Dude Im on a roll. Two blogs published interviews with me in one day. I swear I dont have a publicist or anything. haha. I like this one. It includes pics of my family. click here.
I’m on a roll. check out the article on my vegan tattoo practices on VEGANMAINSTREAM.com
I just did an interview with “this dish is veg.com” about veganism and tattooing . Check it out.
A little over a year ago a couple friends and I started the freedom ride to gather black cyclists. Here a couple great videos put together by some of our riders.
There was also a significantly long article on me, the black kids on bikes, some of my past work and my plans for the future in ALARM Magazine. My scanner is literally being held together by tape so you’ll have to go out and buy the issue. It’s the one with OM on the cover. My name is on the top right, next to Ian Svenonius’. Here are some pics.
I was on a half hour political web show called Grit TV with host laura flanders in conjunction with the afro-punk fest .
Below is the text from her website.
“This week the Afro-Punk Festival at the Brooklyn Academy of Music takes center stage. James Spooner, festival organizer and filmmaker joins us in our studio to discuss his new film White Lies, Black Sheep and the complex world of punk rock music.Spooner’s first film, Afro-Punk is part personal odyssey and part chronicle of a musical scene that has informed his life. Born in the Caribbean nation of Saint Lucia and raised in America, Spooner has straddled many worlds. The DIY punk scene was a kind of refuge for the young activist. But he didn’t question his own identity in that world until he returned to St. Lucia at the age of 22. It was the final breaking point he says.In this interview Spooner discusses being Black in the largely white world of punk music, his love/hate relationship with the whole scene, and why punk rock really raised him. Check out the eclectic Afro-Punk festival, a celebration of film and music at theBrooklyn Academy of Music (BAM) this week in Brooklyn, NY.”James Spooner was interviewed in this video.
Vodpod videos no longer available.
A french TV show called Trax did a 15 minute segment on Black Rock in particular afropunk. Above is the part about me. Its in french so feel free to tell me what they said. I have no Idea.
You can watch a longer version on youtube.
James Spooner was interviewed in this video.
This is a super long interview with me from 2003. Suprisingly almost 10,000 people have watched it in its entirety on youtube.
James Spooner is interviewed in this video.
This is the video the made about us.
This is the article they wrote on the website.
Afro-Punk Scene, Inspired By Santogold, TV On The Radio And More, Explodes Into A Multi-Genre Movement
Even Bad Boy artist Janelle Monae is affiliated with the movement.
James Spooner, like a lot of kids growing up in Southern California in the 1990s, was into punk rock.
But unlike most of the kids in the scene, he’s black. Sometimes, this posed a problem.
“I was in this tiny desert town that was pretty much all white, and the punk scene was very racist,” he recalled. “You would go to shows and it was blatantly white power, swastikas, all of that.”
But when he moved to New York during high school, Spooner found “a gang of black kids” just like him. For the first time in his life, “I could be who I wanted to be,” he said. “[They] made it OK for me, you know?”
The fundamental contradiction of black kids feeling left out of rock — which from its very beginning was based on black music — has played a large role in the creation of Afro-Punk. And while there have been many black artists who have been embraced by white rock fans, from Little Richard to Sly and the Family Stone to the Bad Brains, the Afro-Punk movement has found fans bonding and creating communities, organizing shows and shooting films in a whole new way.
Afro-Punk has gone from the name of a message board to a movement in less than five years — and the scene just keeps growing.
Before the 2000s, Spooner said, “there were no black bands in the mainstream doing anything alternative.” Sure, bands like the Bad Brains, Fishbone and Living Colour had set an example for the younger generation — and the Black Rock Coalition was formed during the 1980s — but the success of the mostly black group TV on the Radio has crashed the door open for the movement.
Brooklyn rockers who meld punk, metal and hip-hop with a rudeboy ‘tude.
A Washington, D.C., psych-rock foursome who masters a balance between goofiness and raw power.
Whole Wheat Bread
An old-school-style punk band that has worked with Rancid and Lil Jon.
A hardcore-tinged rocker who’s become a favorite on New York’s downtown music scene, her debut LP, Black Bottom, will be released next summer.
So how did this thriving movement become a scene in the first place? T-Kali knows from joining Spooner on the road, when he was shooting his “Afro-Punk” documentary in 2001. (She’s on the cover of the DVD — check her out in our photo gallery, along with some of our favorite Afro-Punk moments here.)
“To this day, I always get messages on MySpace from people saying, ‘I saw you!’ ” she said. “That’s a wonderful thing.”
Spooner’s doc, which debuted in 2003 at the Toronto Film Festival, also featured TV on the Radio as well as bands such as Cipher, in his attempt to document “the other black experience.” It continues, five years later, to screen at festivals.
“The film surprisingly has legs that a lot of other films don’t,” Spooner said. “I just did two screenings last month. The film continues to reach new people.”
Part of that reach extends online. “Afro-Punk” the documentary inspired the messageboard AfroPunk.com, and from the fan discussion there, Spooner realized that they could turn the desire for Afro-Punk shows into a music festival, which now happens annually.
One of the first shows Spooner did was an afterparty for one of the documentary screenings, so he reached out to the band Stiffed (the band formerly led by Santi White, who is now known as Santogold) via manager Matthew Morgan, “and he was like, ‘No problem — we’ll do it for free,’ ” Spooner said.
As the popularity of Santogold and other artists loosely associated with the scene has grown, Afro-Punk has exploded beyond its musical definition, even including Grammy-nominated Bad Boy recording artist Janelle Monáe, whose music can hardly be considered traditionally punk (she’s opened for Nas and has been called “the female version of Prince” by Fall Out Boy’s Pete Wentz).
“I felt it was my duty as an artist and as a young African-American woman to support Afro-Punk,” Monáe told us at the Afro-Punk Festival last summer.
“I think it’s very important to let people know that we’re not all the same. Diversity needs to be promoted more … I love being in that environment, and that is something I am trying to promote.”
Some of the bands associated with Afro-Punk — like Santogold — helped support the scene and increase its visibility simply by showing up. Others who aren’t associated, like Lupe Fiasco, helped out just by singing about subjects like skateboarding.
“Lupe was able to, in one song, propel the idea of black kids skateboarding into a whole new generation,” Spooner said. “That’s all out of ‘Kick, Push.’ ”
Spooner’s since handed off the Afro-Punk torch to Morgan, who has taken the lead in managing the bands, running the Web site and promoting the annual festival. “He had a big vision,” Spooner said.
The Afro-Punk brand now plays a key role in events like CMJ and South by Southwest, partnering with those larger festivals with the goal of introducing a lineup of bands to a diverse audience who might not have discovered them otherwise. Morgan plans to make the festival a national one next year, and to tour Africa in 2010.
“A festival in Africa is a really important step for us,” he said. “We want to spread that sense of freedom.”
Technology has helped, Spooner pointed out. “iPods change the way we listen to music,” he said. “[With shuffling,] genre after genre, they all start blending together.”
Still, that blending doesn’t erase all racial boundaries. Spooner said part of the reason the scene is growing is because the issues addressed in the film are still affecting young people. Punk shows are still mostly white, and black rock fans may not always get the most positive reaction in the black community.
And even with Afro-Punk’s growing popularity, some of the bands associated with it don’t like to talk about it publicly for fear of losing their white audience, Spooner said. Could that be due to the scene’s growing pains as it wavers between DIY and the mainstream? Or does it make Afro-Punk more needed than ever before?
“We will have succeeded when Afro-Punk is no longer relevant,” Spooner said. “Clearly we are not there yet, but I’d like to believe that we are on our way. When that day comes, there will no doubt be a 14-year-old kid who flips off Afro-Punk and says, ‘I’m starting my own thing,’ and that’s what they should do. I think that’s the nature of scenes, and I wouldn’t be mad at them. I would be like, ‘Can I come to your show?’ ”
New York Times made a visit to the Afro-Punk fest and helped us spread the word.
James Spooner was interviewed in this video.