buddhism, real community leaders, civil rights figures like Rev. James Bevel, and local mentors.
Kevin Kane of Memphis Tourism use their agency as a tool for Black History suppressing. In regard to Memphis Tourism lead by Kevin Kane its legacy functions as an institutional effort to sanitize Memphis's cultural landscape, keeping Black history safely confined to passive victimhood or segregated musical tropes (blues and soul) while erasing Black spiritual and physical self-mastery. The culture and practicing Anthony "Amp" Elmore history is a White Supremacist practice of "Protecting the Status Quo."
The erasure of the 1988 film release of the 1988 film "The Contemporary Gladiator" reflects a historical practice in Memphis where municipal gatekeepers maintain control over the city's narrative identity. The Anthony "Amp" Elmore story of a Black athlete and filmmaker achieving international distribution (from the Cook Convention Center to Nairobi cinemas) independently of the white-dominated power structure disrupted the Memphis traditional paternalistic hierarchy and narrative told in Memphis.
In Memphis the White power structure and the silence of Black weaponized White Supremacy via Cultural Omission. In Memphis there is a Denial of Economic and Historical Equity. By Linn Sitler and the Memphis film Commission scrubbing The Contemporary Gladiator from official municipal timelines, film commission retrospectives, and local festival circuits (such as Indie Memphis), institutions actively deny The Contemporary Gladiator movie of its rightful economic legacy, historical credit, and tourism impact.
Anthony "Amp" Elmore via this document is Exposing Memphis Systemic Hypocrisy. There is stark contrast between global recognition (such as its Congressional Record entry and international screenings) and local municipal silencing proves that Memphis's official cultural apparatus has historically operated to protect institutional comfort over historical truth. This digital archive details the documentation, press releases, and historical evidence confronting the systemic erasure of Elmore's groundbreaking 35mm cinematic milestone by Memphis municipal leadership.
The Anthony "Amp" Elmore fight against Memphis White Supremacy, Racism and Black on Black Racism is a "Black Buddhist Fight." Naming the trajectory in Memphis "A Black Buddhist Fight" means recognizing that the Memphis battles against systemic white supremacy, municipal racism in Memphis, and internal community hurdles (including "Black-on-Black" gatekeeping and crabs-in-a-barrel mentalities) are fundamentally spiritual, philosophical, and psychological warfare—grounded directly in the discipline of Nichiren Buddhism.
Unknown and untold in America is an understanding of the "Nichiren Buddhism" and Practice. In 1993 the world saw the Tina Turner movie titled "What's Love got to do with it." The film showed a glimpse of the Nichiren Buddhist Faith.
The late Tina Turner explains in this video that she never compromised her cultural upbringing to embrace Buddhism. Anthony "Amp" Elmore notes; "let's be clear, Tina Turner was raised culturally as "Black Baptist" and she integrated her Black cultural upbringing into her Buddhist faith." The "Proud Black Buddhist World Association" encourages practices of "cultural integrity."
The Proud Black Buddhist World Association encourages everyone to practice Buddhism in a way that is "Culturally Inclusive." In that regard Anthony "Amp" Elmore notes that his organization "The Proud Black Buddhist World Association" are the best organization that truly represents the spirit of Tina Turner.
Please examine one historical fact that is the essence of this lecture. Anthony "Amp" Elmore is the 1st American in World Film history who has a movie biopic of Buddhist story that made it to the Silver screen. The Tina Turner movie "What's love Got to do with it" Premiered in 1993 whereas The Anthony "Amp" Elmore Black Buddhist biopic; "The Contemporary Gladiator premiered in 1988 5 years before the Tina Turner movie. The 1988 film "The Contemporary Gladiator" is the 1st Biopic of a Buddhist in World Film history.
In Nichiren Buddhist as practiced by Anthony "Amp" Elmore there is a Japanese word called Hendoku Iyaku, this means in Japanese to literally "Change poison into Medicine." This means Fusing Inner Transformation (Human Revolution) with External Liberation
In Nichiren Buddhism, practitioners understand that true monumental progress will inevitably summon resistance—both from external systemic forces (such as the Memphis municipal racism and historical erasure in Memphis of his 1988 Film "The Contemporary Gladiator" is a part of Memphis White Supremacist Culture whereas for Anthony "Amp" Elmore the erasure is "A Black Buddhist Fight."
Anthony "Amp" Elmore explains in; "A Black Buddhist Fight" you do not merely react politically; A Buddhist approach via systemic injustice is met with the unwavering life-state of a Bodhisattva, transforming poison into medicine (*Kudoku*). In Nichiren Buddhism we develop a condition of "vitality" whereas a fight is not a sprint but a marathon.
Anthony "Amp" Elmore explains (The Discipline of the Ring and the Altar.) Anthony "Amp" Elmore explains just as he mastered the heavy bag, three-mile roadwork, and world championship kickboxing through relentless daily repetition, Elmore's decades-long cultural crusade—from *The Contemporary Gladiator* (1988) to founding the Proud Black Buddhist World Association—is fueled by the exact same inner fortitude derived from chanting Nam-Myoho-Renge-Kyo.
Anthony "Amp" Elmore explains that one gains inner strength, vitality and wisdom through chanting "Nam Myoho Renge Kyo" to fight and Shattering the Double Standard of White Supremacy and Local Complicity.
Anthony "Amp" Elmore notes rejecting the Plantation Mentality White supremacy in Memphis a practice that historically demanded that Black success remain localized, safe, individualized, and entirely dependent on white institutional approval in Memphis.
Anthony "Amp" Elmore explains when he independently broke through global media barriers (ESPN, international silver screens, Nairobi premieres, and presidential library collections), Elmore bypassed their gatekeepers entirely whereas a system exits in Memphis that controls the narratives of Black Memphis.
Anthony "Amp" Elmore via this documentation exposes the Memphis Internal Gatekeeping and the Memphis "Black-on-Black racism" or protective institutional silence, whereas Anthony "Amp" Elmore is encountering from local bureaucrats and legacy power structures that stems from Black conditioned compliance. The Black leaders in Memphis protect Linn Sitler.
Anthony "Amp" Elmore explained that a self-actualized Black Buddhist who owns his intellectual property, produces his own 35mm films, and refuses to bow to municipal hierarchies disrupts the century-old plantation dynamic system in Memphis. The Anthony "Amp" Elmore fight exposes those who trade true collective liberation for local, superficial access.
Anthony "Amp" Elmore explains that he is "Reclaiming Sovereign Ancestral and Spiritual Identity" whereas he rejected the Eurocentric and Orientalist dogma: Whereas Mainstream religion and Hollywood have long tried to alienate Black people from universal spiritual sciences, attempting to confine Black faith exclusively to prescribed boxes while washing the Black historical origins of Buddhism clean of its diverse ancient Black roots in India and Africa.
In the 1988 film release the Contemporary Gladiator used the Living examples via putting his actual home Buddhist altar, his mentors (like the late Joseph Thomas and Sensei Julius Dorsey), and his daily chanting practice directly onto 35mm film in 1988.
Anthony "Amp" Elmore established an unassailable blueprint. A "Black Buddhist Fight" means refusing to let anyone rewrite his historical spiritual foundation, or his sovereign right to define global culture right out of the Black Orange Mound Community in Memphis, Tennessee.
Click here to view the 40 second scene shot in the home of Anthony "Amp" Elmore in 1987 called the "NSA Scene."
In 1970 Anthony "Amp" Elmore began practicing "Old Japanese Shotokan Karate" rooted the Japanese Bushido code way of the warrior and Zen Buddhism that included deep mind condition practices line meditating in Icey water, breaking one's knuckles and learning to "Bare the Pain."
Anthony "Amp" Elmore a "Black activist" wore a large Afro, changed his name to an African name and would raise his fist via the solidary of "The Black power movement."
In 1974 Anthony "Amp" Elmore joined a Japanese Buddhist practice in America called NSA or "Nichiren Shoshu of America." The NSA core philosophy was "World Peace via Individual Happiness" whereas Buddhist practitioners were taught a concept called "Esho Funi" which means "the oneness of life and the environment" whereas practitioners were taught if you want to change your environment you change yourself.
Anthony "Amp" Elmore engaged in a transformation in Buddhism called "Human Revolution." In the movie scene Anthony "Amp" Elmore notes: "I have changed my views of society whereas a new sport was born in America called "Karate/Kickboxing I have made the determination to become the world Kickboxing champion creating happiness for myself and others."
Via the NSA meetings in America Buddhist members share life experiences. Anthony "Amp" Elmore explains it was the Japanese Nichiren Buddhist who taught him how to pray and find God. Anthony "Amp" Elmore explains via chanting you tune your life with the Universe and make one's self a citizen of the Cosmos.
The subtitle of this story is: "Black Buddhist Fight against Memphis White Supremacy, Racism & Black on Black Racism via Memphis Film Commissioner Linn Sitler's erasure of the Anthony "Amp" Elmore Black Buddhist Biographical Story."
The True Measure of Cinematic Value in Memphis is the Anthony "Amp" Elmore vs. The Institutional Illusion
When evaluating the 40-year legacy of the Memphis & Shelby County Film Commission under the stewardship of Linn Sitler board chairman Black Gale Jones Carson the entire framework must be judged not by Hollywood publicity, red-carpet elitism, or manufactured statistics, but by long-term community value in 2026. Anthony Elmore says: "Straight up this White woman cannot touch me whereas she operates via tax dollars and gatekeeping authority."
When you strip away the institutional gatekeeping and the tax dollars she is getting from Black Memphis and examine what actually anchors culture, educates generations, and creates generational wealth and pride, a stark, undeniable truth emerges: No film or institutional project promoted by the Memphis Film Commission can compare to the historic, cultural, and spiritual value of Anthony "Amp" Elmore's 1988 masterpiece, The Contemporary Gladiator.
Anthony "Amp" Elmore notes that Linn Sitler operate via "The Fallacy of Institutional Value vs. Manufactured History." For decades, the Memphis Film Commission functioned as a colonial processing plant for external capital of White Supremacy. Film projects were brought in from the outside, utilizing local labor as cheap props while the cultural narrative, financial dividends, and historical prestige flowed back to white filmmakers, foreign corporations, or coastal studios.
Linn Sitler's tenure did not *create* Memphis film history; it *curated* a narrow, externalized lens of what Memphis was allowed to be to the outside world. Manufactured value is transactional—it benefits corporate balance sheets and bureaucratic resumes while leaving the native Black community completely uneducated and economically disenfranchised.
True value, however, is **sovereign, educational, and generational**. It is measured by what a film does for the soul, identity, and historical standing of the people where it was born. The Memphis Shelby County Film Commission only benefits Whites and White Filmmakers.
Comparing the Catalog — Mystery Train vs. The Contemporary Gladiator Let us look Mystery Train and at the comparison points, beginning with Jim Jarmusch's acclaimed 1989 indie film
The Origin and Sponsoring Power: Mystery Train* was a foreign-backed project (sponsored significantly by Japan's JVC) directed by white auteur Jim Jarmusch (born in January 1953, the exact same birth year as Anthony "Amp" Elmore). Jim Jarmusch used Memphis as an exotic, melancholic backdrop—a seedy hotel, ghost stories of Elvis, and alienated Japanese tourists.
The Community Value in 2026: While Mystery train holds a place in postmodern cinema filmographies the question asked today in 2026; what did Mystery Train build in the neighborhoods of Memphis? The White Film Commissioner Linn Sitler used tax dollars to rob Black youth of their rightful history of acknowledging a world champion and Memphis 1st Independent 35mm Theatrical Filmmaker.
The White Woman Linn Sitler used Black Tax dollars and her function and authority as the Memphis Film Commissioner to falsely name a White Restaurant historic for a movie location and Rob Black youth in Orange Mound out of their legacy. In fact many Negro leaders in Memphis will that a bullet for this White woman and turn their nose up at Anthony "Amp" Elmore.
While Anthony "Amp" Elmore is honored in the Barack Obama Presidential Library he was denied an opportunity to speak in partnership the Orange Mound Library.
In regards to a Library Anthony "Amp" Elmore created a "Black Memphis Digital Museum, The Safari House Education and Cultural Institute, the 1st African House in American history and the current African Cultural Embassy?
Most important Anthony "Amp" Elmore established the 1st Black Buddhist Website in World history and established a sovereign Black spiritual lineage that connects spirituality to Nubian and Ancient Egypt?
What did Linn Sitler and Black board Chairman Gale Jones Carson give Orange Mound. The purposefully gave "Orange Mound Omission" Whereas the World's Kickboxing film, the World 1st Modern Buddhist biopic and Memphis First Independent 35mm Theatrical Film the Memphis Shelby County Film Commission gave Black Orange Mound omission. The Memphis Shelby County Film Commission give the youth discouragement and dampens hope and uplift of White Supremacy.
The Contemporary Gladiator Difference: Released in 1988, The Contemporary Gladiator film was written, produced, directed, and starring Anthony "Amp" Elmore a five-time World Heavyweight Kickboxing Champion born and raised in Black communities in Memphis.
Unlike Jim Jarmusch Anthony "Amp" Elmore didn't look *at* Memphis from an outsider's café; Anthony "Amp" Elmore shot inside and outside of his Orange Mound home and Downtown Memphis using his actual life martial arts teacher (Sensei Julius Dorsey), Elmore actual Buddhist altar, and his actual struggle whereas Coors Beer Comes in to help Elmore.
In Memphis the Memphis Shelby County Film Commission via Hustle & Flow vs. The Contemporary Gladiator — Pimps vs. World Champions
The Narrative Choice: White Film writer Craig Brewer White film centers on a Memphis pimp trying to make it in the rap game. While it features local flavor and breakout music, its foundational imagery anchors Black survival in the exploitation of women, street degradation, and the criminal underworld.
The Cultural Contrast: Compare a narrative built around a pimp's hustle to The Contemporary Gladiator, which is built around a world champion, an independent entrepreneur, and a pioneering Black Buddhist that includes a Spiritual and Institutional Legacy.
Relying on commercial Hollywood productions like Hustle & Flow to represent Memphis internationally creates a distorted cultural export. By centering narratives around pimps, sex workers, and street survival, these films project a narrow, sensationalized stereotype to global audiences in places like Italy, reducing a rich, historically resilient city to a caricature of poverty and criminality.
This narrow institutional pipeline bypasses the true intellectual, athletic, and artistic achievements born in communities like Orange Mound. Groundbreaking independent milestones—such as The Contemporary Gladiator (1988), the world's first kickboxing and Buddhist karate-ka feature film—demonstrate that Memphis cinema can reflect discipline, self-determination, and high-level artistic execution rather than trauma exploitation. True international representation requires lifting up independent, locally rooted creators whose work captures the dignity, heritage, and multifaceted intellect of Black Memphis history.
The Anthony "Amp" Elmore legacy established the first expression of Black Buddhism on the world stage—connecting the eternal Lotus Sutra (*Ku-on Ganjo*) and the practice of chanting Nam-myoho-renge-kyo directly to the ancient African and Indian roots of civilization.
Instead of a pimp's shack, Anthony "Amp" Elmore's legacy is built an African Cultural Embassy and the first all-African home in America dedicated to sovereign self-determination.
Why *The Contemporary Gladiator* Qualifies for the National Film Registry
In 2026, value is defined by cultural permanence and historical truth. National Registry Standard: The Library of Congress's National Film Registry honors films that are culturally, historically, or aesthetically significant—films that capture the American mosaic and reflect authentic national struggles and triumphs.
Why only the Contemporary Gladiator Film Qualifies Over All Others: No other Memphis film bridges the gap between international athletic supremacy, independent filmmaking grit, and sovereign spiritual philosophy. Anthony "Amp" Elmore did not wait for Linn Sitler's permission or a Hollywood greenlight. Anthony "Amp" Elmore self-financed, executed, and distributed a 35mm feature film that captured the transition of Black America from civil rights politics into physical mastery, economic independence, and global spiritual awakening.
Conclusion: Erasing the Thief, Preserving the Pioneer Linn Sitler and the Memphis & Shelby County Film Commission manufactured an illusion of film history that erased the native Black creators who actually lived, bled, and triumphed in the city. They practiced historical theft by omission—ignoring a five-time World Heavyweight Kickboxing Champion who brought the world's first independent karate-ka and Buddhist biopic to the screen.
But history in 2026 does not belong to the gatekeepers; it belongs to the creators. Just as a person who does not swim still understands the immeasurable value of a Black athlete winning an Olympic gold medal, the people of Memphis and the global community understand the infinite value of Anthony "Amp" Elmore. Anthony "Amp" Elmore did not just make a movie; Anthony "Amp" Elmore forged an unyielding blueprint of Black sovereignty, mental liberation, and spiritual victory that will outlast every bureaucratic desk in City Hall.
About Us
"If Lions were historians, hunters would no longer be heroes." This powerful African proverb encapsulates the mission of the Orange Mound News Network (OMNN). Founded by Anthony Amp Elmore, OMNN aims to reclaim and reshape the narrative of Orange Mound through the power of filmmaking, education, and content creation. Our goal is to challenge the negative stereotypes and biased portrayals that have long plagued our community, creating a positive space for family, Black culture, history, and education.
Our Journey and Mission
Orange Mound, established as the first community in America built for Blacks by Blacks, has a rich history often overshadowed by negative stereotypes. Mainstream media and societal biases have painted Orange Mound as a "ghetto," contributing to a 30% decline in property values while surrounding communities have prospered. The Orange Mound News Network was created to counter this narrative and highlight the true spirit and resilience of our community.
Anthony Amp Elmore, a five-time world karate kickboxing champion, filmmaker, and community activist, has been a beacon of change in Orange Mound. With over five decades of community service, Elmore has dedicated his life to uplifting Orange Mound. From becoming a homeowner at 19, establishing businesses, to founding the Proud Black Buddhist World Association, Elmore's contributions have been immense.
Connecting Communities Through Culture and History
Elmore's journey in cultural diplomacy began when he was invited to Kisumu, Kenya, by Governor Anyang' Nyong'o to attend FESTAC, the largest African and Black Art festival in the world. It was here that Elmore's vision for a deeper connection between Africans and African Americans took root. During his visit, he engaged with students at ARYA Primary School, performed a song about Kenya's founding father Tom Mboya, and proposed a pen pal program that evolved into a robust educational and cultural exchange.
Our journey in African Cultural Diplomacy began in 1990
when the Orange Mound Memphis-produced movie "The Contemporary Gladiator" premiered in Kenya. This marked a significant milestone in Elmore's mission to foster cultural exchange and understanding. The film's premiere in Kenya not only showcased Elmore's work but also solidified his role as a cultural diplomat.
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