Posts Tagged ‘Black History’

Reid My Mind Radio – Who is Joe Capers

Wednesday, February 15th, 2017
A picture of Joe Capers, an African American man seated on a couch staring into the camera with sunglasses!

Joe Capers

En Vogue, Tony Tony Tone and more musical artists from Oakland could help answer this question. In this  episode we meet two gentlemen creating a documentary that will help others do the same.

The second part of today’s podcast explores Hip Hop from two angles you may have not known existed.
* Krip Hop Nation, an international network for artists with disabilities.
* Hip Learning,  using the rap element of Hip Hop to help children learn science and more!

So stop what you’re doing
Prepare to hear the words they say
The only way to do it…
Press on the button that says Play!

… Oh snap, #Bars son!


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Resources

  1. Alternative Minds
  2. Krip Hop Nation
  3. The Best of Krip-Hop Nation on CD Baby

4. Hip Learning

Transcript

Show the transcript

TR:
What’s good family!
Happy Black History Month to everyone…
even if you don’t feel that’s something you celebrate or even really acknowledge.
The simple truth, if you are on this planet,
chances are great that you have been impacted by African American people. There’s so much from the world of invention, science and culture. An unfortunately, that’s not discussed during the other 11 months of the year.

Today’s episode includes a recent piece for Gatewave Radio that shows how sometimes people are like pieces in a puzzle. If one piece is missing, that full puzzle can never be complete.

Following the Gatewave piece you will hear more from two brothers who in their own way are expanding Black history. And ,  making sure we know, that includes people with disabilities.

Are You ready?
[Audio: “I know you’re gonna dig this!”]
[RMMRadio Intro]

[Audio Mix: “En Vogue, Tony Tony Tone, Digital Underground and MC Hammer!]
TR:
Today, the question, Who is Joe Capers?

In the 1980’s and 90’s  artist’s like , En Vogue,
Tony Tony Tony,
Digital Underground,
MC Hammer
all had a few things in common.
They all were based in Oakland,
each made their way to the top of the charts
and Joe Capers.

In order to find out who is Joe Capers,
I spoke with two gentlemen from California’s Bay Area.
First up, Leroy Moore, originally from the east coast, raised in Connecticut and New York City.

LM:
I’m an activist, journalist and author. I also started what’s called Krip-Hop Nation with a K. It’s an international network of musicians with disabilities. My disability is Cerebral Palsy. I had it since birth.

I found out about Joe Capers when I was doing radio. KpFA out here  in Berkley. They had a radio show about people with disabilities. Joe Capers was blind African American man here in Oakland in the 70’s, 80’s and 90’s. He had one of the first accessible home studios at that time.
TR:
That’s a full recording studio in the basement of his home. All sorts of Oakland artists from MC Hammer to En Vogue and others you may have never heard of recorded at Joe’s studio

Leroy learned of another person who could help further answer the question… who is joe capers?

Naru:
I got a call from Leroy one day, he said “Naru you knew Joe Capers?” I was like yeah Joe?

TR:
Meet Naru Kwina , an Oakland California  based artist and teacher. .

Naru:
Joe was just the coolest guy with the biggest smile.
Joe played the base, the drums the keyboards so he was a master musician.

TR in conversation with Naru:
Was Joe doing more of the production? Was he just kind of the studio owner? What was he actually doing?
***

Naru:
Listen brother! His studio was called “J-Jams Studio: Joe did everything.  He had his mix board in Braille. He recorded, he engineered he mixed, he produced. He did everything that you could every possibly do in the studio. And he had the greatest ear I have ever been around and I’ve  been doing music over 40 years of my life. If you had one note or one little thing off he knew and he would call you on it. You know because he was blind you thought you’d  get away with stuff.

TR:
Joe was a professional and  demanded that those  in his studio acted the same. Naru, who is also a rapper, and went by the name Quick back then, recalls the time when Joe instructed him to memorize his lyrics and not use written notes in the recording booth.

Naru:
I’m in the booth one day and I had my little paper… like nah he ain’t gonna know… [laughs] he was like bruh, I could hear the paper rattling in the booth. And he sent me home. He sent me home and told me not to come back until I knew my lyrics.

So he was really dedicated to the music and that dedication is still with me and when I started having my own studio and production I always said nope don’t come in here with no paper, learn your lyrics.
[Laughs] So I got that from Joe!

TR:
Learning more about Joe, Leroy was surprised others didn’t know him.

LM:
Oh my god, this man needs to be recognized in Oakland because he really changed the Oakland sound of Hip-Hop and Soul.

TR:
During that conversation between Naru and Leroy the idea was sparked.

Naru:
When I said you know somebody outta do a film about Joe, he [Leroy] said why don’t you do it. I said man, I’m not a film maker man… he said but  yeah you know people. Reluctantly, I took that upon myself.

TR:
there’s lots involved in the process.

Naru:
I just contacted people who had cameras, mics and I had to contact all the artists. I literally probably have  6 or 7 hours of interviews. Everybody from MC Hammer, Digital Underground, Dwayne Wiggins from Tony tony Tone and other people who just knew Joe on a personal level or recorded with Joe… who were closer with Joe. Some of the more interesting interviews are from people you would never heard about who Joe touched in a particular  way. I could just say that he’s still here with us because all the people he touched and how many people still  think about Joe.

TR:
What began as a 15 minute documentary about the career of Joe Capers has morphed into much more. Running his own studio known as J-Jams wasn’t solely a business venture. This was back in the error when recording music professionally required significant investment.
Large studios charged hundreds of dollars an hour for studio time.

Naru:
Joe was changing like between $20 or $25 an hour r. The quality of sound was on par with anything coming out of these big studios. Joe knew the music that we were doing.  He understood it better than some of the engineers who were  in these big studios who were used to . doing rock music or folk and country. Joe  understood the R&B  and the Hip-Hop… the need for that bottom.

TR:
While the music might be about that base, for Joe it included the chance to offer help and encouragement.

Naru:
He was also a teacher. He would take young kids off the street from time to time. Some people were actually living with him. He would teach young kids  to engineer. Pretty much gave at least  two people I know roofs over their heads until they got their act together. They might have been out doing some street business and he didn’t really want that.  So he was trying to teach people another way to make money and be successful.

LM:
Joe Capers taught newly blind people independent living skills.

TR:
Making a documentary takes a lot of patience and research. It also takes creativity. Not only in the traditional sense as in the filming and writing, but also in the approach to resolving real  challenges that inevitably arise.

In order to make up for a lack of video footage of Joe and artists in the recording studio, original animation is being incorporated into the film.

And I am pleased to report that plans are included for audio description, making the film more accessible to those with vision loss.
When complete the film will be distributed by way of local public television, online, film festivals and live screenings.
Events developed around the release of the film will include a live concert focusing on emerging artists including those with disabilities. The concert will be an annual event taking place in August. in Oakland, this now has significant meaning.

Naru:
I wouldn’t say we, I helped but Leroy was the most instrumental…

LM:
Every August is now Joe Capers month in Oakland. That’s the first  Black Disabled man that’s been recognized  by the city of Oakland.

TR:
Here’s how you can help contribute to the success of this film

Naru:***
I’m working on some more funding  right now that’s why  it’s slow going. Everything’s been like a labor of love  out of my pocket. And Leroy put some money in as well.

I have a nonprofit, it’s called Alternative Minds Foundation and so all our stuff is going through there with this film. It’s a 501-3C so everything is a tax write off for people who want to do that.

LM:
www.alternative-minds.com

Naru:
And just later on just telling people about it when it comes out. That’s probably the best way you could help spread the word.

TR:
It sounds like these two are the right   choice for telling Joe’s story.
Leroy, through his work with Krip Hop nation, an international network of musical artists including
rappers, dj’s, producers, dancers, spoken word artists and others, all with disability; have already presented an award in recognition of Joe’s contributions. This award was presented to his family in Georgia.

Naru who had a personal relationship with Joe, while not as familiar with blindness, did gain what some may see as a simple lesson, but in fact is one that advocates have spent a life time trying to convey.

Naru:
My understanding about a person who was blind  is very limited and probably very skewed. Being around Joe was very refreshing. He was just a regular person, did regular things. Loved to joke and laugh, play tricks on you  and all of that stuff. He was just like we say, a regular Oakland Cat!
[Laughter fades out]

TR:
This is Thomas Reid,

LM:
Oh my God, this man needs to be recognized.

for Gatewave Radio.
Audio for independent living!

[Audio: Taken from Rap Battle on MTV
“There’s no charity in a rap battle!”, Sway]

TR:
The first time I thought about Hip Hop and disability was just prior to me losing my sight.  It was the fall of 2003, I believe it was MTV2 who was airing a rap battle. One of the contestants included young rapper by the name of Blind Fury.  I remember thinking his opponent was corny. He got stuck on the blind and disregarded the fury.

Blind Fury by my account was indeed better and should have won that battle.  He was more lyrical,
had a method for finding out visual details about his opponents and  he had multiple flows.  I realized the perception of Blind Fury’s talent was based on his disability.

Why would blindness limit the ability to rap? It’s vocal, what’s the big deal.
Yes, battle rap might require the ability to quickly gain information about your opponent, but Blind Fury was making that happen too.

Eventually Blind Fury took his place in history with his success on  BET’s 106 and Park’s Friday Freestyle.

[Audio: From Wild Style… “South Bronx Subway Rap”, Grandmaster Caz ]

The truth is people with disabilities have been involved with hip hop since its origins.

Leroy prior to his interest in rap was into rock and heavy metal.

LM:
Ozzie Osbourne, Metallica, ZZ Top…
***

TR:
He was then introduced to Rapper’s Delight, from the Sugar hill Gang.

[Audio: rapper’s Delight, Sugar Hill Gang]

LM:
Back then you bought the record and tried to learn all the lyrics.

This is gonna be cool!

At that time I had a walker . So picture me  with my walker going to the subway to the Bronx. Here I am this skinny guy with a walker and everybody around me has muscles,  break dancing and all that stuff.
I was just a writer back then . I dabbled in poetry.  I always told myself that I want to get in the cypher
TR:
If you’re not familiar  with the ciphers,  rappers would get together to rhyme  with one another. A time to test your newly written verse or maybe freestyle. Picture a circle of rappers passing the imaginary microphone to one another. It’s a meticulous process. You wait your turn. And you better be ready because you are going to get instant feedback on your 16 bars, or your verse. This is the place where you truly hone your skills.
While the ciphers were often about seeing who had the better skills, these
groups of mainly African American and Latino young men attracted the attention of the police.
Becoming more familiar with Leroy’s presence, he was soon declared “The  Watch Man”.

LM:
Because you’re disabled  you can watch out for the cops. The cops won’t do nothing to you . When the cops came  I used to yell you know, “po po”  and they used to scatter.  They’d just leave me there with my walker  and the cops used to get so pissed off.

TR:
Leroy played his position . He listened to more and more music.

LM:
When Run-DMC came out and did “Walk this Way”  and mixed rock with rap I was like alright this is it!

TR:
[Audio: It’s Like That, Run-DMC]

Right before I was scheduled to speak with Leroy, I read an interview he did with Daryl McDaniel’s better known as DMC of Run-DMC fame.

Now, when I heard [It’s Like That] as a young teenager, I lost my  [Censored Beep] mind!

TR in conversation with Leroy:
What was that like meeting DMC?

LM:
Oh my God, you know, I told him I grew up with you… he’s like no no we grew  up together!
For me it’s one of the highlights of my journalism career.

I saw that DMC had a book out about his depression. I also knew that back in I think the late 80’s he had a voice disability. I was like ok, DMC needs to know about Krip-Hop.

TR:
And more people need to know about Krip Hop.

In general, people are uncomfortable with disability. They don’t understand what to say to a person, how to act, maybe there’s some fear of even thinking about disability…
You know what I’m talking about because chances are you experienced it from at least one side or both.

Leroy never did participate in any of those early Bronx ciphers, but Hip Hop did get into him.

One important aspect of art and culture, is seeing yourself represented on the screen, on the canvas or stage and in the music.

As a black disabled man, that doesn’t happen that often.

LM:
My father had a huge Blues record collection and of course as we know Blues artists were blind… like Blind Willie Johnson.
[Audio: “It’s Nobody’s Fault but Mine”, Blind Willie Johnson]

My father liked Robert Winters. Robert Winters had Polio  and walked with crutches…
[Audio: “Magic Man”, Robert Winters]

Wow,  there’s disabled Black  men that do music!

I think it played a really big part of where I am today with Krip-Hop.

This year is our 10th Anniversary and we have loose chapters…

TR:
These include countries within Africa, the UK, Germany and Spain.

[Audio: “Tales of the Krip-Hop”, Rob da Noize Temple]

With the network formed by Leroy and co-founder Keith Jones, the two being disabled activists, the focus continues to be on education and advocacy.

LM:
So we saw Krip-Hop as a way to bring awareness around the history of disabled musicians from the Blues to Hip-Hop and really educate and to push the Hip-Hop arena  around Ableism thinking around disability and to really say that disabled musicians have been here since the Blues.

TR:
Krip Hop Nation produces live events featuring all sorts of artists with disabilities including; dj’s, emcee’s, spoken word artist, dancers and more.
They have put out 4 CD’s including their latest.

LM:
Our 10th Anniversary CD just came out on CDBaby.com. It has Wonder Mike  from the Sugar Hill Gang, DMC from Run-DMC.

TR:
Two names you are probably familiar with, but some might be new…like;

George Tragic
[Audio: “Industry Epidemic”, George Tragic]

Wheelchair Sports Camp

[Audio: “Hard out Here for a Gimp”, Wheelchair Sports Camp]

Toni Hickman
[Audio: “Cripple Pretty”, Toni Hickman]

Rap music and hip hop culture ironically was birthed to some degree from
exclusion and isolation.
Young kids from the South Bronx who  didn’t have access to much
including instruments so turn tables and beat boxing became its  replacements.
Barred from the downtown discos and night clubs; the community centers and parks became their place to party.

[Audio: “This Can’t Be Life”, Prinz D]

Hip Hop is a culture that created an outlet for expression.
It’s common themes consist of stories about overcoming adversity,
rebelling against  oppression, yet the disability experience goes mainly unheard.

Obviously this isn’t exclusive to rap ,
but this music with its infectious beats and rhymes is perfectly suited for Communicating all types of information with
the intention of educating.
Whether changing commonly held beliefs or getting young students to recall all types of information.

[Audio: “Hip Science”, Naru Kwina]

That’s where Naru saw a way to use his love for hip hop and combine it with his love of teaching.

While working as an assistant teacher he had the challenge of trying to teach science to kindergartners.

Naru:
The kids were like “uh!”

At recess I heard them all outside, they were singing this song off the radio; the lyrics were horrible. [Laughs…]
But, man, they knew the whole song….
And a lightbulb went off like huh!…
If I could turn these lessons into music like that and get these kids excited I wonder if they would learn these lessons like they learned that song?

So I did a series of songs  about the body and gave them to my students, the CD’s to the parents  to take home and listen to and then we did some in class. I mean they caught it so fast, it was amazing.

And so I was just using it in class and people kept telling me you need to market  this… you need to do this you need to do  that…
I ended up applying for my first grant. It’s a grant called  the Creative Work Fund. It was a partnership with this organization called the African Scientific  Institute out here in Oakland. We got the grant. $35,000 grant. I was able to produce a play, the CD and pay a lot of people in my community as well to perform  and got other artist involved to  record with me. That’s about 10 years ago. I’m still doing it to this day. Outperforming , online sales. It became half of my career. I’m still an after school teacher but I do a lot of Hip Science. I enjoy it!

TR in conversation with Naru:
What was that reaction like from the other teachers? Were they cool with this or did you get any negative feedback from them?

Naru:
They were amazed. First of all I don’t think any of them knew I rapped. I don’t know why but I kind of kept that part of my life separate  from working with the children and never realized that was one of my strengths.
I should have been using it all along.
I never even thought it would be anything like that. I just wanted my kids to learn.

TR:
And it wasn’t just his kids that were learning.
Shortly after releasing the CD series he received a call from a company interested in the product.
Naru:
This company, it’s called Overbrook Entertainment and they wanted to buy [laughter] my whole business. I’m like what? I’m not selling my business. And it turns out that was Will Smith’s company. He was in town  in San Francisco  shooting the Pursuit of Happiness  and I don’t know how  he got my CD’s  but his kids were listening  to it. I never finished the negotiations because  they were talking about they wanted to have all the marketing … I wasn’t looking to sell. It was like  this  is my baby right here!

I was like wow, I know I’m doing something now if their trying to buy  my company man! [Laughs fade away…]

***

TR:
Doing something now, well that sounds like Naru’s default mode…
He creates music with his daughter who herself is a singer and rapper at the Oakland School for the Arts.

Naru:
Matter of fact, the first song she ever wrote with me  she was 3. It was called love is the thing It’s featured on Rosie O’Donnell Family is a Family documentary. We did a video for it and everything. It was real cool!

TR:
Over several summers, the two have written a book that’s now complete and he and his daughter are creating an accompanying soundtrack.

Naru:
It’s called Panela’s Journey. It’s a very fanciful tale of a young girl who’s struggling with her identity  in the world and  her place in the world and wondering why the world is the way it is. She seeks refuge in a fanciful place.
That  one should be coming out soon as well. We’re gonna have some augmented reality, apps that go along  with the book.

TR:
Continuing to put out his own music, his latest project should be out soon.

Naru:
Naru and Strong Soul and we are The Living Room Legends!

TR:
I have some links on the blog… Reid my mind .com if you want to check out more on both Leroy and Naru.

Salute to both of these brothers for the good work their doing, truly expanding the culture.

I don’t know about you but I feel like I have to start producing some    more content!

n that note, make sure you subscribe to this podcast.
Go to your podcast app of choice and search for Reid My Mind Radio… that’s R E I D.
You can also follow me on Sound Cloud soundcloud.com/t-Reid.

[Audio: RMMRadio Theme]
Thanks for listening.

Peace!

Hide the transcript

Reid My Mind Radio – Hey Stacey, This, Is Black History

Wednesday, February 10th, 2016

With talk about Black History Month and the comments of Stacey Dash and anyone who believes serving an disenfranchised population is somehow racist… well I felt the need to share what’s on my mind and give my view of Black History Month.

 

Do you think you know where I fall in the argument? Only one way to find out… Hit Play!

 

Just Telling it Like It Is

Friday, April 6th, 2012

Gil Noble and his award winning program Like It Is, represents some true milestones in my life. With his recent death, due to complications from a stroke last summer, I can’t help but reflect on what his show meant to me. If my life were a movie, Like It Is would have to be included on a television screen in at least two or three scenes.

 

Like It Is, was the only television show in New York City that covered issues of the African diaspora fully from the perspective of those within the community. It was unapologetic during a time when it was more common to tone down and seek mass appeal.

 

If you were to ask me to describe a perfect Sunday while I was living in NYC it would include two NYC treasures; Hal Jackson’s Sunday Morning Classics on WBLS and Gil Noble’s Like It Is. I honestly considered not having these two influential programs in my life as a factor in moving. In fact, I was under the incorrect impression when I moved out to the Poconos that the cable company carried the NYC ABC affiliate which I thought would allow me access. Fortunately, I still enjoy the Sunday Classics via the online stream.

 

There’s no way for me to think about Like It Is or Gil noble without warm fond memories of my father.

 

My introduction to the show and an afro centric perspective was more like a rites of passage.

 

My father would watch “Brother Gil” religiously. As a youngster I wasn’t really interested in watching two or more people sitting around a table talking. However, around the age of 13 or 14 my father didn’t ask me to join him he very politely commanded. I was smart enough to obey.

 

This started a process that would repeat each week until I was ready to go off on my own. I could be in the kitchen getting my favorite “Jungle Juice” fruit punch and my Dad just seemed to appear announcing “Let’s go, Like It Is.” Into his room I would follow taking my place on the floor in front of the television. In the early days, I would hope for the episodes featuring people and things I knew, Dr. King, Malcolm X or the black Panthers. I loved the black and white clips of the 1950’s and 60’s. I would have a hard time staying awake for the round table discussions about Pan Africanism or political issues that I couldn’t understand.

 

My father would point out elders like Dr. Ben and john Hendrick Clark, making sure I was aware of their importance to our history.

 

The day came when I graduated from my passage training. My Dad no longer sought me out when he realized I was already in front of the television waiting for it to start. Then I was in my own room watching it alone. I never knew then how much I would miss the early days we shared watching the show together.

 

I was fortunate enough to meet Gil Noble during a small intimate presentation I attended at Baruch College around 1991. He spoke of his experiences in the media. It was easy to see that he enjoyed these opportunities to hear from the next generation and use the occasion to encourage. He was one of those speakers that seem less concerned with time or a busy schedule and more so with his audience.

 

I don’t know if my father ever met Mr. Noble. I wish I could have taken my Dad with me to that presentation, but he was already diagnosed and well into his experience with Parkinson’s disease.

 

As a father now, I know what it would have meant to him to attend the presentation with his son. It was obvious that he wanted to assure that I was equipped with information and a healthy perspective of what it means to be an African American man. In a way it would have been both a confirmation for him that I received what he was teaching and it would have been a thank you gift right back at him.

 

My Dad wanted for me the same thing Mr. Noble wanted for the community.

 

Dad knew the importance of instilling a true sense of pride. He knew there were other personalities and stories from our community that would benefit his child’s self-image.

 

Mr. Noble had the ability to bring the community the other side of stories that mainstream news organizations too often failed to present.

 

The archive of this show is truly a treasure chest containing over 40 years of information on all relevant issues impacting the African diaspora. From politics to culture Mr. Noble has interviewed them all.

 

In this age where information is so readily accessible, I would hope that something is done to not only preserve the Like It Is legacy, but make it available to all via the internet.

 

Thank you to my Dad and Gil Noble for introducing me to the true history of African Americans, Africans throughout the diaspora and subsequently myself.

 

Now all I can do is my best to pay it forward.