A Brooklyn man who has spent the past 29 years in prison for murder is expected to walk free on Wednesday.
David McCallum, together with co-defendant Willie Stuckey, were found guilty of kidnapping and shooting Nathan Blenner, 20, in a Bushwick park in October 1985. The two 16-year-olds were sentenced to 25 years to life behind bars the next year.
Stuckey died in prison in 2001, but McCallum has had his innocence championed by late boxer Rubin “Hurricane” Carter, who served 19 years in prison after he was wrongfully convicted of murder in 1966.
David McCallum, who was just 16 when he was found guilty of kidnapping and shooting a man in 1985, is expected to have his conviction overturned by a New York judge today. Just two months before Carter died in April he wrote an op-ed for the New York Daily News in which he called for Brooklyn District Attorney Kenneth Thompson to review McCallum’s case.
“My single regret in life is that David McCallum… is still in prison,” Carter wrote. “Knowing what I do, I am certain that when the facts are brought to light, Thompson will recommend his immediate release.”
Lawyers for McCallum, now 45, wrote Thompson a letter in January arguing that neither DNA nor handprints found at the scene of the crime matched those of McCallum or Stuckey. The convictions were dependent on their confessions, which the suspects, then both 16, immediately recanted. In 2012, McCallum told a parole board; “I was beaten by the officers and I was coerced into making a confession.”
Sterling K. Brown in “Father Comes Home From the Wars (Parts 1, 2 & 3).” (Photo: Richard Termine)
In “Father Comes Home From the Wars (Parts 1, 2 & 3),” a new drama by the Pulitzer Prize-winning playwright Suzan-Lori Parks (“Topdog/Underdog”), Hero, a slave, is offered a deal by his master: Leave behind his family and fight for the Confederacy in exchange for his freedom. This decision and its implications are at the heart of this historical tale, whose first three parts open Tuesday at the Public Theater. If this work sounds too familiar to be a “world premiere,” as it is billed, that’s because it has been gestating for years, with workshop productions staged at the Public Lab in 2009 and this year. Sterling K. Brown (“The Brother/Sister Plays”) is Hero, and Jo Bonney directs. (425 Lafayette Street, at Astor Place, East Village, 212-967-7555, publictheater.org.)
Geoffrey Holder, the dancer, choreographer, actor, composer, designer and painter who used his manifold talents to infuse the arts with the flavor of his native West Indies and to put a singular stamp on the American cultural scene, not least with his outsize personality, died on Sunday in Manhattan. He was 84.
Charles M. Mirotznik, a spokesman for the family, said the cause was complications of pneumonia. Few cultural figures of the last half of the 20th century were as multifaceted as Mr. Holder, and few had a public presence as unmistakable as his, with his gleaming pate atop a 6-foot-6 frame, full-bodied laugh and bassoon of a voice laced with the lilting cadences of the Caribbean.
Mr. Holder directed a dance troupe from his native Trinidad and Tobago, danced on Broadway and at the Metropolitan Opera and won Tony Awards in 1975 for direction of a musical and costume design for “The Wiz,” a rollicking, all-black version of “The Wizard of Oz.”
His choreography was in the repertory of the Alvin Ailey American Dance Theater and the Dance Theater of Harlem. He acted onstage and in films and was an accomplished painter, photographer and sculptor whose works have been shown in galleries and museums. He published a cookbook.
Mr. Holder acknowledged that he achieved his widest celebrity as the jolly, white-suited television pitchman for 7Up in the 1970s and ’80s, when in a run of commercials, always in tropical settings, he happily endorsed the soft-drink as an “absolutely maaarvelous” alternative to Coca-Cola — or “the Un-Cola,” as the ads put it.
Long afterward, white suit or no, he would stop pedestrian traffic and draw stares at restaurants. He even good-naturedly alluded to the TV spots in accepting his Tony for directing, using their signature line “Just try making something like that out of a cola nut.”
Maj. Gen. Nathaniel James in front of a mural dedicated to the 369th Regiment. To General James, who joined the New York Army National Guard at 17, his most important job has been promoting the Harlem Hellfighters. (OZIER MUHAMMAD / THE NEW YORK TIMES)
By the beginning of September, the corner office on the second floor of the 369th Regiment Armory in Harlem was nearly empty. Squares of dust outlined where framed pictures once hung. Only a desk remained, with Maj. Gen. Nathaniel James, 79, sitting behind it.
General James has considered the armory at 142nd Street and Fifth Avenue his second home for more than 60 years. Before he retired, his military career in the New York Army National Guard had spanned from private, corporal, second lieutenant, first lieutenant, major and lieutenant colonel. To him, though, his most important job had been as president of the Harlem Hellfighters Historical Society.
Now, the armory, built in 1933, is being closed for renovations. Its occupants have had to find temporary space elsewhere. General James and everything belonging to the historical society had to be out by Wednesday.
In 1959, General James learned about a room in the armory where artifacts of the Harlem Hellfighters — a black unit that fought under French command in World War I — were gathering dust. He put the items on display every New Year’s Day for a few hours.
“We cleaned everything and had an open house for everybody in the unit,” he said. “When I joined there was no written history,” said General James, who joined the New York Army National Guard when he was 17.
General James’s family moved north in 1939, fleeing racism in Branchville, S.C., where he was born. “My family moved to Harlem and we’ve never left,” General James said. He married and had four children, who called him General instead of Dad.
“We got up in the mornings to work out with him, and we made sure we got up early enough to get to school on time,” said one of his sons, Nathaniel James Jr., 52. “O dark thirty is O dark thirty, no exceptions,” he added.
General James decided that the Hellfighters artifacts should be more widely seen, and the history of black soldiers should be more widely known, after watching a biographical movie about Gen. George S. Patton, which, he noticed, made no mention of a black unit that he knew had been under Patton’s command.
And his children, he said, were noticing gaps in what they were taught at school. “They started seeing history wasn’t proper,” he said.
Mr. James remembers looking in his history books for the stories of the black soldiers his father had told him about. He could not find much. “I asked my teacher about it, and she said the only history they have is about the Buffalo Soldiers,” he said.
Members of the James family decided to take matters into their own hands. General James’s sons held parties in the mess hall and in the auditorium of the armory, taking donations. The general’s wife, Mary, and his daughter, Rosalyn, organized dinners, fashion shows and Mother’s Day events. “We used to D.J. when they had parties here,” said Courtney Dixon, 52, a neighbor.
Marlon James on a visit to the Bronx, where “A Brief History of Seven Killings” concludes. (Credit: Bryan Derballa for The New York Times)
The novelist Marlon James grew up in Jamaica in the 1970s, which means he has a child’s memories of that politically turbulent and culturally fertile period. But as an adult, he keeps circling around that time and place in his mind, trying to make sense of what he could perceive only dimly then.
Out of that quest comes his third novel, “A Brief History of Seven Killings,” which begins as the optimistic glow of independence is giving way to the harsh realities of Cold War politics and the rise of gangs connected to the country’s two main political parties. From there, things get only worse: Crack cocaine appears and the gangs go international, setting up operations in Miami and New York.
“The idea for this book is the very first I had, even before the other two novels, because I always was interested in writing about the Jamaica I grew up in,” Mr. James said. “I thought it was going to be a short novel, that it was one person’s story. But I was wrong, because history is always shaping everything.”
Publishers Weekly declared that “no book this fall is more impressive than ‘A Brief History of Seven Killings,’ ” which comes out Thursday from Riverhead Books. In a review in The New York Times last week, Michiko Kakutani described Mr. James as a “prodigious talent” who has produced a novel that is “epic in every sense of that word: sweeping, mythic, over the top, colossal and dizzyingly complex.”
At 43, Mr. James is part of a new generation of Caribbean writers whose main cultural reference, aside from their home countries, is the United States rather than their former colonial power (in Jamaica’s case, Britain). These writers share some of the concerns of American peers like Junot Díaz and Edwidge Danticat and view the questions of identity and authenticity, which preoccupy older writers like George Lamming and the Nobel laureates Derek Walcott and V. S. Naipaul, as largely settled.
During a recent interview in the Bronx, where “Seven Killings” concludes, Mr. James called himself a “post-postcolonial writer” with a hybrid intellectual background. So while he read Shakespeare, Jane Austen and Henry Fielding in school, he noted, he also listened to Michael Jackson and Grandmaster Flash; a section of the new novel makes repeated references to Andy Gibb’s “Shadow Dancing.”
The plot of “Seven Killings” revolves around the assassination attempt on Bob Marley a few days before he was to give a free concert in Kingston in December 1976, and required the novelist to dig deep into his creative toolbox. Marley, called simply the Singer in the novel, so dominated that period, Mr. James said, that his persona risked overwhelming the novel, which clocks in at just under 700 pages.
“I needed him more to hover over the book, as opposed to being in the middle of it,” he explained. He said he found a solution when he read Gay Talese’s Esquire magazine article “Frank Sinatra Has a Cold,” which focuses on the circle around that singer. Another help was Roberto Bolaño’s novel“The Savage Detectives,” which Mr. James described as “a very conscious template.”
Characters based on real-life people, including Cuban exiles and their C.I.A. handlers, play central roles in the novel. Jamaican politicians like the rival former prime ministers Michael Manley and Edward Seaga are very much present, too, along with leaders of the “garrisons,” the communities and criminal militias that their parties controlled.
Mr. James warns, though, that “if you are going to read this as history, you’re bound to be disappointed and confounded.” A lot of the novel, he said, is “just me being a trickster.”
But he does remember overhearing as a child some of the stories he incorporates into the novel. His mother was a police detective and his father a police officer who became a lawyer, “so the world of crime and politics and disturbances was always around,” he said, discussed in hushed and coded adult conversations.
A few years ago, Mr. James said, a European interviewer began a question to him with “as someone who escaped the ghetto….” He remembers objecting: “I grew up in the suburbs, like every other kid in every other part of the world. We had two cars, and we argued about things like ‘Is “T. J. Hooker” better than “Starsky & Hutch?” ’ ”
After studying at the University of the West Indies in Jamaica, Mr. James spent more than a decade in advertising as a copywriter, graphic designer and art director. His clients included the dancehall star Sean Paul, for whom he designed several CD covers, and The New York Times’s T Magazine. During much of that time, he said, “I made a big point of not writing seriously and even stopped reading for a while, too.”
But he was drawn back to literature by what he described as the “lack of a sense of possibility” he felt in Jamaica. Publishers and agents in New York showed no interest in a draft of what became “John Crow’s Devil,” his first novel. But when he took a chapter to a writing workshop in Kingston taught by a visiting American, Kaylie Jones, she was immediately taken by Mr. James’s writing and choice of subject.
“What leaped out at me right away was that he was a phenomenally visual writer with a lyrical, magical voice,” said Ms. Jones, who teaches writing at Wilkes University in Pennsylvania. “I was shocked that nobody had picked up this guy.”
A stint in the writing program at Wilkes enabled Mr. James to work on a second novel, “The Book of Night Women,” set on a sugar plantation in colonial times. He now teaches literature and creative writing at Macalester College in St. Paul.
Chunks of Mr. James’s novels, especially “Seven Killings,” are written in Jamaican patois. He describes himself as “bilingual,” fond of using dialect in speech and also to discuss serious questions of race, class and politics in the novel, but equally comfortable employing standard speech in interviews and the classroom, with an accent that is beginning to incorporate the flat tones of the American Midwest.
“When we are taking our business out in the public, that’s not how you are supposed to speak,” he said of patois. “It’s an embarrassment” to older and middle-class Jamaicans, he added, “especially if they hear I’m an English teacher. ‘Why are you speaking broken English?’ As if this is something that needs to be fixed.”
NEW YORK (AP) — Derek Jeter was one of the world’s most covered athletes in media during his 20-season career with the New York Yankees. Now, he’s joining media with a new website devoted to delivering athletes’ “unfiltered” views to the fans.
The Players Tribune is being billed as a digital company that will offer unique access to top athletes in every sport — from videos to photos to podcasts and more — without having to deal with reporters to do it.
In a statement on the site that posted Wednesday, Jeter said he wants it to “transform how athletes and newsmakers share information, and bring fans closer than ever to the games they love.”
Jeter — who admits to being guarded with reporters — attributed his success in what he called “the toughest media market” to being careful about what he said.
“Those simple answers have always stemmed from a genuine concern that any statement, or opinion or detail, might be distorted,” he wrote in his letter on the site.
But he said fans deserve to hear more from their fans than “no comments” and his site will allow a direct connection to the athlete.
“We just need to be sure our thoughts will come across the way we intend,” he wrote.
The All-Star retired from the Yankees after spending his entire career with New York, winning five championships during a storied career. In his post on the site, he spoke about the “whirlwind” of his final season and his disappointment in missing the postseason.
While singling out Yankee fans as the greatest, he also paid tribute to fans outside of New York for their support.
“It’s the reception outside of New York that was the biggest difference this year. I’ll never forget how baseball fans across the country have treated me,” he said.
“Ballparks I used to view as enemy territory were transformed with cheers, handshakes and hat tips,” he said. “If I thought baseball was part of my family before this season, I now know that it’s truly the case. And I am grateful for that.” article via blackamericaweb.com
“A Sucker Emcee”: Craig Grant, also known as muMs, in his show at the Bank Street Theater. (Credit: Ruby Washington/The New York Times)
Like Jean-Jacques Rousseau set to a hip-hop beat, Craig Grant offers his confessions in “A Sucker Emcee,” produced by the Labyrinth Theater Company. While a D.J. (Rich Medina) moves between two turntables, scratching and spinning, Mr. Grant tells the story of his life in rhymed couplets.
Mr. Grant, also known as muMs, speaks in a gentle growl with just a trace of a native Bronx drawl, though he can send his voice swooping up and down the social register. Dressed in Nikes and a T-shirt proclaiming “The Truth,” he spends most of the show near the front of the bare stage, lips pressed close to a microphone.
Though he’ll occasionally speak as his mother, his father, a friend or a teacher, he spends most of the piece as simply himself, narrating youthful screw-ups with fondness and exasperation.
In some ways his story is standard bullet-point autobiography. He begins with his volatile Bronx childhood, darts through some dissolute college years, chronicles his subsequent ups and down as a rapper and actor (best known for his role in the HBO prison drama “Oz”) and finally returns, with hard-won maturity and grace, to the borough of his birth. So far, so familiar. But what adds urgency and fierce pleasure to the monologue, directed by Jenny Koons, is his debt to music. D.J.’s, it seems, saved Mr. Grant’s life. “Before hip-hop, I couldn’t speak,” Mr. Grant recalls. The music gave him a voice, a place, a future, helping him to “turn all that hate into a dance and a chant.”
Mr. Medina provides backing beats to Mr. Grant’s chants and sometimes helps him pay more direct homage to the heroes of his youth — KRS-One, Rakim, the Sugarhill Gang. Even when the show threatens to turn into some sort of lecture demonstration, it’s still pretty good fun, with Mr. Medina illustrating each style and technique while Mr. Grant narrates and occasionally threatens some B-boy moves.
Even when the story ends with Mr. Grant’s returning to the Bronx and caring compassionately for his aging mother, the beat and the applause don’t stop.
COOPERSTOWN, N.Y. — Philadelphia Little League sensation Mo’ne Davis is headed to the Baseball Hall of Fame.
Mo’ne Davis will donate the jersey she wore in becoming the first girl to win a game at the Little League World Series. (AP Photo/Gene J. Puskar)
Davis, the first girl to win a game at the Little League Baseball World Series, will donate the jersey she wore during the game to the museum Thursday. The top-notch pitcher be accompanied by teammates from her World Series team and the travel team she’s played on since she was 7. Mamie “Peanut” Johnson, a former pitcher and one of only three women to play in the Negro Leagues, will also attend Thursday’s event at the Hall of Fame. Afterward, Davis and her teammates will face a team from upstate New York in an exhibition game at Doubleday Field.
Davis pitched Taney Little League into the Little League World Series, becoming the fourth American girl to appear in the tournament. In her first game, she shut out a team from Nashville 4-0 over six innings while featuring a fastball that reached 70 mph. Copyright 2014 by The Associated Press via espn.go.com
Footage from what may be the earliest surviving feature film with a black cast, made in 1913. (Credit: Bert Williams, “Lime Kiln Field Day Project”, via Museum of Modern Art)
For decades, the seven reels from 1913 lay unexamined in the film archives of the Museum of Modern Art. Now, after years of research, a historic find has emerged: what MoMA curators say is the earliest surviving footage for a feature film with a black cast. It is a rare visual depiction of middle-class black characters from an era when lynchings and stereotyped black images were commonplace. What’s more, the material features Bert Williams, the first black superstar on Broadway. Williams appears in blackface in the untitled silent film along with a roster of actors from the sparsely documented community of black performers in Harlem on the cusp of the Harlem Renaissance. Remarkably, the reels also capture behind-the-scenes interactions between these performers and the directors.
MoMA plans an exhibition around the work called “100 Years in Post-Production: Resurrecting a Lost Landmark of Black Film History,” which is to open on Oct. 24 and showcase excerpts and still frames. Sixty minutes of restored footage will be shown on Nov. 8 in the museum’s annual To Save and Project festival dedicated to film preservation.
“There are so many things about it that are amazing,” said Jacqueline Stewart, a film scholar at the University of Chicago. “It’s the first time I’ve seen footage from an unreleased film that really gives us insights into the production process.”
She added: “It’s an interracial production, but not in the way scholars have talked about early film history, in which black filmmakers had to rely on the expertise and money of white filmmakers. Here, we see a negotiation between performers and filmmakers.” Of the three directors of the film, one was black and two were white.
Since its debut performance in California in 1974, Shange’s workhas captivated, provoked, inspired and transformed audiences all over the world. Since, the work has remained a cornerstone of feminist, black, and LGBTQ-theory studies in colleges and theaters alike, both in the United States and abroad.
Shange is a past recipient of the The Women of Power Legacy Award, which recognizes outstanding impact, achievement and leadership by women in business, the arts, education, government and other influential industries. Black Enterprise recognized Shange in 2011 for her body of work as a playwright, poet, and self-proclaimed feminist who addressed issues relating to race and gender.
Turning to the choreopoem not simply as an engaging work of text or drama but as a well of social, political and deeply personal issues affecting the lives of women of color, the New York exhibition will feature 20 specially commissioned pieces in honor of each individual poem, additional non-commissioned artworks on display at satellite locations that address the work’s themes and archival material donated by Shange. The exhibition’s title is drawn from one of the last lines recited in the finale poem a laying on of hands. The title suggests that navigating through the complexities of what it means to be of color and female is only enlightened by an understanding, acceptance and appreciation of self. With self-empowerment comes the process of “…moving to the ends of their own rainbows.”
Commemorating the 40th anniversary of