The National Museum of African American History is now open

We All must visit.

Here's a great piece from the New York Times http://nyti.ms/2cMOncG



I am honored to have a few photographs I've made on display here.

Chris Rock’s Take on Blacks in Baseball

from HBO sports



thanks,
Jeffery Radice

12 Miles North: The Nick Gabaldon Story

Our lives revolve around stories. When told correctly, stories have the power to inspire, challenge, and organize ideas in an otherwise puzzling world. They often provide a framework for understanding ourselves, so when a story realizes its potential, it’s an absolutely transcendent event. Nick Gabaldon’s is one such story. Laden with superlatives, it strikes a deeper place where passion, risk, and iconoclasm intersect.

According to Matt Warshaw, author of The Encyclopedia of Surfing, Nick Gabaldon was the first African American surfer. He learned to surf at an informally segregated beach called “The Inkwell” in Santa Monica in the 1940s and regularly paddled twelve miles north to surf Malibu, one of California’s best waves. In doing so, Gabaldon defied conventions in an America that had institutionally prevented many blacks from accessing the ocean (and swimming pools) through a variety of latently racist legislation encouraged by Jim Crow laws, which weren’t formally dismantled until 1965 when Lyndon B. Johnson passed the Voting Rights Act.

But that’s just context. Forget the racial boundaries he collapsed by simply standing on a surfboard. Instead, ponder the stroke-after-shoulder-burning-stroke that a 12-mile open ocean paddle demands. Gabaldon pursued his passion for surfing to an extent most would never consider, which stands alone as an impressive feat, magnified further by his tragic, yet poignant conclusion.

On June 5, 1951, Nick Gabaldon caught his last wave. During an eight-foot south swell, Gabaldon lost control of his board and struck a piling beneath the Malibu Pier. His board washed up on the beach shortly after. Three days later, lifeguards recovered his body and the small community of (white) surfers who had come to accept and respect Nick mourned.

Eerily, just six days before he passed away, Gabaldon, who was enrolled at Santa Monica City College, submitted a poem entitled “Lost Lives” to the school’s literary magazine. The poem praised the power of the sea and foreshadowed the events of June 5th. Nick wrote:

TThe sea vindictive, with waves so high,
For me to battle and still they die…

Scores and scores have fallen prey,
To the salt of animosity,
And many more will victims be,
Of the capricious, vindictive sea.

We can’t pretend to know what Nick was thinking as he glided towards the Malibu Pier on his final wave. And we’ll never know the exact relationship between Nick’s poem and his end. But we can salute the depth of his passion and its cultural import.

As Director Richard Yelland told me, Nick’s story isn’t about surfing. It’s about humanity. It’s about sourcing inspiration from extraordinary ambitions and obstacles like those that Nick confronted and applying them to your own life, whatever that may mean. For Nick, surfing was a vehicle to improve his world. The ocean was his medium, which is fitting because the sea knows no prejudice; it’s the ultimate equalizer. As is a basketball court. Or a soccer pitch. Or a football field. Or, especially, a great story. - Zach Weisberg, Founder, The Inertia

"No-No" A DOCKUMENTARY opens this weekend (and next) Nationwide. Be sure to Go See It!

This is a film I spent several years working on with the Director and Producer, as a Creative Consultant and Associate Producer. I have posted about it several times since the beginning of the project as well as posting about my personal relationship to the subject, Dock Ellis.

I think the film came out great and is a fitting tribute to my old friend and inspiration as a kid. Can't forget to mention, the original score was done by none other than softball team mate of mine, Adam "Ad-Rock" Horovitz.

A few of my past DOCK posts below:

For Dock Ellis On His 67th Birthday:
LSD Memories, Celluloid Dreams

My Personal Dock Ellis Story (Pt. 1)

"No-No A Dock-umentary"
premiering at Sundance Film Festival this week

Here's a photo of myself with Director Jeff Radice and Associate producer and another fellow softball team mate of mine Carlos "Chili" Cañedo at the "Montclair Film Festival" premiere.



trailer:


Theaters this weekend:

5-Sep New York, NY Village East (I'll be here opening night)
5-Sep Los Angeles, CA Laemmle Noho 7
5-Sep San Diego, CA Reading Gaslamp 15
5-Sep Pittsburgh, PA Harris Theater 2-week min. run
5-Sep Seattle, WA Northwest Film Forum
5-Sep Dallas, TX Texas Theatre Fri-Sun weekend run
5-Sep Houston, TX Drafthouse Vintage Park
5-Sep Austin, TX Drafthouse South Lamar
5-Sep Burlington, IA Capitol Theater One Night Only
5-Sep Pelham, NY Picture House
5-Sep San Francisco, CA Roxie Theater
5-Sep Boston, MA Coolidge Corner Theater

next weekend:

12-Sep Chicago, IL Facets Cinematheque
12-Sep Denver, CO Sie Film Center
12-Sep Cleveland, OH Capitol Theatre
12-Sep Amherst, MA Amherst Cinema Arts Center
12-Sep Washington, DC West End Cinema
12-Sep Bellingham, WA Pickford Film Center
12-Sep Philadelphia, PA PFS Roxy
12-Sep Bryn Mawr, PA Bryn Mawr Film Center

after that:

13-Sep Portland, OR Hollywood Theater Saturday, 7:30pm one-night screening

19-Sep Santa Fe, NM CCA
19-Sep Albuquerque, NM Guild Cinema
19-Sep New Orleans, LA Zeitgeist Arts Center TBD
19-Sep Tyler, TX Liberty Hall One Night Only
19-Sep Omaha, NE FilmStreams TBD
19-Sep Milwaukee, WI Union Theatre
19-Sep Kansas City, MO Drafthouse Main St.
19-Sep Columbus, OH Gateway Film Center
19-Sep Phoenix, AZ Harkins Shea 14 TBD
19-Sep Tucson, AZ The Loft Cinema TBD

26-Sep Oakland, CA New Parkway One Night Only

8-Oct Gloucester, MA Cape Ann Community Cinema One Night Only

17-Oct Tallahassee, FL All Saints Cinema 3-day engagement

6-Nov Olympia, WA Capitol Theater (Olympyia FS) One Night Only

Black Heroism Illustrated

Comic books and race in America go hand in hand.

BY: THE SHADOW LEAGUE from: The Root

Comic books haven't always been a place where African Americans could find characters they related to. Black comic book characters ranged from being barely noticeable and blatantly disrespected to receiving lessened moments of racism from decade to decade.

DC Comics didn't have a black superhero who could stand on his own until 1977, when Black Lightning and his ability to create and manipulate electricity and electromagnetic fields was introduced. Marvel Comics beat them to the punch by 11 years with the Black Panther. He debuted in "Fantastic Four" No. 52 in 1966. Created by Jack Kirby, the Black Panther rules over the southern African kingdom of Wakanda. He dons a suit made of vibranium, a nearly impermeable metal found only in his country, and also is an elite-level martial artist and technological mastermind.

Captain America's trusted sidekick, the Falcon, would swoop in on the scene in 1969. In fact, his teaming with Cap was the first time a black comic character was a co-star to a major comic book character. There have been other heroes and villains of apparent African descent who appeared prior to 1970, such as August Durant of the Secret Six (DC Comics) and Jackie Johnson of Sergeant Rock's Easy Company (DC Comics 1960). However, there weren't many characters developed and layered enough to carry an entire comic book series on his or her own at DC or Marvel.

The Falcon would be joined by Power Man, aka Luke Cage, in Marvel's fast-growing pantheon of black superheroes in 1972. The vampire hunter Blade came along a year later—introduced in "Tomb of Dracula" No. 10 in 1973. Marvel also introduced an Asian character, Shang-Chi Master of Kung-Fu, around the same time. It was clear they were trying to be inclusive and to tap into a market of underserved comic book readers.

Other than the introduction of ex-Marine John Stewart as a part-time member of the Green Lantern Corp (DC) in 1971, as well as some smaller, less powerful characters dispersed here and there, Marvel's Power Man and Iron Fist were the second multiracial superhero team. They debuted in "Heroes for Hire" No. 1 back in 1972. DC Comics was very late to the party as far as fielding a respectable black superhero goes. Black Lightning came along in 1977. But Marvel was all about the one-up: They introduced, with great fanfare, Ororo Munroe, aka Storm of the X-Men, in 1979.

I never forgot that Marvel was the first to feature a black superhero of merit, inspiring me to become a lifelong fan because of it. Comic books were a welcome escape. I could leave the hood whenever I needed and go on missions to save the earth for 25 cents in the '70s, 50 cents in the '80s and up to a $1.50 in the early '90s.

But early on, some comic book publishers had the misguided idea to use "black" as a descriptive prefix to the name of any hero of African origin: Black Lightning, Black Vulcan, Black Goliath, Black Racer, the Black Spider, Black Manta and so on. DC Comics was guilty of this offense more than anyone else, but Marvel had its fair share of naming faux pas as well. I was as happy to see an increase in black superheroes as any other lover of comic books. But the fact that almost every character had to be given the "black" marker in his actual name as some sort of self-segregating practice of identification was just flat-out ridiculous.

Another stereotypical practice of comic publishers in the '70s and '80s was having every black superhero be from Harlem. Power Man was from Uptown, along with Falcon and a slew of others. Falcon was actually a street hustler who was rescued from the life by Captain America.

I mean, really?

These things let me know that while publishers were making an active effort to court and engage black readers, their ideas regarding our culture were still boxed and stereotypical. They felt like Harlem was the center of the black universe. And yes, at one time it was. Ironically, the home of New York City soul is skipping a beat with every encroaching step of gentrification. But that, true believers, is a story for another day.

Thanks, InsidePlaya

cool Hip-Hop documentary from 1994

at the end of each segment you can click on a button in the window that brings you to the next segment.

The Resurrection of a Band Called DEATH

I mentioned DEATH here on the blog once before, here's a great bit from Dangerous Minds

 

Imagine it’s 1975 and you’re a young Black man obsessed with the music of The Who, Alice Cooper, David Bowie and The Beatles. You form a band that plays loud, fast, rock ‘n’ roll in a city where grooving to the Motown sound of Smokey Robinson, The Temptations and Gladys Knight is more than a past time, it’s a religion. What was Detroit to make of a kid with an Afro and a jones for Frank Zappa and T. Rex?

To the distress of your bewildered friends and Christian family, imagine calling your band Death and recording songs like “Rock and Roll Victim” and “Freaking Out.” Imagine that when the opportunity for success comes knocking at your door you sweetly tell it to “fuck off,” unwilling to pay the price of changing who are in order to make money being who you are not. Imagine all of that and you’ve put yourself into the world of David Hackney and his brothers Dannis and Bobby, three young cats who together formed one of rock’s most visionary and unique rock groups.

The idea for Death leaped from David Hackney’s imagination like a wild living thing that couldn’t be suppressed. It was a beast in search of its roar. This eruption had been a long time coming. Ever since he was a kid watching The Beatles on The Ed Sullivan Show, David knew that there was something inside him that was restless and pressing its way toward the light of day. In time, he found the tools needed to excavate and give expression to this force, this beast - they’d been there all along: guitars and drums. The Beatles had pointed the way. The Who and Hendrix provided the maps. Ziggy Stardust drove the bus.

 

David’s brothers were quick to pick up on his calling. They shared his passion for rock ‘n’ roll and had faith in their brother’s vision of a Black trio that smashed musical stereotypes and re-invented itself in the style of trailblazers like Jimi Hendrix, Arthur Lee and Sly Stone. Death’s hard-edged, politically-charged rock ‘n’ roll had more in common with Detroit rockers like Iggy Pop, The MC5 and Bob Seger than the commercial soul coming out on Berry Gordy’s multi-million dollar record label. The cost that Death paid for being provocative and original was high. A record deal from Clive Davis was offered with the stipulation that the band change its name. David was unyielding. The name meant something too deep to fuck with. Where others saw darkness, he saw light. For the young songwriter and guitarist, Death symbolized transition and re-birth. It was more than just a name, it was a point of view. And it was precious to him. No, the name would never change.

Death stuck to their guns, recorded their music and eventually disbanded. David died of lung cancer in 2000. Dannis and Bobby formed reggae bands. It appeared that Death had died. But David’s longview in which death is just a process of passing through different dimensions became prophetic when The New York Times’ Mike Rubin wrote a piece on the long lost band in 2010. What had been an underground secret was now exposed to millions of people, with an enthusiastic endorsement from none other than Jack White:

“The first time the stereo played ‘Politicians in My Eyes,’ I couldn’t believe what I was hearing. When I was told the history of the band and what year they recorded this music, it just didn’t make sense. Ahead of punk, and ahead of their time.”

There was an immediate demand for the music of Death. Bobby and Dannis started considering what they once thought might be impossible: Death’s resurrection. David would like that. With the help of their spiritual brother, Bobbie Duncan, the brothers made David’s vision come to life again. Death was reborn.

 

Mark Christopher Covino and Jeff Howlett’s film A Band Called Death brings us close into the lives of the Hackney brothers, their family and friends. It takes us to Detroit, where Death found its sound in the grind and clang of industry. And it takes us into the spirituality of the band. The offspring of a Christian minister, the brothers found in rock ‘n’ roll a way to amplify their sense of the cosmic. With the coming of the hippie scene and psychedelics, they went further into the mysteries of being and found in their music a means to celebrate the dawning of the Aquarian Age. But into the mix of flower child trippiness, Death brought a blast of apocalyptic Motor City badassness that kept the psychedelic spaceship from tipping too far into the paisley zone. Their heads may have been drifting through the music of the spheres, but their feet were firmly planted on the cracked concrete of their Detroit garage.

A Band Called Death inspires as it illuminates the path the brothers took while riding out their dream with only their passion and positive vibes to carry them through. It’s a lovely film and deservedly won the Audience Award at this year’s SXSW. Drafthouse Films will be releasing it in May.

Earlier this month, I spent a couple of hours with Death, shooting the shit and sharing war stories. I filmed the following video after seeing the band the night before. I was pumped up. The band were absolutely phenomenal live, my concerns about David’s absence were supplanted by the belief that his brothers more than ably channeled his energy.

Death lives. Feel the vibe.

 

 

SOUL TRAIN - the Doc

Original discription from VH1 site:

Few television series were as innovative and influential as Soul Train. Set first in Chicago, and later in Los Angeles, the Soul Train dance party reached national significance and became the longest running syndicated show in television history. In commemoration of its 40th anniversary, Soul Train: The Hippest Trip In America is a 90 minute documentary celebrating the show's many contributions to pop culture, music, dance and fashion. From 1970-2006 the series offered a window into the history of Black music, and its charismatic host, Don Cornelius was The Man responsible for a new era in Black expression. A trained journalist, Don created a media empire that provided an outlet for record labels and advertisers to reach a new generation of music fans. As the epitome of cool, many of his expressions entered the popular American lexicon: "A groove that will make you move real smooth," "Wishing you Peace, Love and Soul!" The documentary will feature performances and great moments from the show, as well as behind-the-scene stories and memories from the cast and crew. In addition, popular musicians, comics and actors of yesterday and today will comment on growing up with the show and will share their stories of how Soul Train affected their own lives.

Thanks, Aaron!

THE BLACK POWER MIXTAPE 1967-1975

from DangerousMinds:

The Black Power Mixtape 1967-1975 utilizes dozens of hours of 16mm footage shot by Swedish documentarians during the height of the Black Power movement to tell the era’s story of radical revolutionary promise and what happened when that promise went unfulfilled. The film sat in the basement of a Swedish TV station for decades.

Contemporary director Göran Olsson (who also helmed 2009’s Am I Black Enough for You? doc about the Philly music scene) used this footage, including interviews with Angela Davis, Bobby Seale, Huey P. Newton, Stokely Carmichael, and Kathleen Cleaver, along with modern commentary from Erykah Badu, Harry Belafonte, Talib Kweli and Melvin Van Peebles, to create this new film, now being released by Sundance. After a limited NYC/Los Angeles theatrical run, it’s supposed to air on PBS.

I’m a sucker for this kind of stuff anyways, but damn this looks amazing:

Excellent documentary on blaxploitation and independent Black Cinema

from DangerousMinds:

Black Hollywood: Blaxploitation and Advancing an Independent Black Cinema is an inexplicably obscure documentary that deserves a wide audience. Directed by Howard Johnson (Deep Roots) in 1984, the film offers an in-depth perspective on race and racism in America’s dream factory: Hollywood.

This 1984 documentary traces the history of black filmmakers, actors, and audiences in America. From Oscar Micheaux to Eddie Murphy, Black Hollywood amasses interviews and clips to explore the role of black entertainers and entrepreneurs. Although progress has been undeniable, the exposure ushered in by blaxploitation movies did little to advance a black cinema independent from Hollywood. After all, the majority of blaxploitation films were financed by white producers who reaped great rewards. Featuring Diahnne Abbot, Rosalind Cash, Alfre Woodard, Jim Brown, Vonetta McGee, D’Urville Martin, Lorenzo Tucker, Joel Fluellen, Vincent Tubbs, and Sidney Poitier.

Enjoy Black Hollywood: Blaxploitation and Advancing an Independent Black Cinema courtesy of our friends at See Of Sound.

PIMPIN’ AIN’T EASY: RARE FOOTAGE OF ICEBERG SLIM

This is odd. Seldom-seen footage of America’s pimp laureate Iceberg Slim, promoting his book Trick Baby and talking about “White Folk,” taken from a 1968 episode of The Joe Pyne Show.

First off, what was Iceberg Slim doing on Joe Pyne? (Joe Pyne = the Bill O’Reilly of the 1960s).

And secondly, what’s with that crazy mask?

This is just a three-minute excerpt from a 49-minute long video that can be watched on Amazon.

from Richard Metzger at DangerousMinds

The State of Black Skate

With the opening of "How We Roll" a six-month exhibition on African-America’s contribution to surfing, skateboarding and rollerskating culture at the California African American Museum in Los Angeles, undoubtably there will be more and more attention being paid to the underground culture that has seen an incredible awakening in the inner cities. Here's a great clip on the subject from current TV.