. . . Denzel Washington
Denzel Washington starred in The Pelican Brief, which was based off a novel by…
Denzel Washington starred in The Pelican Brief, which was based off a novel by…
After nearly two years of protests and calls to action against former Democratic donor Ed Buck, the 65-year-old was arrested after a man overdosed on methamphetamine at his apartment.
The LA Times reports Buck was arrested Tuesday evening (Sept. 17) and charged with one count of battery causing serious injury, administering methamphetamine and maintaining a drug house. Noted as Joe Doe, the victim met Buck at his home Sept. 4 where he "personally and deliberately” administered a large dose of methamphetamine. The man left after fearing an overdose but returned Sept. 11 where he was yet again injected with "two dangerously large" doses of meth. Doe survived but Buck's previous victims didn't.
The first was Gemmel Moore, who died at Moore's apartment at Laurel Avenue in West Hollywood. A coroner cited the cause of death on an accidental overdose, but Moore's family was convinced the 26-year-old didn't inject himself. Diary entries found by friends and presented to the public by reporter Jasmyne Cannick showcased Moore's fears about Buck's alleged fetishes around drugs and gay black men.
"I’ve become addicted to drugs and the worse [sic] one at that," one entry reads. "Ed Buck is the one to thank, he gave me my first injection of meth. It was very painful but after all the troubles I became addicted to the pain and fetish/fantasy. … I just hope the end result isn’t death. … If it didn’t hurt so bad I’d kill myself but I’ll let Ed Buck do it for now.”
"Ed had nothing to do with his [Moore's] death," his lawyer Seymour I. Amster told the LA Times in September 2017. "Ed is a caring soul who allows individuals to have access to his home who are homeless or who have other social or economic issues, to give them a place to wash up in a safe environment. Unfortunately, many of these individuals come in with their lifestyles."
But earlier this year another man named Timothy Michael Dean was also found dead at Buck's apartment. Dean was also a black queer man. Many others began stories about Buck's behavior towards the men who faced battles with homelessness or drug usage.
Moore's mother, LaTisha Nixon, filed a wrongful death lawsuit against Buck and Los Angeles County officials. During Buck's arrest, the case wasn't brought up but Los Angeles County District Attorney Jackie Lacey said she was "concerned" about other victims Buck may have targeted.
"I remain deeply concerned for the safety of people whose life circumstances may make them more vulnerable to criminal predators," Lacey said.
"For more than two years, activists have said Buck wasn't charged with a crime because he is white, wealthy and politically connected. Now they're welcoming news that he has been arrested."We're just completely ecstatic," Cannick said via Twitter. "Black gay men's lives matter. The whole black LGBT community is going to be celebrating this evening because our lives matter."
“I feel vindicated for all the people who said it was never going to happen,” she told the LA Times. “I feel really good for all the young men he took advantage of because they didn’t feel like anyone took them seriously like their lives weren’t important enough for anyone to really care about.”
If convicted, Buck faces a maximum sentence of five years and eight months in state prison.
Read George Johnson's Ed Buck And The Black Queer Lives That Don't Matter here.
Miles Davis had it. Whatever it was, Miles Davis was the sole proprietor. The aura, skill, and style that oozed from Davis’ pores helped propel the trumpeter to stardom. His musical accomplishments were only made more striking by the swagger that garnished them. Davis’ cool, projected best on stage, was an unwavering confidence with a dollop of syrupy charisma. Even his voice, a sandpaper-like whisper, which came as a result of yelling after throat surgery, weaved its way into the mythological-like figure Davis became. To be frank, Miles Davis was a cool-ass motherfucker and he knew it.
Yet underneath Davis’ cool was a man equally tormented by the second-class citizenship his country forced on him, as well as his own personal demons. Standing up to the racist government sometimes proved easier than defeating his alcoholism and drug abuse. Those closest to Davis felt his venom whenever he bit, and graciously allowed their love for him to be a balm for the wounds he left. How could the same man who composed and performed Kind of Blue be responsible for the cruelty of those who loved him so?
Well, it’s complicated.
Director Stanley Nelson lays Miles Davis bare—his good, bad, and beautiful—to a new generation while crystalizing the jazz musician’s legend to longtime fans with Miles Davis: The Birth of Cool. Nelson’s latest demonstrates Davis' complexity and all that he endured.
Nelson invited VIBE to his 5,000-square-foot Harlem office to discuss Davis. Before getting into the nitty-gritty of the nearly two-hour film, Nelson offers a firm handshake and an even stronger espresso. He apologizes for not having much sugar but makes up for it with a Wicker basket full of snacks that sits atop his white granite kitchen island. I opt for cookies and sneak the last bag of white cheddar popcorn for the train ride back to the office.
As we walk past the stainless steel appliances and through the dining room, the September sun shines bright through windows striking the white living room walls. Several books about Frederick Douglass are neatly stacked on the dining room table. Nelson reveals the writer and abolitionist will be the subject of his next feature, but for now, the 68-year-old director is entrenched in promotion for Miles Davis, an artist he says “transcends music.”
In between sips of tea, Nelson explains why Davis will always be a figure worth examing,
VIBE: What is your definition of cool? Stanley Nelson: I think the definition of cool changes with the times. I think cool is a certain calmness and being ahead of the times. It’s also a certain sophistication, I think Miles Davis had for so much of his life personified.
What do you think are some of the ingredients that go into making a Miles Davis? I don’t think there are very many people, across all genres, who can compare to Miles Davis. Miles Davis did what he did for five decades and was a leader in so many different movements in music and in jazz. Miles Davis transcends music.
What do you mean when you say "Miles Davis transcends music?" Miles Davis transcended the music because he was a leader in the way he looked, in the way he dressed, in things he demanded as you can see in the film. He demanded that he be treated with an amount of respect. The fact that he had black women on the covers of his albums, all those kinds of things made Miles Davis so different from so many other jazz musicians, who we love and admire for their music. We love and admire Miles Davis for his music, but it wasn’t just the music that made Miles Davis special.
Miles was also undeniably a beautiful looking man, and this was in the 50s and 60s. Miles Davis had very dark skin which was something that was not in the general public how it was thought of, so Miles kind of flipped that on its head.
This is going to sound like a dumb question but I have to ask it anyway. Why did you decide to honor Miles Davis with this film? There are a lot of reasons for making this film. There are a lot of reasons for making any film so whenever filmmakers tell you there’s only one reason they’re probably just lying, or saying whatever their publicist wants them to say. For one, his music is so incredible I would say he is easily one of the most important musicians of the 20th century, maybe the most important, you can argue that in any genre. Two, I’m a jazz lover and three Miles Davis is a very complicated individual so it makes for a better film. It’s not a simple story. I also think as we got into the film that Miles Davis’ story isn’t only about music, but it's about being a black person in the second half of the 20th century in the United States and I think that’s what makes the film work on a different level than a lot of other jazz films.
Veering off from Mr. Davis for a bit, how do you decide which topics or events you want to turn into films? You’ve done the black press, you’ve done a story about The Black Panthers, you did a story about Emmett Till. How do you choose which one to make into a film?
One of the great lessons for me was the first film I made called Two Dollars and A Dream. It was about Madame C.J. Walker and it took me seven years to make the film and I realize at that point films can take a long time to make, to raise the money and actually get the films made, so it's really important that the film be important to me, at least, that’s part of how I think about films when I think about what to do next. I’ve also been afforded the opportunity to paint on a big canvas so I’m trying to make stories that are big. I’m not just making small stories.
Did you always have this mentality of making big stories? I think so. I think part of that was unspoken, not really something I thought of. If you make something you want it to be a success, you want it to be a big success especially if it's going to take seven or 10 years of your life.
Why was Carl Lumbly the one you picked to voice Davis? Carl Lumbly is a great actor and he’s someone that I knew. Carl did the narration for one of our other films a long time ago, so Carl is someone I thought of. We sent him a bunch of tapes of Davis’ actual voice, and he practiced and we got back to him in a week and asked him to give us his Miles Davis voice over the phone and when he did, we were like, that’s good. It wasn’t perfect, but we could make it work.
What I personally loved about the film was that you didn’t glance over Miles Davis’ bitter personality. I loved the interviews with Frances Taylor, but it broke my heart that the creator of Kind of Blue forced his dancer wife to drop out of West Side Story. Miles was not an easy guy.
That’s putting it mildly. I think it was important that we tell that part of the story. I think what makes his story so rich and emotional there’s that dichotomy with Miles. The man that made some of the most beautiful music ever created and then was so rough for so many people. How do those things exist? Miles basically ruined Frances’ career by pulling her out of this show.
Yes! He was abusive to her, and after a few years they broke up. Her career had been ruined. I think one of the things that was so great for us while making the film was that Frances was so resilient and so beautiful and so funny in the film. You realize he tried but he couldn’t break her. I should say that Frances passed away Thanksgiving of last year. It was such a joy to be with Frances and interview her.
What do you hope people who don’t know Miles Davis will take away from the film and what do you hope people who do know Miles Davis will learn? One of the challenges of making any film, especially a film about Miles Davis, some people come in thinking there’s everything to know about Miles Davis. Some people come in and say "Miles who? Why’d you drag me to the theater?" You’ve got to walk that line and tell everybody something new and also be entertaining.
My mission in this film is partly to entertain. I don’t care how much you know about Miles. If you walk into this film and it’s two hours long you’re going to learn something new, or it’s going to be told to you in a different way. Certainly you’ve never been exposed to Frances. Just being exposed to Frances in and of itself is a trip. Part of the job is to entertain and frankly, that’s what we’re trying to do.
Miles Davis: The Birth of Cool is in select theaters. Click here
Despite Colin Kaepernick's controversial time in the press, the former NFL player has come out on top with a triumphant win.
TMZ reports Kap's Nike "Dream Crazy" commercial was awarded Best Commercial beating out visuals from Apple and Netflix at the 2019 Creative Arts Emmy Awards in Los Angeles.
"Don't picture yourself wearing [Odell Beckham's] jersey. Picture OBJ wearing yours," the activist said. "And, if you're a girl from Compton, don't just become a tennis player, become the greatest athlete ever. Yeah, that's more like it."
Kaepernick's inspirational ad beat out "Behind the Mac- Make Something Wonderful"- Macbook, "A Great Day in Hollywood" -Netflix, "Point of View" -Sandy Hook Promise, and "Shot on iPhone XS- Don't Mess With Mother" -iPhone.
Serena Williams and LeBron James stand alongside the 31-year-old during the two minutes and twenty-two-second commercial. The clip also inspires not only athletes but anyone who thinks they can't "Just Do It."
CNN reports the visual was released in September 2018, days before the football season began. Nike selected Kaep as the face for their 30th anniversary "Just Do It" campaign.
He has yet to speak out on his Emmy accomplishment.