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Estevanico: The Man The Myth, The Legend

NNPA NEWSWIRE — Sometimes called “Mustafa Zemmouri,” “Black Stephen,” “Esteban the Moor” or “Steven Dorantes” (after his owner Andres Dorantes, a Spanish nobleman), Estevanico was a member of the Panfilo de Narvaez 300-man Spanish expedition which arrived in April 1528 near present-day Tampa Bay, Fla. The expedition was largely doomed from the start.
The post Estevanico: The Man The Myth, The Legend first appeared on BlackPressUSA.

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4 years ago

October 3, 2022

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The first Black person in the New World

By Merdies Hayes, Editor | Our Weekly

The history of slavery in the Western Hemisphere has, of course, been well documented but there is one name that is often overlooked in within the posterity of Black people in the New World: Estevanico.

Sometimes called “Mustafa Zemmouri,” “Black Stephen,” “Esteban the Moor” or “Steven Dorantes” (after his owner Andres Dorantes, a Spanish nobleman), Estevanico was a member of the Panfilo de Narvaez 300-man Spanish expedition which arrived in April 1528 near present-day Tampa Bay, Fla. The expedition was largely doomed from the start. This was not uncommon among the list of Spanish conquistadors who ventured to the New World seeking fertile land and untold riches imagined from the artful tales of Giovanni Verrazano who explored the northeast, Cabeza de Vaca in the Gulf of Mexico, Hernando Cortes in Mexico, Hernando de Soto near present-day Florida, and Francisco Pizarro far south in Peru.

Who was Estevanico?

Chroniclers from the 16th Century, who were contemporaries of Estevanico, considered him a Negro. However, modern historians claim he was descended from the Hamites who were White residents of North Africa. According to this theory, Estevanico could not have been Black. Historian Caroll L. Riley has asserted that Estevanico was “Black in the sense that we would use the word in modern America. Actually, in modern generic terms I suspect that Estevanico was very mixed.”

Riley also explained that if Estevanico was considered a “Negro,” his mixture must have been mainly Black. Estevanico in 1513 was sold into slavery to the Portuguese in the town of Azemmour, a Portuguese enclave on Morocco’s Atlantic coast. More contemporary accounts have referred to him as an “Arabized Black” or Moor, the latter term often used for Berber natives. History primarily refers to him as a Black African. A Spaniard, Diego de Guzman, reportedly saw Estevanico in 1536 and described him as “brown.”

Estevanico was reared as a Muslim—with some accounts of him converting to Roman Catholicism—but there is little historical account of his religious conversion.

The natives of one tiny island off the mainland coast (Galveston Island near Texas), encountered a strange sight in 1528: A band of emaciated White men lying naked and near dead on the beach. This group, in large part, was what was left from Narvaez’ expedition with de Vaca serving as its treasurer. Narvaez dreamed of riches when he reached the Florida coast and after finding mere traces of gold, he split the group and dispatched the ships toward the River of Palms (today’s Rio Grande) and took the land force toward a reportedly “rich” city brimming with gold and silver called Apalachen (near Tallahassee, Fla.).

A doomed expedition

Instead of finding their heart’s desire in wealth, the only things encountered in the Florida Panhandle were naked Native Indians, low supplies of food and even less game. The 260-man party lasted two weeks in this region, and eventually set out on makeshift boats with sails made from clothing. This was a fateful mistake. There was practically no food left or fresh water to drink. After constantly bailing water from their rickety crafts (and forced to drink salt water), only a few people survived and made it to shore. Narvaez was lost at sea.

Cortes, for his part, had listened faithfully to these “tales of riches” but found neither a queen called “Califia” nor gold and pearls along the west coast. He did, however, step ashore onto what he believed to be an island (Baja California) finding neither riches or fertile land, but would claim the land for the Spanish crown.

Cabeza de Vaca eventually made it to Mexico with only three men, among them Estevanico. There they recounted the horrors of slavery, starvation, cannibalism and disease which took the lives of 90 men. They reportedly posed as shamans, crossing the land curing sick Indians and attracting quite a following in being labeled “children of the sun” because of their long journey from the east. By the spring of 1529, those four men had traveled on foot along the Texas coast to the environs of Matagorda Bay (about 80 miles northeast of Corpus Christi) only to be captured and enslaved by the Coahuiltecan Indians. Six years later the four men managed to escape their bondage and entered Mexico.

Arriving in Texas

Estevanico was assuredly the first African to traverse Texas. In fact, historians believe he was the first African to visit the indigenous people of Mexico and may have reminded the inhabitants of the ancient sculptures of the Olmec civilization in Mesoamerica (1200-900 B.C.) which depicted persons with Black facial features. Estevanico, by extension, may have been considered by the native population as a descendant of the gods. Some writers have claimed that the Olmecs were related to the peoples of Africa, based primarily on their interpretations of said facial features, even contending that epigraphical and osteological evidence may support their claims. Further, some researchers have claimed that the Mesoamerican writing systems are related to African script. To date, however, genetic and immunological studies over the decades have failed to yield evidence of precolumbian African contributions to the indigenous populations of the Americas.

By 1539, Dorantes had either sold or loaned Estevanico to Viceroy Antonio de Mendoza, who later assigned him to the company of Fray Marcos de Niza, the latter charged with leading a follow-up trip to the region of the failed Narvaez expedition. In a strange coincidence, Estevanico and others were surprised to encounter de Vaca near present-day San Antonio, Texas. By then, de Vaca had been working as a trader among the various Native Indian tribes. They resided in that region for about four years with Estevanico working as a shaman or medicine man versed in several Native Indian languages and also demonstrating his prowess as a seasoned explorer.

Estevanico must have been a strange sight to the native peoples. He rode around with a special gourd trimmed with owl feathers that signified his status. He reportedly had an entourage of some 300 natives, kept two Castillian greyhounds as pets, and possessed a special “medicine” wand with bells affixed to it said to ward off (and supposedly cure) various diseases. He also carried with him special plates made of turquoise specifically for his meals. He even had a special lodging constructed fit for a man of his stature.

Dreams of untold riches

Like the others before him, Estevanico was consumed by discovering the Seven Cities of Gold. His ultimate goal was to reach one of the seven famed cities of Cibola (near modern Zuni, NM) which was said to have streets paved with gold. When Estevanico and his entourage arrived at Hawikuh, a Zuni pueblo made of stone buildings several stories high, he expected to be treated as the man of stature he’d become accustomed to.

But the Zuni’s didn’t trust him. They especially disapproved of his gourd covered with owl feathers which were a symbol of death to that tribe. Also, his rather unusual stories about great White kings from far away further drew suspicion among the Zuni tribal leaders. There are two general accounts surrounding the fate of Estevanico. In one scenario, the Zuni people decided he was a spy (or simply a fraud) and killed him. Some accounts contend that he offended the Zuni people so much that they staged three executions eventually cutting up his body into little pieces. A second theory is that the Zunis didn’t kill him and that Estevanico staged his own death with the help of his allies, therefore finally gaining his freedom from slavery. The latter theory is supported by the fact that his body was never found.

His mysterious demise

The Zunis were asked why they killed Estevanico and they said that he claimed a huge army was following him with weapons meant to kill their tribe. Several of his Native Indian escorts reportedly escaped from the Zunis and returned to Mexico to inform Fray Marcos that Estevanico was dead. In his report to Viceroy Mendoza, Marcos said that he continued to travel north to at last enter Cibola (or Hawikuh) and upon arrival he witnessed a chief with Estevanico’s turquoise dinner plates, his two greyhound dogs, and his famed “medicine” bells.

Irrespective of his demise, Estevanico is one of many historical figures of color who manipulated their situation to move between cultures and transcend their humble beginnings. His is a true story of transformation from a slave to a man of legend evidenced by the Zunis memorializing him in a black ogre kachina (a doll measuring about a foot high with protruding teeth, a black goatee and black facial paint) which they called Chakwaina.

A legendary adventure

The tale of Estevanico is more than a story told in the oral tradition. Often, the history and contributions to society by Black persons prior to European settlement in the New World are considered less authentic and reliable in terms of literary content because it was believed Blacks did not ascribe to a written language. Estevanico did not write a diary or narrative of his exploits.

However, two small thin volumes of literature provide a wealth of information about this early explorer. John Upton Terrell published “Estevanico The Black” in 1968 and at only 115 pages, it ranks as one of the most informative books about an extraordinary figure who doesn’t always receive due attention in secondary education. In 1974, “Estebanico” was issued by Helen Rand Parish. Even smaller than Terrell’s book at 128 pages, she wrote that Estevanico could be considered “new historical history” particularly for young readers.

Also, “The Moor’s Account” by Laila Lalami (2015) provides a more fictional account of Estevanico. The author created her own back story about the events that led up to his enslavement and then fills in gaps of what we know about the Narvaez expedition that would eventually place Estevancio’s name in the history books.

No one knows where Estevanico is buried. Hawikuh no longer exists, having been abandoned in 1670 following a series of wars the Zunis fought against the Spaniards and the Apache. But Estevanico’s story, recorded in colorful detail by his fellow explorers Cabeza de Vaca, Fray Marcos, Coronado, and Pedro de Casteneda, endures as one of the great adventures in American lore.

The post Estevanico: The Man The Myth, The Legend first appeared on BlackPressUSA.

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2026 Lucid Air Grand Touring Review — Is This $136K EV Sedan Worth It?

AUTONETWORK ON BLACKPRESSUSA — Finished in Stellar White Metallic with the Tahoe Grand Touring interior, this Lucid makes a strong first impression. The shape is sleek and low, but it still feels elegant instead of trying too hard. Features like soft-close doors, powered illuminated door handles, 20-inch Aero Lite wheels, and the Glass Canopy Roof help the car feel expensive before you even start it.

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May 3, 2026

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The 2026 Lucid Air Grand Touring is the kind of luxury EV that makes people stop and ask a simple question: Is this really better than a Tesla Model S, Mercedes EQS, or BMW i7? At $136,150, it has to do more than look futuristic. It has to feel special every time you get in it.

Finished in Stellar White Metallic with the Tahoe Grand Touring interior, this Lucid makes a strong first impression. The shape is sleek and low, yet it still feels elegant rather than trying too hard. Features like soft-close doors, powered illuminated door handles, 20-inch Aero Lite wheels, and the Glass Canopy Roof help the car feel expensive before you even start it.

Inside is where the Air Grand Touring really makes its case. The 34-inch Glass Cockpit Display and retractable Pilot Panel screen give the cabin a clean, modern look that still feels different from other EVs. The Tahoe Extended Leather and Lucid Black Alcantara headliner lifts the sense of occasion, and the front seats are a highlight. They are 20-way power-adjustable, heated, ventilated, and include massage. That matters because luxury buyers at this price expect comfort first.

Rear passengers are not ignored either. You get 5-zone heated rear seating, a rear center console display, and power rear and rear side window sunshades. Add in the Surreal Sound Pro system with 21 speakers, and the Air feels like a true long-distance luxury sedan.

Lucid also gives this car serious EV hardware. The dual-motor all-wheel-drive system, 900V+ charging architecture, and Wunderbox onboard charger are big talking points. Buyers in this segment care about range, charging speed, and everyday ease, not just raw performance. That is where the Lucid continues to stand out.

On the technology side, the Air Grand Touring includes DreamDrive Premium, with 3D Surround View Monitoring, Blind Spot Warning, Automatic Park In and Out, Automatic Emergency Braking, and a Driver Monitoring System with distracted and drowsy driver alerts. This one also has DreamDrive Pro, which adds future-capable ADAS hardware.

There are still some real-world annoyances. Based on your notes, the windshield wiper control is hard to find and use, and that matters more than people think in a high-tech car. When controls become less intuitive, even a beautiful interior can feel frustrating.

Still, the 2026 Lucid Air Grand Touring succeeds where it matters most. It feels luxurious, advanced, comfortable, and thoughtfully engineered. For buyers who want an EV sedan that feels truly premium and less common than the usual choices, this Lucid makes a very strong case.

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Snoop Dogg Celebrates 10 Til’ Midnight at the Compound

LOS ANGELES SENTINEL — The album is paired with a film that stars Snoop Dogg, Hitta J3, G Perico, and Ray Vaughn, and one of the strongest elements of the whole project is that the production stayed rooted right here in Los Angeles.

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May 3, 2026

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Snoop Dogg celebrated the premiere of 10 Til’ Midnight at his Inglewood recording studio & multipurpose facility, The Compound, but the night felt like much more than an album release. It felt like Los Angeles. It felt like legacy. And it felt like another major move from one of the city’s greatest cultural architects as he continues to prove that he is not just dropping music — he is building moments, shaping narratives, and pushing the culture forward in real time.

What made the event so powerful was the clarity behind the vision. During a panel conversation with DJ Hed, Snoop opened up about the heart behind 10 Til’ Midnight, explaining that the project was created to help bridge older and younger generations while also speaking to the long-standing divisions between Bloods and Crips in a unique way through film. That alone gave the project a different kind of weight. This was not just about songs. This was about using creativity as a tool for connection. This was about taking a story rooted in Los Angeles and telling it in a way that could bring people together.

Snoop Congratulated By Rapper & Fellow 10 Til Midnight Cast Member G Perico (CreativeLB/KreativeKapturez)

The album is paired with a film that stars Snoop Dogg, Hitta J3, G Perico, and Ray Vaughn, and one of the strongest elements of the whole project is that the production stayed rooted right here in Los Angeles. The film was shot in the city, including at WePlay Studios in Inglewood, which gave the entire project an even deeper hometown feel. It was not just a West Coast story in content — it was a Los Angeles-made production from the ground up.

That matters because, in a city like this, authenticity still carries weight. Snoop understands how to make sure that what he creates does not just represent Los Angeles on the surface, but actually comes from it.

What also makes 10 Til’ Midnight significant is that it represents another major step in Snoop’s evolution as both an artist and executive. Public reporting around the project identifies it as his 22nd studio album, but the bigger story is what it represents in this season of his life. This is one of several consecutive moves he has made in his 50s that show he is still building, still expanding, and still finding new ways to reinvent what the next chapter looks like.

Snoop Dogg at the Premiere of 10 Til Midnight (CreativeLB/KreativeKapturez)

Now, as the head of Death Row Records and the newly aligned leader of Death Row Pictures, he is taking the brand into a new dimension. That is what made this moment feel bigger than music. Snoop is not just protecting the legacy of Death Row — he is stretching it. He is expanding it beyond records and into film, visual storytelling, and larger creative worlds that can continue carrying the label’s impact forward. Public reporting has noted that this project arrives as part of that broader cinematic push.

That is a major Los Angeles move because the city has always been built on the intersection of music, film, neighborhood identity, and cultural storytelling. With 10 Til’ Midnight, Snoop is leaning all the way into that intersection.

The room at The Compound reflected that. It felt like a private premiere, but it also felt like a statement — a reminder that Snoop Dogg’s staying power has never been based only on nostalgia. It comes from his ability to remain connected, remain visionary, and remain in tune with how to move the culture without losing the essence of who he is.

That is why this premiere mattered. It was not just about celebrating another album. It was about witnessing a Los Angeles legend continue to evolve, continue to unify, and continue to use art to tell stories that hit deeper than entertainment alone.

In that sense, 10 Til’ Midnight became more than a project launch. It became another example of how Snoop Dogg is still taking Los Angeles to the next level — using music, film, and legacy together to build something bigger than a moment.

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OP-ED: Small Businesses Need Minnesota to Act on Pass-Through Tax Policy

MINNESOTA SPOKESMAN RECORDER — A Twin Cities immigrant entrepreneur who built several businesses including grocery stores in underserved neighborhoods is calling on Minnesota lawmakers to extend the Pass-Through Entity tax option before it expires, warning that its loss would hit small businesses already recovering from Operation Metro Surge with higher federal tax bills.

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May 3, 2026

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A Twin Cities Small Business Owner Is Urging Minnesota to Extend a Tax Policy That Could Save Thousands of Businesses

By Daniel Hernandez | Minnesota Spokesman Recorder

I came to the United States as a teenager with a clear goal: to build something meaningful through hard work. I put in long days in construction, restaurants, and landscaping; doing whatever it took to learn, save, and eventually start my own business.

Over time, I built and ran several successful ventures, including an event photography company, a magazine, a tax and accounting firm, and now grocery stores serving neighborhoods across the Twin Cities where other retailers chose not to invest. I’ve created jobs, supported families, and committed to communities that deserve stability and opportunity.

That’s why I’m speaking out now.

Small business owners in Minneapolis and the communities we serve are recovering from serious disruptions, including the impacts of Operation Metro Surge. That event hit immigrant communities especially hard. In my own case, I lost nearly half of my 60 employees and saw revenue drop by about 85%. While I worked to provide competitive wages, health benefits, and paid time off, the real hardship fell on the people who lost their jobs and income.

Even as we rebuild, small businesses are facing another challenge. The Minnesota Legislature is considering letting an important tax policy expire: the Pass-Through Entity tax option.

Here’s what that means in plain terms.

Many small businesses, including mine, are pass-through businesses. That means the business itself doesn’t pay income tax. Instead, the owners report the income on their personal tax returns. But under current federal rules, there’s a limit on how much state tax we can deduct. That often leads to higher federal tax bills.

The Pass-Through Entity option fixes that. It allows the business to pay the state tax directly, which means the business can fully deduct those taxes on its federal return and lower the total amount of income taxed federally. The result is straightforward: small business owners pay less in federal taxes, without reducing what the state collects.

This policy is not new or controversial. Thirty-six states already offer it. It doesn’t cost Minnesota anything, it’s revenue neutral. And it benefits more than 66,000 businesses across the state.

In a state where the cost of doing business is already high, it’s hard to understand why we wouldn’t offer the same basic tax treatment as states like California and Illinois.

Small businesses have carried a heavy load in recent years, through a pandemic, rising costs and public safety disruptions. We’ve adapted, reinvested and stayed committed to our communities. What we need now are practical policies that support that work, not make it harder.

If the Minnesota House does not act soon, many businesses will face significantly higher federal tax bills. That’s money that could otherwise be used to hire workers, raise wages or reinvest in local neighborhoods.

I urge Gov. Tim Walz and members of the House Tax Committee to pass House File 3127 and extend the Pass-Through Entity election.

Small businesses are the backbone of our communities. We’ve proven our resilience. Now we need our state leaders to show the same commitment to us.

Daniel Hernandez is the owner of Colonial Market located at 2100 E. Lake St.

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