365 Days Of Black History: January

Black History Calendar 1
datebook calendar and images from the library of congress

Jack Johnson: Graphic Organizer

An inspiration graphic organizer I developed with some 6th graders as we watched Unforgivable Blackness

Jack Johnson And Miles Davis

A slide show with part of Miles' tribute to Jack Johnson. There's a slide mixed in of James Earl Jones portraying Jack in "The Great White Hope"
About the Jack Johnson recordings from jazzitude.com

The Complete Jack Johnson Sessions represents a stunning crossroads where boxing, the Black Power movement, the development of rock music as an expression of vast changes in American society, the electronic amplification of jazz, and Miles Davis all came together. That the music heard on this newly-released 5 CD set was boiled down to a mere hour's worth of a soundtrack album, with snippets turning up on Live-Evil and Get Up With It, is amazing. Listening to the music here, most of which has never been released previously, is like finding out something new about someone you thought you knew well.
That Miles Davis should have been drawn to the figure of Jack Johnson is no surprise. Johnson, the first black heavyweight champion and star black sports figure, fought during the early 1900s, at a time when racism was de rigeur and jazz music was only beginning to develop. Johnson liked the high life, enjoyed fast cars and liked women, particularly white women. While Miles preferred black women, he certainly appreciated beautiful ones, had sartorial style, like his home to be well appointed and modern, and also adored fast sports cars. Much has been made of the fact that Miles was born into a middle class background (his father was a successful dentist) but that only seems to have made the racism that he encountered that much more unpalatable, and Davis did encounter his share. The well known incident that occurred in front of Birdland, when Miles was hassled by police for standing outside the club and took a blow to the head from a white detective, seems to have set him firmly on the path of not taking any crap from anyone, an attitude that was certainly in line with that of Jack Johnson as well as boxers that Davis had seen during his lifetime.
Davis was in a highly productive and inspired mode at this time, a mode that had started with the recording of In a Silent Way and continued through Bitches Brew. He also made a big switch with his live bands, moving from the repertoire he had been playing, which was comprised largely of music he’d created with his second great quintet between 1963 and 1967, to the new material he was recording. His live bands changed personnel more frequently, with Chick Corea, Keith Jarrett, Michael Henderson, Jack DeJohnette, Dave Holland, Steve Grossman, Gary Bartz, and others moving into and out of the band at various times. “I was seeing it all as a process of recording all this music” said Davis, “just getting it all down while it was flowing out of my head.” In A Silent Way had been a bellwether, signaling that changes were afoot, not only in Davis’ performances of his new music, but in the very methods that were used to create that music in the first place. Both In A Silent Way and Bitches Brew were recorded in small sections, with Davis directing the musicians and allowing them to play freely without worrying about what the final mix for release would be like—in fact, many times the musicians had no idea what would or would not be released. Davis and producer Teo Macero then constructed the final tracks from these performances. On In A Silent Way they took shapeless but incredible segments of music and spliced the performance together to create a piece that had form and structure. The technique was used again on the Bitches Brew album, both on Joe Zawinul’s “Pharoah’s Dance” and on the title track.
The album A Tribute to Jack Johnson, the soundtrack to the William Clayton-directed film of the same name, was probably the end of the high point of the Davis/Macero edited recordings cycle. The same approach was applied to live recordings such as At Fillmore and to source recordings done at Washington D.C.’s Cellar Door club, resulting in the album Live-Evil. The results were decidedly mixed, with the continuity and structure of the live performances missing. But on Jack Johnson, the producer was able to take what was essentially a studio jam and turn it into the best melding of jazz, funk, and rock music of all time. Considering the furor that Bitches Brew had caused, it is amazing today to consider that Jack Johnson sank without a trace when it was released more than a year after it was recorded, in the summer of 1971. By that time, Miles had rolled his electric band out to live audiences, performing at Fillmore East and West as well as at other important venues, generally as an opening act for some of the most successful rock bands of the day. At the end of August 1970 Davis performed at the Isle of Wight Festival, one of the major rock festivals held in the wake of the successful fests at Monterey and Woodstock. The sessions that are represented on this box set, all recorded between February and June of 1970, were Davis’ last recording sessions until 1972, when he recorded the sessions for his highly controversial On the Corner album. Consider this, though: by the time the public heard the recording Bitches Brew (released in April 1970) Davis was already unleashing a much more heavy electric sound on audiences at the Fillmore West (released unedited as the Black Beauty album). And, three days before this performance, he had recorded most of the source material that would be edited into the Jack Johnson album—material that was based much more on straightforward rock and funk concepts with fewer free jazz leanings and which would represent probably his most accessible music until his return to the scene in 1981 after a self-imposed five year silence. In other words, by the time the record-buying public heard Bitches Brew, Davis had already moved another several steps ahead. No wonder the public was unable to keep up with him during this tumultuous period—the man simply had too much music, and too many ideas spilling out of his head for the slow-moving recording industry to keep up with.

Jack Johnson: Unforgivable Blackness 2

youtube user mrbumpandgrind has 15 segments that comprise the whole movie
This Ken Burns' film was excellent, the pbs site for the film

Ken Burns's documentary style is so unencumbered; the subject matter is effortlessly presented. His regular mix of photos, subtle sound effects, excellent musical score, and actor readings of historical text hasn't changed since his breakthrough of The Civil War. And it doesn't need to. Even though this 220-minute production is a biography--on heavyweight champion Jack Johnson--the film resonates about the how race was dealt with in the early part of the 20th century. Four decades after the Emancipation, the American black was still struggling to find elementary terms of equality. Along came a strong and headstrong man who took on sport decades before Jackie Robinson and became the key figure in heavyweight fighting, a champion against the longest odds.
Samuel L. Jackson voices Johnson's words with great verve and helps create an absorbing picture of Johnson along with various historians and boxing experts laying down the tale of the tape. Here's a man so smart and patient in the ring who took great liberties in his day-to-day life, unafraid to showcase his success, and ruffle the morals of the time (including, most scandalously, marrying a white woman). Viewing film of his prizefights, the amateur eye can understand Johnson's style and bravura. Burns's certainly takes his time and, as usual, has a vast awry of facts of how the world reacted to news of Johnson's success and the conspiracy which led to his downfall. The highlight, natch, are two of Johnson's epic fights near the end of his reign as champ (and the search for a "Great White Hope"). The appearance of James Earl Jones (who won a Tony for his portrayal of Johnson in 1959) and Wynton Marsalis's musical score are grand touches.

teacher resources are available on the pbs site

Jack Johnson: Unforgivable Blackness 1

youtube user mrbumpandgrind has 15 segments that comprise the whole movie
from african americans.com

Jack (John Arthur) Johnson
(1878-1946)
The First African American Heavyweight Boxing Champion of the World
Jack Johnson was the first African American, and first Texan, to win the heavyweight boxing championship of the world.
Born in Galveston on March 31, 1878, he was the second of six children of Henry and Tiny Johnson. Henry was a former slave and his family was poor. After leaving school in the fifth grade, Johnson worked odd jobs around South Texas. He started boxing as a sparring partner and fought in the "battles royal," matches in which young blacks entertained white spectators who threw money to the winner.
Johnson turned professional in 1897 following a period with private clubs in Galveston. His family's home was destroyed by the great hurricane of 1900. A year later he was arrested and jailed because boxing was a criminal profession in Texas. He soon left Galveston for good. Johnson first became the heavyweight champion of Negro boxing. Jim Jeffries, the white champ at the time, refused to fight Johnson because he was black. Then, in 1908, Johnson knocked out Tommy Burns in Australia to become world champion, although he was not officially given the title until 1910 when he finally fought and beat Jeffries in Las Vegas. Jeffries had come out of retirement to become the first of many so-called "great white hopes."
Race rioting was sparked after the Johnson-Jeffries fight. The Texas Legislature banned films of his victories over whites for fear of more riots. In 1913, Johnson fled because of trumped up charges of violating the Mann Act's stipulations against transporting white women across state lines for prostitution.
During his exile from the U.S., Johnson lost his championship to a white man, Jess Willard, in Cuba in 1915. He returned to the U.S. on July 20, 1920 and was arrested. Sentenced to Leavenworth in Kansas, Johnson was appointed athletic director of the prison. Upon his release, he returned to boxing, but only participated in exhibition fights after 1928.
Although married three times to white women, Johnson never had children. He died in a car crash June 10, 1946, near Raleigh, North Carolina.
This trio of fighters ruled the heavyweights during the first ten years of the century. James J Jeffries retired as undefeated champion in 1905, after which Tommy Burns, a diminutive Canadian took charge. Burns tenure was doomed the moment he was forced to face Jack Johnson (left), a man destined to become the first black heavyweight champion ever.
During a shameful period in American history, a great white hope was sought, with Jeffries brought out of retirement to take on Johnson. He was stopped in 15 rounds and Johnson ruled until 1915.
Jack Johnson patented a wrench (U.S.patent# 1,413,121) on April the 18th, 1922.
Congress Seeks Pardon for Boxing Champion Jack Johnson
WASHINGTON (Reuters) - Thu Apr 7, 2005 - U.S. lawmakers are seeking a presidential pardon for Jack Johnson, the first black heavyweight champion, convicted more than 90 years ago in a racially motivated morals case.
At the height of his career in 1913, the boxer was convicted and sent to federal prison for one year and one day for violating the Mann Act by transporting a white woman across state lines for immoral purposes.
"No one should be punished for choosing to go their own way," said Arizona Republican Sen. John McCain, the leader of the congressional effort for a pardon.
"A pardon "would be a strong and necessary symbol to the world of America's continuing resolve to live up to the noble ideals of freedom, opportunity and equal justice for all," McCain said on Wednesday as lawmakers joined professional boxers and other supporters to press their appeal.
The Mann Act of 1910 outlawed the transport of women across state lines for the purpose of prostitution or debauchery, or for "any other immoral purpose."
"Mr. Johnson's conviction was motivated by nothing more than the color of his skin, as such it injured not only Mr. Johnson, but also our nation as a whole," McCain wrote in a letter to President Bush last month.
A pardon would help relieve the nation from the weight of racism and bigotry, the letter said.
Five other senators -- Republicans Orrin Hatch of Utah and Ted Stevens of Alaska and Democrats Harry Reid of Nevada and Edward Kennedy and John Kerry of Massachusetts -- signed the letter urging a full posthumous presidential pardon.
Johnson died in an automobile accident in 1946.
U.S. lawmakers are seeking a presidential pardon for Jack Johnson, the first black heavyweight champion, convicted more than 90 years ago in a racially motivated morals case. At the height of his career in 1913, the boxer was convicted and sent to federal prison for one year and one day for violating the Mann Act by transporting a white woman across state lines for immoral purposes.