Saturday, June 30, 2007
I now have a few moments to sit and relax and just roll with my thoughts. There was quite a few distractions over the first half of this year. I moved into a new house. My mother has finally closed on her house. I tried to give Fall River a chance and discovered why their story may never be told except in garbled bits of rant and rave on YouTube. The twists and turns in the life of a man like John Keehan is more than enough to deal with. Whatever you try to add to this tale, post-Dante ends up being way too much. I guess it is as someone recently said, He is STILL a trouble maker.
But it is also as Woody Edgell said, and Bob Brown, and Doug Dwyer... John was unique, he was charming, he could be a good friend and a worse enemy. He is remembered for who he is before he became Count Dante. Dante is a persona gone out of control. It looks like he used that name, Juan Raphael Dante earlier then 1968, like when was arrested for selling a gun in about 1956. At least that is what the police record says in his FBI file. Too much information. He was a kid into mischief.
It is summer in Chicago and I am gearing up to finish this project this year by hook or crook. I go back to my point regarding the film over and over so I stay focused on what the film is really about.
It is part hoplology, a study of human combative behavior and performance, part social history of sport as a space for the coming together of different peoples, part martial arts history where I unveil the continuity of secret societies in the martial arts that, for better or worse, continue today, and part personal journey.
It is a look at martial arts in Chicago, those before, and a few after Keehan. I am most excited about uncovering the histories of Bruce Tegner and his martial artists parents in Chicago and Donn Draeger from Milwaukee, WI. I get to talk about his boxing teacher, Johnny Coulon and the gym on west 63rd St. I am excited to talk about Mas Tamura and getting Judo Gene Labelle to talk to me about coming here on a freight train for judo lessons from LA, (if he feels like it..hey..this is "Judo Gene") the resettlement of Japanese from the internment camps in Chicago and Tokyo Rose supplying John with karate uniforms. Good stuff. Every character worth films of their own.
It is a tall order, and it is all true, well to a certain extent. How much truth is there in the tale to begin with. I was looking at some old alt.martialarts discussion groups on Google. Discussion about him never ends. Each generation since his death resurrects his legacy and legand, he was an outlaw, good looking, outspoken and made his place in the history of martial arts.
I keep having people tell me there are better people to make films about. Yeah and...??? Why do I need to justify what I am doing. This is a tale that needs telling and I am doing just that. I am in too deep to stop now. One guy I told, you know what, I am going right home and destroy all the interviews I have travelled from Chicago to San Francisco, Fall River(hmmmm), New York, Kankakee, Momence, IL, Brighton England etc etc... and be ashamed of myself for even considering doing such a film on a character like this.
I have had black friends of mine ask me why I am doing a film on this white guy. Funders even express a bit of a surprise when they discover Keehan is Irish American. "I thought you were making a black film." I am like "goddamn, what the hell is up with people."
The wierdest thing to happen is I called the Illinois Humanities Council to pitch it for a grant they have due July 10 and the guy loved it. He saw it for what it was. I was elated. I need a couple of humanitarians involved, academic orPhds or writer/historians like Studs Terkel. I definitely need someone with a sense of humor and who can see past the obvious and put teh actions and times of a man like Keehan into it's proper social and historical context.
The martial arts community is a bit dubious about the project in some ways. I guess the UFC and Pride are some martial artist's worse nightmares come true and maybe they blame it all on Keehan.
It is a nice day out, the sun is shining and the Taste of Chicago has started. I think I will run the other way and do something quiet for a few hours.
Friday, June 29, 2007
Sandon is the photographer identified by Doug Dwyer. Sandon shot a lot of photographs for martial artists in the Chicago area back in the 1960s.
I am expecting more discoveries like this to come about this next few months. Patience and good investigative skills will clear up any dispute over intellectual property rights.
Good stuff is happening.
Tuesday, June 26, 2007
Last night I met with Woodrow Edgell in St. Charles, IL at the Internal Defense Systems dojo run by Joseph Dodaro. It was a great preliminary interview. Master Dodaro has a beautiful dojo with an incredible studio for producing his instructional DVDs. They are are extremely class act. I left there with contributions for the film, good images, a great interview, and a welcome open door for when I want to come back. They have been very gracious and generous with information and I appreciate it immensely.
Master Edgell had some wonderful photos which I will share here. He knew John for along time, from the mid-1960s, he went with John when he left Trias's USKA to start the World Karate Federation(opps how much is it gonna cost me for using that name). He remembers John for the good he did and makes no apologies in his falling into the dark side. Master Edgell is also a baptist preacher. That is where he was the night of the dojo war.
A warrant was issued for his arrest. It seems he had developed the youthful habit of defending the honor of the World Karate Federation back then, by visiting offending dojos and either extracting an apology or bruises. So the police assumed he was there because everywhere they went it was Edgell's name that was mentioned first. The police had actually tried to pin the death of Konsevic on Keehan personally as in trying to say he actually stabbed him with the spear.
I got some more insight into who John learned his poison hand techniques from and his estrangement from the Chinese teacher due to his adopting his Count Dante persona. Poison hand is usually only taught to people of good character. John's character was constantly in question. Master Edgell like to focus on the good things he did because he feels Karate would not have advanced without the ideas of John Keehan and he sees John as a pioneers of what exists in martial arts today.
Master Edgell's history is consistent with a lot of the people I talk to about martial arts. They start in boxing, were exposed to martial arts at the local YMCA or youth center. They then advance to the Jiu Jisu Institute headed by Mas Tamura or elsewhere and all jump in when karate arrives on the scene. Master Edgell has the advantage of studying Shaolin Jiu-jitsu as well as Shaolin Kempo. This put him a bit ahead of the curve. He was the kind of martial artists that John Keehan was looking for.
Joe Dodaro works with the principles of Dante in his instruction of law enforcement. He demonstrated to me some of his ideas. I will upload some tings to YouTube in future. Dodaro was a student of Edgell and James Lee, the Shaolin teacher who taught John Keehan.
Here are some images of the young Jimmy Jones and Robert Brown I had not seen before.
The most intriquing image in his collection was this image of Dante standing in front of the Imperial Studios of Self Defense. It is the leather jacket and plaid workout bag that caught my eye. This guy was forever the stylish one. Lots more to report, but I have to do it later. Things are moving ahead nicely.
Sunday, June 24, 2007
Edgell has a message he wants to give us about John Keehan and I will share it in the film. Edgell was a roku-dan(6th degree) in the World Karate Federation as can be seen on his certificate here signed by John Keehan.
Master Dodara is one of those quiet movers in the martial arts world. He has an interesting pedigree having studied with Grandmaster Zhang Hong-Chao, Grandmaster Hsu Fun Yuen, and Grandmaster James Lee, a Grandmaster of Shaolin Chuan-fu. Dodaro was introduced to Lee while studying with Woodrow Edgell. He has also studied Aikido with Shihan Fumio Toyoda.
It seems I may have been mistaken in thinking that James Yimm Lee may have taught Keehan Poison Hand. It was closer to home, in Chicago's Chinatown with James Lee who was admitted to the Shaolin Temple when he was 6 years old. Lee also became estranged from John when he took on his Count Dante personality.
More good news has come about and I am saving that until after it happens. Things are moving along nicely. I got lots to say but I am holding back. But I will say this, with people like this coming forward with real martial arts pedigree and lineage I got to up my game and make a film that is a tribute to them and their cooperation.
Friday, June 22, 2007
Ken Knudson gave me some old tournament footage. This is a clip of him at a shiai fighting Joe Lewis. He really holds his own. Knudson was a student of Jimmy Jones, a first generation student of John Keehan. Jimmy Jones came to Keehan as a student and found Ray Cooper(The Chicago Tiger according to Black Belt magazine in the mid-1960s), aka Nganga Tolo-Naa, already a firm presence in the school. Jones and Tolo-Naa were part of the first championship team that rocked the martial arts world at the 1963 First World's tournament held at the University of Chicago Field House.
Jimmy Jones left Dante after he did something Jones felt was disloyal and began his own school. He was the teacher of many champions including the indomitable Tayari Casel. Jones was the tournament king in the 1970s, after the demise of Keehan. The world had changed and Keehan was finding himself left behind. The death of Jim Konsevic in the Dojo Dragon Wars changed his life forever.
Tolo-Naa is a long-time friend and associate of Mike Felkoff, who tells me in the film he walked into John's dojo with his shoes on in order to challenge him on the spot and that John did not do for the bait. Tolo-Naa treated Mike Felkoff wounds the night of the Dojo/Dragon War.
Both Tolo-Naa and Felkoff took up the internal arts, Tai-Chi by the early 1970s. Tolo-Naa was teaching in the South Suburbs of Chicago when I first saw him. His school was legendary. The Dante legacy of hard training has always applied to and been carried on by his students.
Mike Felkoff is allowing me to use footage from his DVD, The 7 Movements of China.
It is clips like this that will help round out this tale of the social history of martial arts in America. Within these clips lie other stories that give another effect, another way to look at the man's life.
Writer and scholar Vijay Prashad(Everybody was Kung-Fu Fighting) dismissed John Keehan, as simply "a crazy man" a person out of control. This story is too big to be dominated by one region, the beginning or end of his life. It is a wholistic tale of a man, his world, his art and long term effects of activity and behaviors. There is a polyculturalism at work here that is missed by Keehan becoming Dante. His claims of being a Spanish Count even have some possible truths by his possible affirmation of a "black Irish" background, survivors of the Spanish Armada who found themselves washed ashore in Ireland and into the arms of Irish maidens.
We have been seeing a lot of that darkness lately. He is nothing without the light of his beginnings. There is footage I will am looking for of his boxing instructor, Johnny Coulon. Coulon used to have a boxing gym on east 63rd street. Muhammad Ali trained there, as well as Ernest Hemingway and Miles Davis over the years. Artist Leroy Neiman used drop by to paint pictures of boxers . Haskell Wexler filmed part of Medium Cool there and Johnny Coulon is in it. Tim, Keehan's childhood friend since 2nd grade tells me they used to dress up and go to black clubs on east 63rd when they were still minors.
There is a richness possible in this story no one can imagine...but me. I can make this film with my heart. Not out of love for Count Dante, but love for the character of the city and environment that produced both of us and so many more.
This film is already made in my head. Anything that deviates from the things I can already see or places itself above the interest of the over all story simply get deleted. I got more stuff that I know what to do with anyway. The editors scissors are always close by.
Thursday, June 21, 2007
The stories of Count Dante is really not about any of the numerous parties involved. Yet they are all part of the story for better or for worse. I am talking to whoever I feel I need to in pursuit of the story. It is not up to me to judge who is the real this or that. That is the purpose of the movie.
The only thing I believe is that I will finish this film. I will let the audience be the judge of what's what. Much will be left on the cutting room floor. I may not use more than 10 percent stock footage in the film. Somebody quoted me $10K for stock footage. And I can't see it before I buy it. Nahhhhhh. Renactment time.
I do not have a trailer still up. That is not a trailer I did. It was someone else trying to be helpful.
Yes the footage was purchased knowing it was going to be used in a film. But I needed access only for the purpose of a trailer, not for broadcast. That is a different story altogether. I make no commitments unitl I know what I am using and will make a deal based on what I have available at the time. As I said. I am not bothered by any of this at all except to raise points of clarification.
The reenactments will work much better, I will have total control and there are some incredible martial artists in Chicago who can help pull this off.
I got new trailers coming up, really entertaining stuff. And it has nothing to do with footage from Fall River. Smooth sailing and the film moves forward.
Ashida Kim has credibility like it or not. I don't have to explain that. many of you saw his footage before it was taken down. I will let the audience see him and what he has done because he di it, and he did it around the world. THAT is interesting, South Africa, Australia, TV talk shows, MMA matches with kick boxers. Call him what you will. For a phoney he is quite accomplished.
The BDFS footage from Fall River is history. I have tried to tell it with them. Now I am back to telling it without them. I don't have the time or patience anymore. My focus is on finishing the film. I will all those with footage they wants $10s of thousands of dollars for the best of luck. I will get fooatge elsewhere with less hassle.
It is quite something to go out of your way to get a person paid for archival footage then get accused of being a crook. Download what they were trying to pass off for free here
Sometimes people try to create chaos so they can become part of it. It only workss if you allow them to control the discourse. I am making a documentary film and the attempt to impose obstacles in the ways of it's making only sweetens the reward for getting it done anyay.
Trailers removed from YouTube
Here is the great victory being claimed. They have had old one minute trailers removed from YouTube claiming they own the copyrights to my originally authored materials that contain materials that are most likely public domain until they prove to me otherwise. They have presented no catalog of detailed ownership of any image. They just bluff their way through. They own copyrights to the REWRITTEN World's Deadliest Fighting Secrets, which I have no interest in. The trailers are not important. I am three quarters done with the film now. I can have new trailers up anytime. I got shooting to do this next few weeks and will add excerpts to the new trailers.
Removal of these old trailers from YouTube are of no consequence. I was about to take them down anyway because I have new trailers, I have footage from the 1964 World's Karate Championships at the Coliseum in Chicago. I have some footage of Dante Brick breaking in Chicago, some Green Dragon Society footage and interviews with individuals at the dojo war.
It will be interesting to see how they get the next trailers removed. I am taking my case to the Electronic Frontier Foundation and to The Fair Use Project of the Center for Internet & Society at Stanford Law School
Here is a quote from the EFF on Fair Use:
4. What's been recognized as fair use?
Courts have previously found that a use was fair where the use of the copyrighted work was socially beneficial. In particular, U.S. courts have recognized the following fair uses: criticism, comment, news reporting, teaching, scholarship, research and parodies.
In addition, in 1984 the Supreme Court held that time-shifting (for example, private, non-commercial home taping of television programs with a VCR to permit later viewing) is fair use. (Sony Corporation of America v. Universal City Studios, 464 U.S. 417 (1984, S.C.)
Although the legal basis is not completely settled, many lawyers believe that the following (and many other uses) are also fair uses:
- Space-shifting or format-shifting - that is, taking content you own in one format and putting it into another format, for personal, non-commercial use. For instance, "ripping" an audio CD (that is, making an MP3-format version of an audio CD that you already own) is considered fair use by many lawyers, based on the 1984 Betamax decision and the 1999 Rio MP3 player decision (RIAA v. Diamond Multimedia, 180 F. 3d 1072, 1079, 9th Circ. 1999.)
- Making a personal back-up copy of content you own - for instance, burning a copy of an audio CD you own.
5. Is Fair Use a Right or Merely a Defense?
Lawyers disagree about the conceptual nature of fair use. Some lawyers claim that fair use is merely a defense to a claim of copyright infringement. Although fair use is often raised as a defense, many lawyers argue that fair use can also be viewed as having a broader scope than this. If fair use is viewed as a limitation on the exclusive rights of copyright holders, fair use can be seen as a scope of positive freedom available to users of copyrighted material. On this view, fair use is the space which the U.S. copyright system recognizes between the rights granted to copyright holders and the rights reserved to the public, where uses of works may or may not be subject to copyright protection. Copyright law gives the decision about whether copyright law applies to a particular use in this space to a Federal Court judge, to decide after weighing up all relevant factors and the underlying policies of copyright law.
This is the kind of controversy that drives documentaries. Especially when a person takes your money then tries to accuse you of being a crook.
They still hate Ashida Kim. The buyer of the footage is in a business deal with Ashida Kim, he made Kim he same deal he offered them.
Ashida Kim is rapidly becoming the most interesting subject in this documentary, he has been around the world on the name of the Black Dragon Fighting Society. He has been interviewed by TV in Australia and South Africa. He has has competed in a televised match with a South African Kick boxer and dominated the guy. That hatred is fueled by jealousy. No, he is not the leader of the Black Dragon Fighting Society ordained by Dante. Do I care, no. He is a character interesting enough to be in the film and he is not charging me for the interview. He has lots to add to this story. It is my movie, I will put who I want in it.
Funny how their videos were viewed 400 times and Ashida Kims were viewed over 15,000.
Who owns what?
They have not delivered a detailed and cataloged list of what they claim they hold copyright to in stills, mostly pictures shot in Chicago by photographers here. I emailed The Aguiar lawyer, John Francouer, twice over the past year asking for a detailed accounting of what they claim copyright over. All I every got was a notice for use of a name for Karate Schools and the rewritten World's Deadliest Fighting Secrets.
I have been in touch with Ed Ikuta, the photographer who shot most of the images for Black Belt magazine. I am still seeking out the photographer who provided images for other karate magazines. I have been seeking the photographer of the original World's Deadliest Fighting Secrets. I am looking for the person with the negatives. The negative signals clear ownership of an image more than anything else unless it was a work for hire.
I have done due diligence. I have never tried to use the footage in anything but a promotional and educational manner. No the footage or image cannot be used in the final project until I satisfy the distributor that I have all necessary clearances. I am in the production and research stage of the film. Stock footage is paid for in post production after it is chosen and finalized for the final cut of the film. I am not buying an archive. I only need 5 -10 minutes of images. I have that already in stills obtained from Dante Students in Chicago.
I can and will shoot reenactments of footage i need for the film. Much cheaper in time and it eliminates stress.
This stuff is going to make for a great case study. Here is the issue, a one minute video of a film trailer is removed from YouTube because The Fall River Boys claims copyright on anything and everything Count Dante. The copyright they hold is to the book by Bill Aguiar Jr and rights to the name Black Dragon Fighting Society for use in martial arts schools or instruction. YouTube fell for what Ashida Kims ISP fell for in the past. A letter from a lawyer and fear of litigation.
John Creeden, Jr, a direct student of Count Dante was offered $1000.00 for footage he shot of Count Dante and he accepted that offer and was paid. The investor paid $500.00 upfont for the footage site unseen. Meanwhile, his son, John Creeden, III talked to the investor and did what he could to try to change the initial deal by adding some printed materials. The investor was disappointed in the footage because it was clearly shot from a TV screen with a video camera. Due to John Creeden III's unprofessional behavior he made a decision not to go into business with him.
Late Night Calls to 81 year old mothers?
Part of the investors decision was triggered by someone making a call to the investors 81 year old mother in the middle of the night telling "your son is dead." We do not know who made the call, we levelled no accusations. But it came after a heated argument between the investor and John Creeden III who told him how long his arms could reach and his associations with the Irish Mafia in Florida. This was deleted from my blog a few days ago. But I am putting it back after seeing John Creeden III announced online I gave someone $7500.00 for images I got off of http://archive.org. He says he is going for a job in law enforcement. Go figure.
The bulk of the footage sent was of Bill Aguiar, Jr. Footage I obtained long ago by going to archive.org and using the "wayback machine. " Footage that is on existing BDFS DVDs on Ebay and for mail order. Click on this and get for free what they charged someone $1000.00 for.
The only new footage was the wrestling footage.
News on Fair Use
STANFORD, Calif., February 27, 2007—The Fair Use Project of the Center for Internet & Society at Stanford Law School announced that it has teamed with Media/Professional Insurance and leading intellectual property attorney Michael Donaldson to provide critical support for documentary filmmakers who rely on the “fair use” of copyrighted material in their films. The initiative was announced at the International Documentary Association’s 25th Annual Celebration of Academy Award Documentary Nominees in Beverly Hills February 22, 2007.
“Documentary filmmakers who use copyrighted materials in their work under the ‘fair use’ doctrine of copyright law have come under tremendous pressure in the face of demands for huge licensing fees from copyright holders and overly-aggressive enforcement of copyrights,” explained Lawrence Lessig, founder and director of the Center for Internet and Society and the C. Wendell and Edith M. Carlsmith Professor of Law at Stanford Law School.
“The mere threat of a lawsuit can keep an important film on the shelf for years,” Lessig said. “This has been a tremendous problem for documentarians because their films depend on the inclusion of copyrighted material they seek to comment on, discuss, and contextualize.”
In order to help solve this problem, the Fair Use Project has announced that it will agree to provide pro bono legal representation to certain filmmakers who comply with the Documentary Filmmakers’ Statement of Best Practices in Fair Use published by the Center for Social Media at American University (www.centerforsocialmedia.org/fairuse). Accordingly, the filmmaker will have counsel in place prior to the release of the film should the filmmaker face claims of copyright infringement. Media/Professional, in turn, will provide insurance coverage against copyright infringement liability in the event the filmmaker proves unsuccessful in defending the claim. In situations where the Fair Use Project is not in a position to promise pro bono representation, Donaldson and other leading intellectual property attorneys will be available to defend claims at favorable rates. Either way, the filmmaker will have counsel in place and protection from liability via insurance.
“This is going to have a very positive impact,” explained Anthony Falzone, executive director of the Fair Use Project. “This initiative will let filmmakers to stand up for their ‘fair use’ rights where they were unable to do so before. They will have top-notch lawyers ready to defend them and insurance in place should they nonetheless face liability. Copyright holders will no longer be able to rely on fear and intimidation. Everyone will be on a level playing field.”
“This is a fantastic development,” said Leib Dodell, president of Media/Professional. “Documentary films are an important source of education, commentary and criticism. Rigidly requiring licenses or releases in all cases does not give filmmakers the flexibility to take advantage of ‘fair use’ in appropriate situations. This program will help us offer affordable insurance coverage in situations where coverage was previously difficult, if not impossible, to find.”
"This is an extraordinary breakthrough for documentary filmmakers," said Davis Guggenheim, director of the Academy Award-winning film An Inconvenient Truth. "We have a clear map to guide our practice and lawyers to defend our work. Media/Professional has set an important example for other insurance companies. I am very hopeful this will change the way documentary films get made."
The initiative will be guided by an advisory board that includes documentary filmmakers Kirby Dick, Davis Guggenheim, Arthur Dong and Haskell Wexler; professors Peter Jaszi and Lawrence Lessig; and intellectual property attorneys Michael Donaldson and Anthony Falzone.
“There is a tremendous amount of credit to be shared here,” explained Falzone. “Peter Jaszi and Pat Aufderheide did a phenomenal job spearheading the development of best practices through the Center for Social Media. Michael Donaldson has worked in this field for years and cultivated an extremely positive relationship with Media/Professional that paved the way for this partnership. Media/Professional has once again proven itself a leader in this field by stepping up to provide a unique product that fills an important need. Several folks at the University of Connecticut School of Law, including Tom Baker, William Breetz, and Peter Kochenburger, were also instrumental in helping us formulate our approach to insurance issues.”
“This is the culmination of a lot of hard work by a lot of dedicated people,” Donaldson said. “We are very excited to help preserve and expand the role of documentary film as an important medium for raising and discussing important social issues.”
About the Fair Use Project
The Stanford Center for Internet and Society's "Fair Use Project" ("the FUP") was founded in 2006. Its purpose is to provide legal support to a range of projects designed to clarify, and extend, the boundaries of "fair use" in order to enhance creative freedom. The FUP represents filmmakers, musicians, artists, writers, scholars, and other content creators in a range of disputes that raise important questions concerning fair use and the limits of intellectual property rights. In doing so, it relies on a network of talented lawyers within the Center for Internet and Society, as well as attorneys in law firms and public interest organizations that are dedicated to advancing the mission of the FUP. The FUP provides an expanding array of assistance to content creators. It has advised prominent creators and distributors of documentary films concerning fair use, defamation, trademark infringement, and other issues relating to the appropriate bounds of free expression. While is impossible to eliminate completely the risk of a dispute, this analysis helps reduce and identify liability and litigation risks before the fact, so that informed decisions can be made.
Wednesday, June 20, 2007
I am not going to worry about it. I am moving full speed ahead with my movie without their footage. The controversy is great. I love it. They can go make their own movie. I have plenty of stills and I am in touch with Dante's family and I am sure more footage will turn up. I have no time for headaches. These guys were paid for the footage we are using. They changed the deal after it was made. They have not made any attempt to contact the buyer of the footage to refund the money. They are creating a situation for themselves. I will not worry about. More footage will turn up, that I am sure of. The more controversy they create the more the film will benefit from it. I will not stop to give anymore attention that to acknowledge the added interest controversy brings.
All that is important is getting this film done. I am not playing to rumours insults and innuendo. If people have something to help make this film happen, tell all sides, bring some truth and not want a million bucks, then I can do business with them.
What's left to do? Interviews with Hugh Hefner, Chuck Norris, Joe Lewis, Ralph Castro Mas Ayoob and a few more people. I am only interested in talking to people who actually knew Dante or have something pertinent to say about his legacy.
Saturday, June 09, 2007
Is this hype to sell the film. I wish it it was. But this is where John Keehans life takes on a sense of absurdity, in that it is reality.
Pay close attention to what Rankin says about American mythology. I don't have to make anything up.
Friday, June 08, 2007
I will suggest the buyer give the footage back and he get his money refunded. Then there is nothing else to talk about, no need for threats, no need for all this stress.
People calling people in the middle of the night is not what I signed up for. I will return anything I have remove all of this footage from any plans I have for the film if the money changed hands is returned to the person who bought it. I do not want my blog becoming a carbon copy of the late BDFS bulletin board.
End of issue.
Thursday, June 07, 2007
This is a great excerpt from the interview with writer Robert Rankin. He talks about the mythology of Count Dante and his impressions of America itself. Listen and you tell me what you think. My associate Oscar Sharpe traveled from London to Brighton on my behalf to interview Rankin. I was on the phone for a bit doing my director thing and then hung up trusting them to do what they do.
I have been pretty quiet for a reason. Lot's is happening, Some good some bad. I am not ready to talk about it. But I got a new image to day from, Laurence Kitsch, a guy who lived across the street from Black Cobra Fight Hall of the Green Dragon Society.
The picture is of the sidewalk in from of Black Cobra Hall on April 24, 1970. A simple image of a sidewalk with stains on it, the blood of Jim Konsevic. I enhanced the stains myself for effect. The picture is re-touched.
Laurence explained to me he ended up studying there at Black Cobra Hall 5 years later. More on that later. I have to ease back into not being so closed mouth about information.
Information keeps coming at me no matter what I do. I still do not think I will ever know what happened that night except that Jim Konsevic died.
More when I get a full day to unload all the events of the past few months.