Entertainment
Hurdles in ‘Suge’ Knight Case: Hesitant Witness, Fuzzy Video
ANTHONY McCARTNEY, AP Entertainment Writer
LOS ANGELES (AP) — On paper, the evidence in the murder case against Marion “Suge” Knight looks strong: Prosecutors have a surviving witness, video of the former rap music mogul running over two men and Knight’s history of violence and intimidation.
But a hearing this week that ended with a judge ordering Knight to stand trial showed the difficulty prosecutors will face if they hope to convict the Death Row Records co-founder. The witness says he doesn’t want to testify and be labeled a “snitch” and won’t even identify Knight as the one who ran over him. The video is fuzzy and has elements that could help either side.
And Knight is not the only one involved with a shady past.
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THE WITNESSES
Cle “Bone” Sloan, the man who survived the crash, is a former gang member, and Knight has ties to the Mob Piru Bloods, a gang that helped him maintain a fearsome image during the heyday of Death Row Records. Experts say witness issues are common in prosecutions involving gang members.
Meanwhile, Knight’s defense attorney used the video to show that several men with gang affiliations hired by Sloan for work on the film “Straight Outta Compton” were at the scene, when they should have been several blocks away preparing to shoot a promo video.
Sloan made clear that he is a reluctant witness. Such behavior is common in cases involving gang members, in large part because testimony can mean physical harm or death for someone seen as a snitch.
“That is the hallmark of a gang case,” said Alan Jackson, a former Los Angeles prosecutor who has written guidelines used nationwide in gang prosecutions.
“Although it’s a very daunting situation to be confronted with, it’s one that can be overcome,” Jackson said. “It’s usually overcome by the prosecutor explaining to the jury through a gang expert what these rules of the street are.”
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THE VIDEO
Footage of Knight running over Sloan and Terry Carter, who died, could be used by both sides.
While the video shows Knight’s truck barreling over Carter, it offers a limited view of the scene. Knight’s attorney, Matt Fletcher, has contended that Sloan was carrying a gun — the video shows one of Sloan’s associates taking something off him after he was hit.
A prosecutor implied at this week’s hearing that it could have been a radio used by Sloan during the film shoot. Fletcher said Thursday that testimony ruled out that it was a radio, cellphone or wallet.
“We eliminated all the possibilities but the last remaining possibility, which is the gun,” Fletcher said.
Stan Goldman, a criminal law professor at Loyola Law School in Los Angeles, said, “You never quite know what’s going to happen with a video.”
He noted that defense lawyers slowed down and painstakingly analyzed footage of Los Angeles police beating motorist Rodney King, successfully winning acquittal of the officers in a state criminal trial. Convictions against two of the officers were later obtained through a separate federal case.
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A SHADY PAST
Knight, 49, was a key player in the gangster rap scene that flourished in the 1990s, and his label once listed Dr. Dre, Tupac Shakur and Snoop Dogg among its artists. Knight lost control of the company after it was forced into bankruptcy.
He has prior felony convictions for armed robbery and assault with a gun. He pleaded no contest in 1995 and was sentenced to five years’ probation for assaulting two rap entertainers at a Hollywood recording studio in 1992.
For his part in perhaps the most infamous violence associated with rap music in the 1990s, Knight was sentenced to prison in February 1997 for violating terms of that probation by taking part in a fight at a Las Vegas hotel hours before Shakur was fatally wounded in a drive-by attack as he rode in Knight’s near the Strip. Shakur’s slaying remains unsolved.
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KNIGHT’S DEFENSE
Fletcher has repeatedly said that his client’s life was in danger when he was attacked by Sloan.
“There’s no intent to kill,” Fletcher said, arguing to dismiss the case. “There’s an intent to survive.”
Knight’s fiancee also provided a preview of a self-defense claim that may be raised.
“He heard them verbally saying that they were going to shoot him,” Toi Kelly said of Knight. “And not to shoot him in the truck, to pull him out of the vehicle and shoot him.”
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Associated Press writers Brian Melley and Raquel Maria Dillon contributed to this report.
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Anthony McCartney can be reached at http://twitter.com/mccartneyAP
Copyright 2015 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.
Arts and Culture
In ‘Affrilachia: Testimonies,’ Puts Blacks in Appalacia on the Map
By Terri Schlichenmeyer
The Bookworm Sez
An average oak tree is bigger around than two people together can reach.
That mighty tree starts out with an acorn the size of a nickel, ultimately growing to some 80 feet tall, with a canopy of a hundred feet or more across.
And like the new book, “Affrilachia” by Chris Aluka Berry (with Kelly Elaine Navies and Maia A. Surdam), its roots spread wide and wider.
Affriclachia is a term a Kentucky poet coined in the 1990s referring to the Black communities in Appalachia who are similarly referred to as Affrilachians.
In 2016, “on a foggy Sunday morning in March,” Berry visited Affrilachia for the first time by going the Mount Zion AME Zion Church in Cullowhee, North Carolina. The congregation was tiny; just a handful of people were there that day, but a pair of siblings stood out to him.
According to Berry, Ann Rogers and Mae Louise Allen lived on opposite sides of town, and neither had a driver’s license. He surmised that church was the only time the elderly sisters were together then, but their devotion to one another was clear.
As the service ended, he asked Allen if he could visit her. Was she willing to talk about her life in the Appalachians, her parents, her town?
She was, and arrangements were made, but before Barry could get back to Cullowhee, he learned that Allen had died. Saddened, he wondered how many stories are lost each day in mountain communities where African Americans have lived for more than a century.
“I couldn’t make photographs of the past,” he says, “but I could document the people and places living now.”
In doing so he also offers photographs that he collected from people he met in ‘Affrilachia,’ in North Carolina, Georgia, Kentucky, and Tennessee, at a rustic “camp” that was likely created by enslaved people, at churches, and in modest houses along highways.
The people he interviewed recalled family tales and community stories of support, hardship, and home.
Says coauthor Navies, “These images shout without making a sound.”
If it’s true what they say about a picture being worth 1,000 words, then “Affrilachia,” as packed with photos as it is, is worth a million.
With that in mind, there’s not a lot of narrative inside this book, just a few poems, a small number of very brief interviews, a handful of memories passed down, and some background stories from author Berry and his co-authors. The tales are interesting but scant.
For most readers, though, that lack of narrative isn’t going to matter much. The photographs are the reason why you’d have this book.
Here are pictures of life as it was 50 years or a century ago: group photos, pictures taken of proud moments, worn pews, and happy children. Some of the modern pictures may make you wonder why they’re included, but they set a tone and tell a tale.
This is the kind of book you’ll take off the shelf, and notice something different every time you do. “Affrilachia” doesn’t contain a lot of words, but it’s a good choice when it’s time to branch out in your reading.
“Affrilachia: Testimonies,” by Chris Aluka Berry with Kelly Elaine Navies and Maia A. Surdam
c.2024, University of Kentucky Press, $50.00.
Activism
Oakland Post: Week of December 18 – 24, 2024
The printed Weekly Edition of the Oakland Post: Week of December 18 – 24, 2024
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Arts and Culture
Promise Marks Performs Songs of Etta James in One-Woman Show, “A Sunday Kind of Love” at the Black Repertory Theater in Berkeley
“The (show) is a fictional story about a character named Etta, aka Lady Peaches,” said Marks. “She falls in love with Johnny Rhythm, leader of the Rhythm Players Band and headliners of Madam G’s Glitta Lounge.” Marks channeled the essence of Etta James, singing favorites such as “Sugar on the Floor” and “At Last.”
Special to the Post
It was “A Sunday Kind of Love” at the Black Repertory Group Theater in Berkeley on Saturday night, Dec. 7. The one-woman musical based on the music of Etta James featured the multi-talented singer Promise Marks
Marks, who wrote and directed the musical, also owns PM Productions.
“The (show) is a fictional story about a character named Etta, aka Lady Peaches,” said Marks. “She falls in love with Johnny Rhythm, leader of the Rhythm Players Band and headliners of Madam G’s Glitta Lounge.”
Marks channeled the essence of Etta James, singing favorites such as “Sugar on the Floor” and “At Last.”
In between her soulful songs, Marks narrated impactful moments of the love story and journey of blues and forgiveness.
Marks sultry voice carried the audience back to an era that echoed with the power of Black music and a time of great change.
Marks said James shared love for the Black community by singing at gatherings during the Civil Rights Movement uplifting the people.
“She spoke to the movement, spoke to the people, and let her music speak for itself,” Marks said.
Backing the musical’s monologues, images and videos of Etta James are projected for the audience to view. While the production is fictional, Marks infused script with the unfairness and heartbreak James experienced while performing.
Marks performed gospel artist Donnie McClurkin’s “We Fall Down” as she narrated acts of reconciliation and forgiveness among the characters at Johnny Rhythm’s deathbed.
Marks, who regularly sings for the Miss America Pageant, was asked to perform as Etta James last year. “(At the event) a lady yelled out to me: ‘You’re Etta James!’ And then the audience went crazy. I said to myself, ‘I may have something here,’” she said.
Within 12 months, Marks created the musical production, which featured a dozen songs honoring “the great legacy of Etta James,” she said.
Marks says she was saddened to see how Etta James was often judged by the struggles in her life and wanted to offer attendees a more layered view.
“Etta’s life was so big. I want people to know that she was more than her drug addiction,” said Marks. “We can’t make that her legacy. Her catalog is too amazing. You can’t just be that and have the catalog that she (created). I don’t want the addiction to be the focus: I want her music, her element, her sassiness, and what she brought to be the focus – her woman-ness, that she was strong, and I wanted to honor that.”
Set Designer Nora Burnette says she created the set segments to mirror James’ life story. A set designer for BRG since 2016, she explained that her process of researching the scenario and the character serve as her inspiration for her design.
“I try to design a set as close to real life as possible so that the actress can deliver the performance sincerely,” said Burnette. “By creating the right setting, it helps the actors release the true essence of a character.”
The set brought the story to life and absolutely floored Marks. “Once Promise (Marks) saw the actual set, she understood my vision: ‘Wow, you get me. You get it,'” Marks told the designer.
Born Jamesetta Hawkins, Etta James, began her career in 1954 and gained fame with hits such “At Last” and “I’d Rather Go Blind.” She faced a number of personal problems, before making a musical comeback in the late 1980s with the album “Seven Year Itch.”
Co-producer and BRG Development Director, Sean Vaughn Scott, works with Overseer Production. According to producer Pamela Spikes, “Marks talent truly does Etta’s life story justice.”
Pam Jacobs of Hercules, a friend of Marks’ mom, Jackie Smith, said, Marks “was fabulous and sang all of those songs flawlessly.”
“I’m so proud of my daughter,” said Smith.
Marks, who has served as an instructor for BRG, will return on Feb. 21- 23 for an encore run of the musical.
“It’s an honor to be a part of the BRG (Black Repertory Group) family and continue our executive director Dr. Mona Vaughn Scott’s vision for the Black Repertory Group theater,” said Marks.
The Black Repertory Group Theatre is located at 3201 Adeline St., Berkeley, CA 94703. For information, visit: BlackRepertoryGroup.com
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