THE ORIGIN OF A STEAMFUNK FEATURE FILM by Author Milton J. Davis!

THE ORIGIN OF A STEAMFUNK FEATURE FILM

A Story of History, Fantasy and Steamfunk

Rite of Passage is a Steamfunk movie collaboration destined to change the perception of historical fantasy. It’s the tale of the city of Nicodemus, Kansas and the special souls that have gathered to protect it. Based on a story by Milton Davis, Rite of Passage blends history, fantasy and Steamfunk into an exciting action movie that draws you into the mysterious, intriguing – and sometimes frightening – world of Rite of Passage and the even bigger adventure yet to come.

How It Began

RITE OF PASSAGE 1In 2011 author Milton Davis wrote a short story entitled, Rite of Passage. The story was about a young black man who was escaping the antebellum South to freedom  under the protection of Harriet Tubman. That night the young man had a unique encounter with another man who possessed amazing powers and abilities. Years later he encounters that same man and is recruited to help him. At the end of their adventure the ‘superman’ passes onto the young man a necklace that gives him the powers he first witnessed in his youth. His charge is to use those powers to protect those like him.

Balogun Ojetade read Rite of Passage and was captured by its message. A writer, director, martial artist and admirer of Harriet Tubman, he saw the potential of the story encompassing much more. The young man in the story became the young woman Dorothy and through the imaginations of both Balogun and Milton, the Rite of Passage mythos expanded, introducing new characters and exciting stories.

From Paper to Film

As the story ideas continued to flow, Balogun and Milton’s vision grew from prose to film. Balogun pulled together a skilled and creative team of filmmakers to produce Rite of Passage: Initiation. The purpose of this short film was to give a glimpse of the Rite of Passage world and show the skills of those involved in order to raise funds to make a Rite of Passage feature-length movie.

An Unexpected Proposal

GT LogoIn addition to working on Rite of Passage together, Balogun and Milton are a part of the State of Black Science Fiction Collective, a group of speculative fiction writers dedicated to promoting black speculative fiction. Their first program was held February 2012 at Georgia Tech in partnership with Lisa Yasek, Professor and Director of Undergraduate Studies, School of Literature, Media, and Communication. In 2013, the group returned to Georgia Tech, this time for the Black Science Fiction Film Festival, which Balogun and Milton produced. The event was a rousing success; so much so that, when Lisa heard of the Rite of Passage project, she gathered together the creative resources of the university and offered their help with the creation of the movie.

A Unique Story Uniquely Told

MiltonRoaring Lions Production, MVmedia and the School of Literature, Media and Communication at Georgia Tech have come together to create a movie that combines the history and spirit of the African American experience with the fantastic foundation of Steampunk to create the first Steamfunk movie. Join us in making history and in telling the stories that need to be told!

Milton Davis is a research and development chemist who lives in Metropolitan Atlanta, Georgia, with his wife and two children. A publisher, author and film producer, Milton is dedicated to bringing diversity to the Science Fiction and Fantasy field. His books and films focus on presenting people of color in positive ways, thereby challenging the stereotypes and misconceptions common in the general marketplace. Find him and his amazing works of Steamfunk and Sword and Soul at his website and at his social media site, which is dedicated to authors, filmmakers and fans of science fiction and fantasy.

RITE OF PASSAGE: The Web

RITE OF PASSAGE: The Web

The soles of Jake Jessup’s feet were on fire. Pine cones and dry twigs bit into his flesh as he sprinted through the dense forest.

The full moon cast a silver glow upon the leaves that crackled beneath Jake’s heels.

He no longer heard the dogs, or the curses of Master William Jessup’s slave-catchers, so he stopped to rest his weary muscles and catch his breath. “For a short spell,” he thought.

“Welcome to my parlor, said the spider to the fly.”

Jake whirled toward the source of the voice, raising a silver carving knife – still sticky with his former master’s blood – chest high.

The most beautiful woman Jake had ever laid eyes upon stepped out of the shadows. The corners of her full lips were spread in an inviting smile. “I’m sorry, did I frighten you?” Her husky voice revealed a hint of an English accent.

“You obviously ain’t from around here,” Jake said, studying her tall, muscular frame. “You sound like this man who come from England and train me and the other catchers.”

“I’m from London, England,” the woman said. I moved here a while ago. I bought my freedom from…wait…catchers? What did you catch?”

“Runaways,” Jake replied.

“And now, it appears that you are the one who is running away,” the woman said.

“I was the worst catcher ever born,” Jake said. “Every runaway I went after got away.

“They just happened to get away, eh?” The woman snickered.

“My old master got wise to me,” Jake replied. “He decided to make an example of me…killed my wife; my daughter…so I killed him. Been runnin’ since.”

“Well, you are safe here for the night,” the woman said. “The locals are afraid of this forest. They say a terrible beast roams these parts.”

“Then, what you doin’ out here?” Jake asked.

“I love the outdoors,” the woman replied. “Besides, beasts don’t frighten me; men do.”

“Well, this man won’t do you no harm,” Jake said. “My name’s Jake, by the way. Jake Jessup.”

“I’m Tara Malloy,” the woman said, offering her hand.

Jake took Tara’s smooth, mahogany hand in his and kissed the back of it. “Pleasure, ma’am.”

Suddenly, Tara’s hand became a vice around Jake’s fingers, crushing the dense bones as easily as if she was squeezing an egg in her fist.

Jake screamed in agony.

Tara threw her head back as a growl escaped her throat. She snapped her head forward, fixing her maddened gaze on Jake. Her beautiful face had been replaced by what Jake could only describe as the visage of a rabid wolf.

Jake tried to snatch his pulverized hand out of Tara’s grip, but she was too strong and his pain was too great.

Tara yanked Jake toward her. The runaway’s head snapped back from the force as his feet skittered across the dirt and dry foliage.

Tara opened her mouth wide, revealing a mouth full of vicious canine teeth. She closed the toothy maw down upon Jake’s shoulder, rending sinew and bone.

Jake thrust forward with his carving knife, sinking it deep into Tara’s chest.

Tara staggered backward, coughing as a crimson cloud of ichor spewed from her mouth.

Jake collapsed to his knees. Tara fell onto her back, convulsed once; twice; and then, lay still.

Jake crawled to a large tree and rested his back against it. The pain in his hand and shoulder made it difficult to think; to understand what just happened and darkness encroached upon him, blurring his vision.

“Still alive, eh?”

Jake turned his head toward the voice. Tara stood beside him. He turned his gaze toward her beastly form, still lying where she fell.

“How?” Jake whispered. He wanted to leap to his feet and run, but the pain would not allow it. “What are you?”

“What was I, you mean,” Tara replied. “A werewolf; a child of Eshu; blessed with his gift.”

Tara pointed toward Jake’s wounded shoulder. “Now, you have his blessing, too.”

“I…I’m gon’ turn into a thing like you, now?” Jake spat.

“Maybe,” Tara answered. “You become what your spirit is.”

“I’m gon’ kill you!” Jake bellowed.

“You already have,” Tara said, nodding toward her corpse.”

This was all too much for Jake to bear. He shut his eyes and succumbed to the darkness.

****

Sunlight kissed his eyelids, awakening him.

Jake felt soft, warm flesh on his chest. He looked down. Staring up at him was a pretty woman with full, pouty lips and skin the color of sweet cream.

“Good morning, lover,” the woman said, flashing a smile. Her dimpled cheeks accented her beauty.

“You’d better give up that body, Tara,” Jake said, looking at the clock on the far wall of the inn’s room. “You only have a few minutes.”

“Jake, can we talk?” Tara asked, caressing his chest with borrowed fingers.

“Time’s tickin’,” Jake replied.

“I love you,” Tara whispered.

“You what?” Jake pushed Tara’s head off his chest and sat upright.

“I love you, Jake,” Tara repeated.

“We don’t have time for this,” Jake said. “A second past those six hours and this woman dies from shock or goes mad.”

Jake hopped out of bed. His flesh shifted; flowed, as if it was some thick, ebon fluid and then trousers, boots, a shirt and a leather overcoat – all a very dark brown – formed around his naked frame.

“You’re a haint, Tara…a ghost…the undead. I – hell we – hunt the undead. Love ain’t in the cards for us. ‘Sides, you did try to kill me, remember?”

“That was two-hundred forty-seven years ago!” Tara replied.

“Seems like yesterday to me,” Jake said.

A loud, sucking din echoed throughout the room as Tara rose out of the woman’s body. “We’ll talk more later.”

The woman sat bolt upright. She leapt from the bed, locking her gaze on Jake’s broad back. An ebony, wide-brimmed planter hat formed atop Jake’s head. The woman gasped and darted out of the room.

“Creole women,” Tara said, shaking her head. “So…emotional.”

“Let’s go,” Jake said, sauntering toward the door. “Ms. Tubman should have sent that telegram by now.”

****

Bourbon Street was busy.

On the ground, carriages carried people to-and-from the retail shops, restaurants, inns and houses of ill-repute. In the sky, out of the view of the common people – but not out of Jake’s view – the very wealthy and the military traversed the bustling city by ornate airships and hot air balloons.

“Isn’t it beautiful? Tara sighed.

“Nope,” Jake replied.

“What do you see, then, Mister Doom-and-Gloom?” Tara asked.

“I see smoke…and steel,” Jake answered. “I see children worked to death in dirty factories…widows turned into whores to feed their babies…and we’re still swingin’ from the end of the white man’s rope.”

“Like I said…Doom-and-Gloom,” Tara snickered.

“We’re here,” Jake said, pointing toward a large store nestled between a candy shop and a dentist’s office.

Jake entered the telegraph office. A man sat before each of the three telegraph machines.

“How can we help you fine folks?” One of the men asked, looking up from his machine.

Jake and Tara exchanged glances. Jake took a step back toward the door.

“Oh, don’t worry,” the man said, smiling. “Negro money spends here.”

“That’s not our concern,” Jake said.

“What, then?” The man said, rising from his chair.

“Well, considerin’ my lady friend here is a haint and y’all can see her without her willing it, y’all must be haints, too.” Jake replied.

The man directed his attention to Tara. “You’re a ghost, correct?”

“That’s right,” Tara replied.

“The two other men stood.

“We’re ghasts,” the man said. “A bit…stronger than our ghost brethren,”

“Hmm…ghasts,” Jake said, studying the trio. “Never had the pleasure of killing one of you. Ms. Tubman said you’re fast and can possess a body for days at a time.

“Ah, Ms. Tubman,” The ghast crooned. “After we kill you, we’ll have to pay her a visit.”

“The bloodsuckers got you interceptin’ her messages, now?” Jake asked.

“She has been sending her merry, little band all over to hunt down our kind…your kind!” The ghast spat. That nigger has to die!”

“Give me the message,” Jake said, unmoved.

“I don’t think so,” the ghast hissed.

“Jake raised his palms before his chest. His hands shifted, changing into a pair of ebon broadswords. “I reckon I’ll have to take it then.”

The trio of ghasts exploded forward. Jake leapt forward to meet them.

Jake’s body shattered into a cloud of miniscule, venomous spiders. Each of the thousands of spiders was armed with a scythe-like claw on each of its eight legs. The spider-cloud washed over the ghasts. A moment later, a reformed Jake landed in front of one of the telegraph machines.

The ghasts fell, their tattered bodies covered with an uncountable number of gashes; the organs of their hosts reduced to liquid by the venom racing through their veins.

Jake rustled through the telegrams until he found the one from Harriet Tubman. “Ms. Tubman found the nest.”

“Where to?” Tara inquired.

“Atlanta.”

****

The sweet-green smell of kudzu permeated the night air. Jake stood high above the ground upon the thick limb of an old oak tree. “Go check it out,” he said, pointing toward a large ranch house an acre away.

“Be back in a bit, lover,” Tara said, blowing him a kiss as she leapt from the limb. She floated toward the house like a feather held aloft in a gentle breeze, landing gracefully at the door of the house. With a quick step, she passed through the closed door as if it was not there.

Jake studied the house. The windows were all covered with a dense, black cloth, preventing any light from getting in or out; a sure sign of a vampire nest.

Tara appeared on the limb. She fanned her hand in front of her nose. “Lord, it smells like the flatulence of a thousand mules in there!”

“Any vampires?” Jake inquired.

“Three,” Tara replied. “It looks like they are getting ready to call it a night.”

“The sun will be up in a couple of hours,” Jake said. “Coffins?”

“No,” Tara answered. “Dirt. The whole house is covered in about two feet of it.”

“These are Old Ones, then,” Jake said. “Good. Kill an Old One and all their progeny die, too.”

Jake leapt from the tree limb. He landed silently below. The hunter knelt at the base of the tree and thrust his hands into the dirt. A moment later, he pulled out a suede sack that was filled with something metallic by the clinking sound of it. “Good old General Tubman,” Jake whispered. “Right where she said it would be.”

Jake tossed the sack over his shoulder and sprinted toward the house. His boots made no sound as they glided across the soft, red, Georgia clay.

Tara floated closely behind him. Upon reaching the house, she stepped through the door. A few seconds later, Jake heard the door’s bolt lock slide back. He tested the door, slowly turning its knob. The door opened.

Jake slipped into the house. He reached into the sack and withdrew a tiny, wedged shape device. The device, constructed of bronze, had a miniscule, amber crystal at its center.

Tara raised her thumb and smiled.

Jake placed the wedge back into the bag and crept forward down the long hallway. He felt something hard beneath the dirt sink under his feet. Iron shackles sprang up around his ankles. Jake transformed into the swarm of spiders to escape, but it was too late. Walls of thick glass sprang up from the floor, slamming into the ceiling with a tremendous thud. Jake was encased in an impenetrable, airtight cube.

The Old Ones stepped out of a room at the end of the hallway and strode toward Jake. Huge grins were spread across their pallid faces, exposing their fangs.

Tara floated toward them.

“I can feel you, darlin’,” the lead Old One – a tall, lean man, with the dress and ruggedness of a cowboy – said. “Well done.”

“Tara?” Jake gasped.

Tara turned her gaze away from Jake and cast her eyes downward.

“Oh, don’t act so surprised, son,” the lead Old One said. “You’ve been betrayin’ your kind for a couple of centuries.”

My kind are the servants of Eshu, charged with keeping the balance between the light and the darkness…between the Natural and the Unnatural, like yourselves,” Jake said. “My kind are the livin’.”

“Living; dead; undead…some of us are hunters; some prey,” the Old One said. “That – and blood – are all that matter.” The Old One stepped closer to the glass. “Where are my manners? In all of this excitement, I neglected to introduce myself. I am Henrick.” Henrick pointed his thumb over his shoulder. “The rather large gentleman behind me is Malloy and the enthralling beauty is Bloody Jane.”

“Let me out of here, so we can all shake hands,” Jake said.

Henrick laughed. “I like you, hunter. It’s a shame you’ll be dead soon. We could have been friends.”

The vampires walked past Jake’s cell toward the door.

Henrick glanced over his shoulder. “We are heading out for a quick bite. Don’t go anywhere.”

The vampires left the house. Their sardonic laughter cleaved the darkness outside and echoed throughout the house.

“How could you do this, Tara?” Jake spat.

“I am sorry, Jake,” Tara replied. “One day, you’ll understand.”

“Just a few days ago, you said you loved me,” Jake said. “You sure as hell have a funny way of showin’ it.”

“I do love you,” Tara cried. “That’s why I’m doing this.”

“You ain’t makin’ no sense at all,” Jake said.

“Soon, you’ll run out of air,” Tara said. “You’ll die; then, you’ll have an eternity to fall in love with me.”

“That’s haint obsession talkin’,” Jake said. “After a while, every haint goes mad. I thought you had it beat. I reckon it just took you a little longer.”

“I am not crazy, Jake!” Tara shouted. “But, love makes us do crazy things.”

“If I die on account of you settin’ me up, do you really think I’m gon’ ever love you?”

“I…I’m not sure,” Tara sighed. I hope that you’ll…”

“I’ll hate you,” Jake said. “But, if you let me out of here, there might be a chance for us.”

“You’re just saying that to convince me to set you free,” Tara said.

Jake stared into Tara’s eyes. “Have I ever lied to you?”

Tara stepped into Jake’s cell. “I don’t know where the release switch is.”

Jake nodded toward his suede sack, which lay at his feet. “Then persuade those bloodsuckers to tell you.”

Tara closed her eyes and stretched her incorporeal fingers toward the sack. For a moment, her fingers became somatic and she grabbed it. A second later, she was, once again, incorporeal, as was the sack and its contents. She walked out of the cube, taking the sack with her.

Tara floated down the hallway and through the door, leaving Jake alone in his cell.

Jake launched a powerful side-kick at one of the walls of the cell. His heel slammed into the glass. Jake’s foot felt as if it had slammed into the side of a mountain. “Magically enhanced,” he mused. Jake sat, cross-legged, on the floor. He closed his eyes and concentrated on his breathing, slowing it.

A while later, Tara returned. “It’s done.”

Jake’s opened his eyes. “Did you get all the windows? The roof?”

“I was quite thorough,” she replied.

“Hope so.”

“Tara!” A voice wailed on the other side of the door.

Tara floated to the door. She willed her hand to become corporeal and used it to open the door.

A web of intense light crisscrossed the entrance.

Henrick stood a few yards away from the doorway. Malloy and Bloody Jane stood behind him.

Tara willed herself visible to the vampire’s eyes.

You’ve been a bad girl, Tara,” Henrick said. “What have you done to our house?”

“They’re called Thread Bombs,” Tara replied. Each one releases a thread of light akin to the light of the sun. I planted nearly a thousand around your house to encase it in a web of sunlight.”

“Well, be a dear and turn them off, please,” Henrick said, affecting a warm smile.

“I can’t,” Tara said. “Only Jake can.”

“And why is that?” Henrick asked, struggling to maintain his friendly demeanor.

“Every bomb has to be turned off at the exact same time, or they will explode, blanketing a square mile in their light,” Tara answered. “Jake can become a swarm of spiders and turn off each bomb simultaneously.”

“And how do we know he will do that for us once he is free?” Henrick inquired.

“You don’t,” Tara replied. “But, what choice do you have?” If you set Jake free, he might shut down the web; leave him in that cell to die and you’ll all burn.”

“Quite the fickle one, aren’t you?” Henrick said. “Okay, we’ll bite, so to speak, but know that if you cause the death of three Old Ones and their children, there is nowhere you can run; nowhere you can hide. We will find you…and even a ghost can be destroyed.”

“Duly noted,” Tara said. “Now, where is the switch?”

“In the study,” Henrick replied. “There is a brass statue of a tiger in there. Turn its tail clockwise and the walls will come down.”

“I’ll be right back,” Tara said, vanishing from sight.

“Hurry back, child,” Henrick said, looking skyward. “It’ll be dawn soon.”

A whirring sound rose from beneath Jake. A moment later, the glass walls slid back into the floor.

Jake breathed deeply, welcoming fetid, but cool air into his lungs.

Refreshed, Jake sauntered toward the door.

“We have upheld our end of the bargain,” Henrick said. “Your turn.”

“Bargain?” Jake said. “I don’t bargain with Unnaturals.”

Henrick’s smile faded. “Tara said…”

“Your deal was with Tara,” Jake said, interrupting the Old One. “Not with me.”

Henrick’s eyes turned crimson and his face twisted into a snarl. “Turn off this goddamned web!”

“Nope,” Jake replied, picking dirt from his nails.

“You bastard!” Henrick hissed, baring his fangs.

Malloy and Bloody Jane screamed as sunlight cut through the clouds and seared their flesh.

“Turn it off,” Henrick wailed, his skin turning black where the sun kissed it. “Please!”

“Nope.”

The Old Ones burst into flames. Their chilling screams rending the night sky until their vocal chords were to charred to emit sound.

Within moments, three piles of gray ash lay near the entrance to the house.

Tara materialized beside Jake. “I hope this makes things right between us, lover,”

“Nope,” Jake replied.

“What now, then?” Tara asked.

“We keep killin’ Unnaturals,” Jake answered.

A broad smile spread across the ghost’s pretty face. “So, we’re still partners?”

“For now,” Jake replied. “We make a good team. ‘Sides, huntin’ can be lonely work. But, I promise you, you ever betray me again and you get the sigil.”

“To use a sigil on a ghost, you have to know that ghost’s real name, Jake,” Tara said. “I never told you – or anyone – my real name.”

“Your ex-husband says different,” Jake said.

Tara’s eyes widened and her jaw fell slack. “My ex…?”

“I met a conjurer a few years back by the name of Laveau,” Jake replied. “She channeled your ex-husband, Kayode, and, boy, did he have a story to tell!”

“What did he tell you?” Tara asked.

“Let’s get out of here,” Jake said. This place stinks.”

“Jake, what did he say?” Tara’s voice was shaky. “Jake?”

The corners of Jake’s mouth curled into a slight smile as he stepped through the web and into the welcoming dawn.

For more about the world of Rite of Passage before the release of the movie, check out author Milton Davis’ Rite of Passage: Kiowa Rising Series and the Rite of Passage website.

THE THIN LINE: The Root of Steamfunk, Steampunk and Sword & Soul

THE THIN LINE: The Root of Steamfunk, Steampunk and Sword & Soul

Ghetto Bird: Steamfunk Persona of Bryant O'Hara

Ghetto Bird: Steamfunk Persona of Bryant O’Hara

Creativity is defined as the process of generating new and original ideas. Creativity is the basic force for all invention, the bringing of a thing from concept to actualization and the determining of unique solutions to problems.

The creative person is marked by traits of originality, nonconformity and high levels of knowledge. When you bring forth a unique and effective solution to a problem; a solution that has not been thought of before in the way you thought of it, you are being creative.

Psychologists have tried to explain creativity with many theories. Among these are cognitive (creativity as a process that uses mental constructs and structures), behaviorist (the environmental and associative nature of creative ideas), psychoanalytic (creativity as a mental or personality disturbance), social (creativity as developed by schools and family) and personality (the possession – and manifestation – of personal creative traits).

Steam LadyCreativity is believed by many to be the ability to solve issues and find solutions by “accident” – while you’re trying out several methods, the best method or a solution to your issue arises out of “nowhere” and “by chance”, you discover something totally unique.

As a person who does not believe in coincidence or happenstance, I would suggest that the creative process is more a discovery of new relations between older known concepts and methodologies – using common things in uncommon ways – thus, the more experienced you are in a particular subject area, the more likely you are to consider creative solutions. In music, acting and in the indigenous African martial arts, we call this “improvisation”.

Some mistakenly believe the creative process is all about insight, a “sudden flash” – a moment of serendipity or divine intervention. The insight seems like a “sudden flash” because thought travels at a speed of twenty-four billion miles per second – you have accessed your experience at over one-hundred thousand times the speed of light, so of course it seems “sudden”, or as if the Creator hurled the idea down from heaven and deposited it in your head (would the creator, overseer, mother and father of every single organism in the multiverse have the time, or the inclination, to do such a thing?).

Is the speed of thought of all humans the same? No. Those who have suffered brain damage or who may have developmental issues – who are often described as “slow” or “delayed”, by the way (now you know why) – may think considerably slower, however, most of us think at close to the same rate.

REAL1Why, then, are some more creative than others? Because – as I stated earlier – they have more experiences to draw from…and because they have a creative personality.

Yes, there is a well-defined creative personality. Highly creative individuals and geniuses have marked similar traits and although every human being is creative in one way or the other, some individuals actually develop their creativity to such a high level that they are recognized as creative geniuses. All highly creative individuals possess certain common personality traits.

Complexity

Highly creative people love to challenge themselves with complex situations and problems as this allows them to contemplate several possible solutions on their journey to discovering the best solution.

Flexibility

Highly creative people are open-minded and receptive to new ideas and possibilities; especially those that help them to move beyond traditional modes of thinking.

Confidence

Creative geniuses are confident and possess strong leadership qualities – traits necessary to pioneer new possibilities and guide others along new paths of discovery.

Non-conformity

Highly creative individuals are non-conformists, unconventional and consistently think “outside the box”.

Intuition

Highly creative people are extremely intuitive and often seem to possess the ability to read minds. In actuality, they are simply in tune with – and knowledgeable of – the order of things and are thus able to predict people’s responses to various stimuli.

Sensitivity

Creative geniuses are extremely sensitive, for without a well-developed sensitivity, it is not possible to feel and portray emotions through a creative work. A novelist must feel as his characters feel in order to write characters that feel real to the reader.

Curiosity

Curiosity may have killed the cat, but it gives verve to the creative genius. Highly creative people want to discover and learn new things and persistently ask questions, which is the fuel for creative growth.

Knowledge

Highly creative people have a broad and deep general knowledge, which they use in their creative pursuits. Most creative people are knowledgeable in several spheres of interest.

Independence

Marry a creative genius’ leadership qualities to his or her nonconformist personality and you will witness the birth of a person who possesses an intense independence of thought. Creative geniuses commonly move beyond norms and often have a distaste for anything they deem “the mainstream.”

Imagination

The highly creative person commonly engages in world-building and cosplay. Creative people often engage in daydreaming and even if well-grounded, thrive on fantasies.

Criticism

Highly creative people are often extremely critical – of themselves and of others.

Fluency

The highly creative person has a prolific range of ideas.

Egoism

Highly creative individuals are often selfish, possessing a “me first” attitude. Many are narcissists or possess an extreme egoism, although they can be very generous and may not reveal their egoism for social reasons. Many even transcend the Self and work for greater causes and the common good.

Originality

Creative individuals have a love for the new and the unique and move beyond established ideas to find something radically different.

Disorder

Most creative geniuses quickly grow bored with order or any predictable course of events – a reason why many creative adults were rebellious as children in school and / or at home. They have a love for disorder, unpredictability and the unknown.

Ambiguity

As individuals for whom freedom of thought and expression is paramount, highly creative people often have a love for the ambiguous – when there are two or more ways to explain a problem.

Motivation

Creative geniuses are often driven by a sense of higher purpose. They are self-aware and enlightened and many believe there is a divine purpose for their existence.

The ‘Thin Line’ Myth

Screamin' Jay HawkinsOne belief that permeates Black communities throughout the United States – and used to be one of my pet peeves – is that there is the existence of “the Thin Line”. When the discussion of genius comes up among a group of Black people, more often than not, someone will proclaim “You know, there’s a thin line between genius and insanity.” I used to become furious when I heard this because it seemed to be an attack on – and discouragement of – genius. After all, who the hell wants to be insane? Many brilliant and creative Black youth I went to school with would deny their genius or dumb themselves down around others who were not quite as intelligent as them.

Fortunately, the people in my neighborhood – from the gangbangers to the respected business owners – encouraged me to embrace my creativity and intelligence. Even the nicknames they gave me – “Professor”; “Mr. Spock”; “Braniac” – were complimentary of my intelligence and creativity. Once, however, the leader of one of the local gangs decided to give me a warning – “You’re smart as hell, Professor. I love that about you. Stay smart…but don’t get too smart, or you’ll end up in Bobby Wright (a mental health facility in Chicago).” “Why would I end up there?” I inquired. His answer? You guessed it – “Because there’s a thin line between genius and insanity.”

That was not the first time I heard that statement and it certainly would not be the last.

While I grew up rejecting that statement as total male bovine poop (i.e. bulls**t, for those whose thoughts travel at a substantially slower speed than 24 billion miles per second), my study of personality, cognizance and creativity has revealed that highly creative individuals are, indeed, prone to mental disorders. In fact all creative geniuses may be vulnerable to bipolar disorder or schizophrenia and creativity itself is now considered by psychologists to be a sort of neuroticism.

However, even though creative geniuses have a propensity towards mental illness, their creative outlets are powerful tools that help to maintain sanity. Thus, considering the inbuilt defense mechanisms that most Steampunks, Steamfunkateers and other highly creative people have, it is most unlikely that such people would actually go stark raving mad.

20130223_095541Because, in most cases, creative geniuses are not afraid to stretch their minds, thoughts and behavior beyond limits that the less creative can fathom, they are branded as “weird” or “eccentric”. Such brilliant people, however, are extremely strong-minded due to their self-awareness and independence.

In fact, the creative genius exercises his or her creativity and exorcises madness, as he or she continually stretches mental limits to maintain creative pursuits.

So keep up that cosplay…keep on telling those Steamfunk tales…keep killing those orcs, leopard men and oga’koikoi…

Claim your genius…proclaim your brilliance…own your creativity…

Because the mind is a terrible thing to waste.

A STEAMFUNK VIDEO PRIMER!

A STEAMFUNK VIDEO PRIMER

Primer 1At our first Info Session for the Steamfunk movie Rite of Passage, GA-Tech Professor and an Associate Director of the film, Lisa Yaszek, asked who was familiar with Steamfunk. Three hands – not including those of our crew – went up in the packed room. She then asked who was familiar with Steampunk. Five hands went up.

We then proceeded to give those in attendance a list of books to read and movies to watch to familiarize themselves.

feat 8As Lisa defined what Steampunk and Steamfunk are, I realized just how important the making of Rite of Passage is. Steamfunk’s / Steampunk’s do-it-yourself philosophy, reverence for history and its focus on craftsmanship, originality, history and creativity is much needed for the building of a future and for the betterment of the present.

For all of you – and for anyone you know who may struggle with the concept of Steamfunk – I offer below a video primer that defines the subgenre and can serve as a reference for future works. Enjoy!

As always, your feedback is welcome and encouraged!

STEAMFUNK WILD WEST: Black Lawmen and Outlaws in the Age of Steam!

STEAMFUNK WILD WEST: Black Lawmen and Outlaws in the Age of Steam!

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We continue our League of Extraordinary Black People Series with an in-depth look at those who enforced – and those who gave the finger to – the law and carved a trail of tears, blood and bullets across the Wild West.

Grant Johnson

a4The son of a Black Chickasaw Freedman father, and a Black Creek Freedman mother, Grant Johnson was born in northern Texas during the Civil War and raised in Indian Territory. This same territory is where Johnson would become renowned as one of the greatest U.S. Deputy Marshals in history.

Serving under Judge Isaac Parker for at least 14 years, his career as a U.S. Deputy Marshal began in 1887. His contribution was invaluable and in high demand as he was well-versed and proficient in the customs and language of the Muskogee Creek nation. Johnson often worked with Bass Reeves, the man considered by many to be the greatest lawman in history. Together, they captured one of the most notorious outlaws in the territory – Abner Brasfield. Johnson also captured the noted counterfeiter, Amos Hill; Choctaw outlaw Chahenegee; the murderers, John Pierce and Bill Davis; the Cherokee outlaw, Columbus Rose; train robber, Wade Chamberlee and dozens of others.

One of the most noted peace officers in the history of the Indian Territory, Judge Isaac C. Parker mentioned him as one of the best deputies that ever worked for his court.

In 1898, Johnson transferred to the Northern District, which was headquartered at Muskogee. For many years, Johnson worked alone, patrolling in and around Eufaula, Creek Nation. He developed one of the best arrest records of any of the deputies that worked the Northern District under Marshal Leo Bennett.

Johnson became a policeman for Eufaula in 1906, primarily patrolling the African American section of town. He died in Eufaula on April 9, 1929.

The Buck Gang

a3Named for their leader, Rufus Buck – a Black Creek Freedman – the Buck Gang rose to prominence in July of 1895.

The gang had a total of five members – Creek First Nation natives, Sam Sampson and Maoma July and brothers, Lewis and Lucky Davis, who were Creek Freedmen. All of them had been apprehended on minor offenses and served time in the Fort Smith jail prior to their crime spree that summer.

It is rumored that the spree came about as a result of Buck boasting that his “outfit would make a record that would sweep all the other gangs of the territory into insignificance.” However, it is more likely that the spree – driven by Buck’s rage, poverty and desperation – was in response to the horrific and tragic event in which Creeks and Cherokees, along with the escaped slaves who married into those nations, were forced, by the U.S. government, to march over 1,000 miles during the infamous Trail of Tears. Many died along the way and the First Nation and Black people forced to settle in the region dubbed the Indian Territory struggled in that bleak region for fifty years, but finally carved out a decent living for themselves. The government’s attempts to take back that land and give it to Caucasians who now desired to settle in the Southwest was met with outrage, which – in the case of the Buck Gang – became, simply, rage.

On July 28, 1895, the gang shot and killed another Black Deputy U.S. Marshal, John Garrett, near Okmulgee. On their way from that murder, they allegedly abducted and raped a white woman known only as Mrs. Wilson. They killed horse rancher, Gus Chambers when he resisted the gang’s theft of his horses and then robbed a stockman of his clothing and boots, firing a hail of bullets just past his head as he fled naked to safety. Two days later, the gang raped a white woman, Mrs. Rosetta Hansen, while they held her husband at bay with Winchesters.

The gang was finally apprehended, brought to Fort Smith and convicted in a rape trial. The case was appealed to the Supreme Court which upheld the verdict, and the gang died together at the gallows on July 1, 1896.

After Buck’s death, a photograph of his mother was found in his cell. On the back, Buck had written a poem:

I dreamt I was in heaven

Among the angels fair;

I’d near seen none so handsome,

That twine in golden hair;

They looked so neat and sang so sweet

And play’d the golden harp.

I was about to pick an angel out

And take her to my heart;       

But the moment I began to plea

I thought of you my love.

There was none I’d seen so beautifull

On earth or heaven above.

Good by my dear wife and mother

All so my sisters

Rufus Buck
Youse truley”

June 1896

Cherokee Bill

a5Crawford Goldsby, an Oklahoma outlaw better known as Cherokee Bill, was born at Fort Concho, Texas, on February 8, 1876, the son of St. George and Ellen (Beck) Goldsby. He had three siblings – a sister named Georgia and brothers Luther and Clarence.

Bill’s father – a man of Black, Sioux, Mexican, and Caucasian heritage – was a highly decorated Buffalo Soldier – a Sergeant Major in the 10th U.S. Cavalry; however, because of a fracas in Texas, St. George went AWOL and escaped to Indian Territory (now Oklahoma).

Bill’s mother was reportedly half black, one-fourth white, and one-fourth Cherokee. She had been born in the Cherokee nation, Delaware District. Her parents had been owned as slaves at one time by a Cherokee, Jefferey Beck.

After St. George left his family in Texas, Ellen moved with the all the children to Fort Gibson, Indian Territory, except for Crawford (Bill) – who was too young to travel – whom she left behind in the care of a Black woman, Amanda Foster. Ms. Foster took care of Bill until the age of seven when he moved with his mother to Fort Gibson and then on to Cherokee, Kansas, where he attended Indian school for three years. He then attended the Carlisle Industrial School for Indians in Carlisle, Pennsylvania, for two years.

After leaving school at the age of twelve, he returned to Oklahoma.

His mother remarried when Bill was thirteen. He did not get along well with his new stepfather and started hanging around with a rough crowd, drinking liquor and rebelling against authority.

At fifteen, he went to live with his sister, Georgia, and her husband.

At seventeen, he worked on a ranch where it was said he was well liked by all.

At eighteen, while attending a dance at Fort Gibson, Texas, Crawford shot a man named Jake Lewis twice when Lewis refused to stop beating his own little brother. Crawford then headed for the Creek and Seminole Nations (now Oklahoma) where he met Jim and Bill Cook, a couple of outlaws.

In the summer of 1894, the Cooks and Crawford convinced the owner of a restaurant – a Caucasian woman –  to collect some money due to each of them as a payment share for some Indian land called the Cherokee Strip. The government had bought the land. The woman did as she was told, collecting the money for all three, but upon her return, was followed by a sheriff’s posse trying to catch up with the Cooks. There was a gunfight, ending with a posse member dead, one wounded and Crawford and the Cook brothers in the wind. The owner of the restaurant was questioned about the gunfight and was asked if Crawford was among the group. She replied no, but that among them was “the Cherokee Kid”. This, apparently, was where Crawford gained his nickname.

The famous Cook gang made itself known across the Cherokee and Seminole Nations (in what is now Oklahoma) in July, 1894 with train and bank robberies and murder.

Cherokee Bill murdered at least seven people and may have killed as many as thirteen, later forming his own gang and riding with such well-known outlaws as Henry Starr and Billy the Kid.

With the assistance of acquaintances who hoped to receive part of a $1,500 reward, federal authorities finally captured Cherokee Bill and transported him to the federal district court in Fort Smith, Arkansas. There, he was convicted of murder of an unarmed man who happened to witness Bill’s participation in a robbery and sentenced to hang. After an unsuccessful escape attempt in which he killed a jail guard at Fort Smith, Bill received a second murder conviction.

When the United States Supreme Court rejected his appeal of his first conviction, federal officials hanged him before hundreds of onlookers, on March 17, 1896. When asked if he had any last words, his response was, “I came here to die, not to make a speech.”

After his death, Cherokee Bill’s mother took his body to the Fort Gibson area (Oklahoma), where he was buried.

Bass Reeves

a6Bass Reeves was born a slave in Arkansas in 1838. His slavemaster, William S. Reeves, moved the household to Paris, Texas in 1846, where he became a prominent politician in the region as well as a farmer. Bass worked as a water boy in the cotton fields of the Reeves farm,  where other enslaved Blacks regaled him with stories of adventure featuring Black heroes

When the Civil War broke out, William Reeves’ son, George, was commissioned as a colonel in the Confederate army and took Bass to war with him. Although he was supposedly George Reeves’ servant, Bass fought in several battles during the conflict. However, after a dispute with George over a card game which led to fisticuffs and the large and powerful Bass opening a can of whoop-ass on the colonel, Bass escaped and fled into the Indian Territory (which we now know as Oklahoma) as a fugitive slave. There, he lived among First Nation peoples from the Creek and Seminole, developing an understanding and appreciation of their languages, cultures and customs. During this time, Bass served in the Union’s first Indian Home Guard regiment under an assumed name.

Bass eventually moved to Arkansas where he acquired property near Van Buren. He met a young woman named Nellie Jennie and in 1870, the two were married and settled into Bass’ farm, where they raised five boys and five girls.

By 1875, however, he had found a new profession – as a U.S. Deputy Marshal, under the direction of Judge Isaac C. Parker. Bass’ family continued to reside in Van Buren during these years.

This change, from farmer to lawman, began the most colorful, noteworthy, and successful careers of all the western frontier marshals. Bass worked in the Parker court at the time of the execution of James Diggs, a notorious criminal, who had been wanted for years. He assisted in the capture of deadly outlaws Bob Dozier and Johnson Jacks and in 1884, he is noted for bringing a caravan load of prisoners from Indian Territory.

Bass served as a Deputy U.S. Marshal in Indian Territory for 32 years and was the only one to serve from Judge Parker’s appointment until Oklahoma’s statehood. He became one of the most successful lawmen in American history, arresting more than 3,000 fugitives. Bass’ work as a Deputy U.S. Marshal ended in 1907 when Oklahoma was granted statehood. He then went on to work for the Muskogee Police Department for two years until he was diagnosed with Bright’s disease. He died on January 12, 1910.

Bass Reeves has been immortalized in literature and in film. We continue this tradition in the Steamfunk movie, Rite of Passage, in which Bass Reeves – one of the guardians of the town of Nicodemus, Kansas – is the possessor of a pair of pistols and a rifle that gives him extraordinary powers and enhances his already formidable skills. Veteran film director and actor, Omar Sean Anderson is tasked with bringing this amazing character to life and you are sure to love how we – and Omar – envision the legendary Bass Reeves.

Following is a complete list of Black Deputy U.S. Marshals who worked in the Ft. Smith, Arkansas region. Their numbers – and their stories – are quite amazing.

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Cannon, Rufus
Colbert, Bill
Escoe, Wiley
Factor, Neely
Fortune, Robert
Garrett, John
Jefferson, Edward D.
Johnson, Grant
Joss, John
Love, Robert
Miller, Zeke
Nicks, Crowder
Reeves, Bass
Robinson, Ed
Roebuck, Dick
Rogers, Isaac
Ruth, Jim 

Tucker, Morgan 
Walker, Eugene 

THE ROAD TO NICODEMUS: Black Towns in the Age of Steam!

THE ROAD TO NICODEMUS: Black Towns in the Age of Steam!

Black Americans have played a vital role in building this nation. Eager to live and prosper as free people, we have established our own towns since Colonial times. Many of these communities were destroyed by racial violence or injustice, while some just died out. Let’s explore a few of these symbols of freedom, courage, hard work and ingenuity a bit more in-depth.

Fort Mose, Florida

town 1Although this settlement was established well before the Age of Steam, it still merits mentioning, as it is a fascinating place with an even more fascinating history. Established in 1738, Gracia Real de Santa Teresa de Mose – or Fort Mose – was the first free black settlement in what is now the United States and played an important role in the development of colonial North America.

Amid the fight for control of the New World, Great Britain, Spain and other European nations relied on African slave labor. Exploiting its proximity to plantations in the British colonies in North America and the West Indies, King Charles II, of Spain issued the Edict of 1693 which stated that any male slave on an English plantation who escaped to Spanish Florida would be granted freedom, provided he joined the Militia and became a Catholic. This edict became one of the New World’s earliest emancipation proclamations.

By 1738 there were 100 Black men, mostly runaways from the Carolinas, living in what became Fort Mose.  Many were skilled workers, blacksmiths, carpenters, cattlemen, boatmen, and farmers.  With accompanying women and children, they created a colony of freed people that ultimately attracted other fugitive slaves.

When war broke out in 1740 between England and Spain, the people of St. Augustine and nearby Fort Mose found themselves involved in a conflict that stretched across three continents. The English sent thousands of soldiers and dozens of ships to destroy St. Augustine and bring back any runaways.  They set up a blockade and bombarded the town for 27 consecutive days.  Hopelessly outnumbered, the diverse population of blacks, First Nation peoples and whites pulled together.  Fort Mose was one of the first places attacked.  Lead by Captain Francisco Menendez, the men of the Fort Mose Militia briefly lost the Fort but eventually recaptured it, repelling the English invasion force.  Florida remained in Spanish hands and for the next 80 years remained a haven for fugitive slaves from the British colonial possessions of North Carolina, South Carolina and Georgia.

The site was abandoned in 1763 when the British took possession of Florida. The residents of Mose evacuated to Cuba and formed a new town, Ceiba Mocha, Matanzas province, considered the hub of African spirituality in Cuba.

Rosewood, Florida

town 2Rosewood – taking its name from the abundant red cedar that grew in the area – was established in 1870.

The town prospered as the Florida Railroad established a small depot to handle the transport of cedar wood to the pencil factory in Cedar Key and the transportation of timber, turpentine rosin, citrus, vegetables, and cotton throughout the State. In 1890 the cedar depleted and many of the white families moved to Sumner, three miles west of Rosewood and worked at the newfound saw mill established by Cummer and Sons. By 1900 Rosewood had a black majority of citizens.

On the morning of January 1, 1923 Fannie Coleman Taylor of Sumner Florida, claimed she was assaulted by a Black man. Although she was supposedly knocked unconscious for several hours due to the shock of the incident, she was not seriously injured and was miraculously able to describe, in detail, what happened. No one disputed her account, of course and no questions were asked. It was assumed she was reporting the incident accurately.

Sarah Carrier a Black woman from Rosewood, who did the laundry for Fannie Taylor and was present on the morning of the incident, claimed the man that assaulted Fannie Taylor was her white lover. It was believed the two lovers quarreled and he abused Fannie and left. However, in 1923 no one questioned Fannie Taylor’s account and no one asked Sarah Carrier about the incident. The Black community claimed Fannie Taylor was only protecting herself from scandal.

A posse was summoned and tracking dogs were ordered by James Taylor, Fannie Taylor’s husband and the foreman at Cummer and Sons saw mill. The local white community became enraged at the alleged abuse of a white woman by a Black man – an unpardonable sin in a world in which it was punishable for black men back then to even look at a white woman.

James Taylor summoned help from Levy County and neighboring Alachua County, where a large number of KKK members had been rallying and marching in opposition of justice for Black people.

A telegraph sent to Gainesville in regards to Fannie Taylor’s allegations provoked four to five hundred Klansmen, who headed to Sumner at the appeal of James Taylor. They arrived enraged and combed the woods behind the Taylor’s home looking for a suspect. Suspicion soon fell on Jesse Hunter, a Black man who had allegedly recently escaped from a convict road gang. No proof of the escape was ever provided.

The posse confronted Sam Carter at his home and Carter allegedly admitted to helping Hunter escape. The posse forced Carter to take them to the place where he last saw Hunter. When no trace of Hunter could be found the posse turned into an out of control lynch mob, torturing Carter, riddling him with bullets and hanging him from a tree.

The posse continued their hunt in Rosewood. They found Aaron Carrier, cousin and friend to Sam Carter, in bed at his cousin, Sarah Carrier’s house. They yanked him out of bed, tied a rope around his neck and dragged him behind a Model –T Ford from Rosewood to Sumner. They tortured him, beat him with gun butts and kicked him until he lost consciousness they then shot him numerous times.

Levy County Sherriff Bob Walker halted the gunfire before a fatal shot could be delivered, however, when he yelled, “Don’t, I’ll finish the nigger off!” Confident that the sheriff would take care of Aaron Carrier, the posse returned to Rosewood to hunt and kill more Black people.

Sheriff Walker threw Aaron Carrier in his vehicle and took him to Gainesville, to the Alachua County jail, begging Sheriff James Ramsey to hide Carrier from the public and his family until tempers settled down. Sheriff Walker also suggested that Sheriff Ramsey get medical help for Carrier. Sheriff Ramsey brought in two local Black doctors – Dr. Parker and Dr. Ayers – to treat Carrier.  For six months, without any knowledge of the public or Carrier’s family, the doctors tending to Carrier’s wounds and returned him to health and strength.

Fuming with anger because they had not found the attacker James Taylor sent Sarah Carrier’s son, Sylvester Carrier, a message “We are coming to get you.”

Unbeknownst to the posse, Sylvester Carrier took heed to the threats and made contact with his Levy County friends who bravely traveled to Rosewood to help avert the planned ambush of its citizens.

After dark, the white posse traveled to Rosewood prepared to kill or be killed. The posse, intoxicated with moonshine and ignorance, was met head-on with resistance from Sylvester Carrier and his friends, however and several of them were killed or injured. The surviving posse members fled, returning to Sumner, leaving their guns behind at the order of Sylvester Carrier and his men. Other posse members lay dead and wounded in Sarah Carrier’s yard.

On January 3rd, many citizens of Rosewood fled into the swamp, hiding out and waiting for the train to come and take them to safety. Others fled to white store merchant John Wright’s home. He allowed them to wait there in hiding until they heard back from Sheriff Walker, who travelled back and forth to Cedar Key, Sumner, and Rosewood in an effort to move Rosewood’s citizens safely out of Rosewood on the 4 AM early morning train, which was conducted by the Bryce Brothers from Bryceville, Florida.

When the posse returned to Rosewood days later to make an assessment of the damages, they vengefully shot and killed anyone who remained in the town – mainly those too ill or too old to

Weeksville, New York

town 3What is now Bedford-Stuyvesant in Brooklyn, NY, Weeksville was the second-largest community for free blacks prior to the Civil War. James Weeks, a freed slave, purchased a significant amount of land from Henry C. Thompson, another freed slave. Weeks sold property to new residents, who eventually named the community after him. The town thrived, becoming a free Black enclave of urban trades-people and property owners comprised of both Southern blacks fleeing slavery and Northern blacks escaping the racial violence and draft riots in New York and other cities. By the time of the Emancipation Proclamation, Weeksville was already a thriving area with its own doctors, teachers, publishers, and social services.

My Steamfunk fable, Seeking Shelter, is set in Weeksville.

Freedmen’s Town, Texas: Houston’s ‘Little Harlem’

town 4Immediately following the Civil War, thousands of freed slaves purchased land and built their homes along the Buffalo Bayou, dubbing the area “Freedmen’s Town.”

Over a period of sixty years the town thrived, with churches, schools, stores, theaters and jazz spots lining the cobblestone roadways, earning Freedmen’s Town the nickname of “Little Harlem” by the 1920s.

Unfortunately, the Great Depression caused many residents of Freedmen’s Town to lose their homes. Most longtime residents were forced to move to other Houston neighborhoods, while others stayed in the town, only to watch the community deteriorate.

In 1984, Freedmen’s was designated a historic district.

Blackdom, New Mexico

town 5Dispatched from Ft. Leavenworth for the New Mexico Territory in 1846 to fight the Mexican-American War, General Stephen W. Kearny led a force of 2,500 soldiers in the invasion (yes, invasion – just ask the First Nations in the area).  One of those detailed to that force as a wagoneer was a Georgia freedman by the name of Henry Boyer.  Upon reaching New Mexico, Boyer fell in love with the vast desert expanses of sky and land, upon his return home, he told his wife and children tales of his adventures in New Mexico, emphasizing the awesome beauty of the land.

One of Boyer’s children, Francis Marion (“Frank”) Boyer, was captivated by his father’s stories.  Frank, a graduate of Morehouse College and a teacher, grew dissatisfied with his existence in Georgia and joined groups of other Black men who spoke out against the savageries of the Ku Klux Klan and other Southern atrocities.

Fearing for his son’s life, Henry Boyer suggested that Frank leave Georgia and move to New Mexico to seek a better life for himself and his family.  In 1896, Frank Boyer and his friend and student, Daniel Keyes, decided to set out for New Mexico.

Being Black, Mr. Boyer and Mr. Keyes could not travel by stagecoach or rail, nor could they get secure passage on a wagon train.  Undeterred, they set out on foot, and walked the entire distance from Pellum (nowadays known as “Pelham”), Georgia to Roswell, New Mexico – a distance of 1,200 miles.

Upon arrival, the two men worked multiple jobs while exercising their rights as freedmen under the Homestead Act, laying claim to acreage in the area of what is now Dexter.  The following year, Franks’s wife, Ella Louise and their children joined him, and he was able to secure a loan from a bank to begin homesteading.  He dug an artesian well, built a house, and began an active outreach campaign to other Black families in surrounding states, urging them to come to the beautiful desert land in the southeastern part of the Territory and help create the New Mexico Territory’s first Black community.

And they came…more than 300 people from across the country…despite the odds; despite the obstacles. Whites would not sell them train or stagecoach tickets and would not permit them to board in the event that they managed to secure tickets anyway; they would not sell wagons or horses to Black families, despite their ability to pay.

But they came…by cart; on horseback; on foot like the town’s founders…and in 1903, Frank Boyer filed the town of Blackdom’s articles of incorporation.

Unfortunately, in the 1920s, a severe drought led settlers to abandon the town.

Nicodemus, Kansas

town 6Nicodemus, Kansas is the only remaining western community established by African Americans after the Civil War. The town is now recognized as a National Historic Site.

In the late 1870’s, as the Reconstruction following the Civil War failed to bring the long awaited freedom, equality and prosperity promised to Black people, along came a white man by the name of W.R. Hill – to black families in the backwoods of Kentucky and Tennessee – who described a “Promise Land” in Kansas.   Hill told of a sparsely settled territory with abundant wild game, wild horses that could be tamed, and an opportunity to own land through the homesteading process in Nicodemus, Kansas.

The town site of Nicodemus was planned in 1877 by W.R. Hill, a land developer from Indiana, and Reverend W.H. Smith, a black man. Reverend Smith became the President of the Nicodemus Town Company and Hill, the treasurer. The two founders aggressively promoted the town to the Black refugees of the Deep South.  The Reverend Simon P. Roundtree was the first settler, arriving on June 18, 1877.  Zack T. Fletcher and his wife, Jenny Smith Fletcher, the daughter of Reverend W.H. Smith, arrived in July and Fletcher was named the Secretary of the Town Company. Smith, Roundtree, and the Fletchers made claims to their property and built temporary homes in dugouts along the prairie.

The Nicodemus Town Company produced numerous circulars to promote the town, inviting “Colored People of the United States” to come and settle in the “Great Solomon Valley.” The Reverend Roundtree became actively involved in the promotion, and worked with a man by the name of  Benjamin “Pap” Singleton , a black carpenter from Nashville, who traveled all over the United States distributing the circulars, which portrayed Nicodemus as a place for African-Americans to establish Black self-government. Singleton, who could not read or write, distributed so many circulars that he was sometimes called the “Moses of the Colored Exodus.” The Blacks who decided to emigrate soon acquired the name “Exodusters”.

At the same time, railroads, needing to populate the West to create markets for their services, exaggerated the quality of the soil and climate in this “Western Eden.”

The desperate families of the South listened with rapt attention and in the late summer of 1877, 308 railroad tickets were purchased to take them to the closest railroad point in Ellis, Kansas. The families then walked the remaining fifty-five miles to Nicodemus, arriving in September 1877.

Building homes along the Solomon River in dugouts, the original settlers found more disappointment and privation as they faced adverse weather conditions. In the Promised Land of Kansas, they initially lacked sufficient tools, seed, and money, but managed to survive the first winter by selling buffalo bones and by working for the Kansas Pacific Railroad at Ellis, the city fifty-five miles away where they originally arrived. Others survived with assistance from the Osage First Nation, who provided food, firewood and staples.

Though most stayed, many settlers were disillusioned by the lack of vegetation and the harsh land and made a hasty return to the green fields of Kentucky and Tennessee. Of those who stayed, the spring of 1878 brought hope and opportunity as new Exodusters, bearing horses, oxen and farming tools began to farm the soil.

A local government was established, headed by “President Smith.”

One woman arriving in the spring, Williana Hickman, said years later of arriving at Nicodemus: “When we got in sight of Nicodemus the men shouted, ‘There is Nicodemus!’ Being very sick, I hailed this news with gladness. I looked with all the eyes I had. I said, ‘Where is Nicodemus? I don’t see it.’ My husband pointed out various smokes coming out of the ground and said, ‘That is Nicodemus.’ The families lived in dugouts… the scenery was not at all inviting, and I began to cry.”

Despite the poor living conditions, Williana and her husband, Reverend Daniel Hickman, stayed, organizing the First Baptist Church in a dugout with a sod structure above it. By 1880, a small, one-room, stone sanctuary had been erected at the same site. This structure evolved from limestone to stucco, and in 1975, a new brick sanctuary was built. Today, the church still stands in Nicodemus.

Zachary Fletcher, one of the town’s first settlers, became the first postmaster and the first entrepreneur in Nicodemus, establishing the St. Francis Hotel and a livery stable in 1880. His wife, Jenny Smith Fletcher, became the first postmistress and schoolteacher and one of the original charter members of the African Methodist Episcopal Church. The complex that Fletcher built, which housed the post office, school, hotel and stable, later became known as the Fletcher-Switzer House and was an important focus of activity in the community. The building still stands in Nicodemus today.

By 1880, Nicodemus had a population of almost 500, boasting a bank, two hotels, three churches, a newspaper, a drug store, and three general stores – surrounded by twelve square miles of cultivated land.

Edward P. McCabe, who joined the colony in 1878, served two terms as state auditor, 1883-1887, the first African American to hold a major state office.

By 1887 Nicodemus had gained more churches, stores, a literary society, an ice cream parlor, a lawyer, another newspaper, a baseball team, a benefit society and a band. Hopes were high in the community when the railroad talked of an extension from Stockton to Nicodemus and in March of 1887, the voters of the Township approved the issuance of $16,000 in bonds to attract the Union Pacific Railroad to the community. Despite the bond issue, the town and the railroad could not agree on financial compensation and the railroad withdrew its offer.

In 1888, the railroad established the extension six miles away south of the Solomon River, leaving Nicodemus a stranded “island”.  Businesses fled to the other side of the river to the Union Pacific Railroad camp that later became known as the town of Bogue. With the businesses leaving, Nicodemus began a gradual decline.

Zachary Fletcher, the town’s first entrepreneur, sold his town lots to the original promoter, W. R. Hill, but continued to run his businesses. Eventually, the hotel reverted to Graham County for a time but was brought back into the family in the 1920′s by Fred Switzer, a great-nephew raised by the Fletchers. When Switzer married Ora Wellington in 1921, they made the hotel their home.

Despite all the hardships and calamities that Nicodemus faced, it survived…and thrived.

More than a half-dozen black settlements sprung up in Kansas after the Civil War but Nicodemus is the only one that still stands.

In the world that author Milton Davis and I have developed – the world you will experience in the upcoming Steamfunk feature film, Rite of Passage – the secret to Nicodemus’ survival lies in its four very powerful protectors – Harriet Tubman, Dorothy Wright, John Henry and Bass Reeves and the town’s President, “High” John Konker. Just as the Exodusters have been drawn by promises of self-government, freedom and economic success, the town’s protectors have been drawn by a mysterious and fearsome entity known only as Jedediah Green, who you will learn more of in the next phase of Rite of Passage stories.

The Rite of Passage movie is a pulse-pounding thrill-ride that introduces you to this dark and gritty world of steam, brass and iron and to the origins of its heroes.

With the might of our heroes – and with the imaginations of Milton Davis and Yours Truly – Nicodemus Town Company will never fall.

GA-TECH GETS FUNKY! Filmmakers Partner With The Yellow Jackets to Produce the First Steamfunk Feature Film!

GA-TECH GETS FUNKY!

Filmmakers Partner With The Yellow Jackets to Produce the First Steamfunk Feature Film!

RITE OF PASSAGE POSTER 3

I was recently contacted by an agent who asked if Rite of Passage – the Steamfunk movie that goes into pre-production in May and production in August – was a student film. I informed her that the film is a collaboration between the professional multimedia companies MVmedia and Roaring Lions Productions and GA-Tech’s School of Literature, Media and Communication, so yes, students will be heavily involved in the making of the film, but under the guidance and leadership of experienced and accomplished film professionals who are the directors, producers and cinematographers on this project.

I informed her that the students will not be treated as “amateurs”, nor is the film going to be amateur or second rate. The students involved in the making of Rite of Passage are expected to be just as professional…just as committed as those who have worked on ten or more projects.

The agent’s response?

“Well, I will probably send a few of my actors to audition, but most of my actors would never act in a student film. I was a bit surprised to hear that most of the actors she represents dismiss programs that have produced some of industry’s best filmmakers and actors. “She needs to educate her people,” I thought.

However, “To be fair,” – as Rite of Passage’s Producer, Akin Danny Donaldson, is fond of saying – he’s from England; everyone from England are fond of saying that – I could come up with a few reasons myself as to why an actor would not want to act in a student film – there is no pay; the filmmakers do not have a lot of experience and are still learning how to talk to and treat actors; and few student films become a success by Hollywood standards. However, from her reaction, I was sure she – or some of her actors – had experienced some Stygian nightmare in doing a student film.

RITE OF PASSAGE Promo 1She, or any of her actors, had not; she just thought there was nothing for her people to gain from such projects. She was oblivious to the tremendous opportunity provided by student films to form strong, lasting and mutually beneficial relationships with young, talented, up-and-coming directors, producers, actors and casting directors.

You could very well be working with the next Martin Scorsese or Spike Lee. They are not master directors yet, but “to be fair”, the next Taxi Driver, Goodfellas, Malcolm X, or The Inside Man could be their next film.

Student films often achieve admittance into top notch festivals each year, earning these young filmmakers studio deals and the actors in their films worldwide recognition.

If you choose to act in a student film, there are certain things that you should not negotiate. You should receive a copy of your work in a timely fashion, be fed every six hours, and should not be asked to work longer than a 12-hour day without proper turnaround.

Know that student filmmakers, especially those in the early stages of filmmaking, tend to prioritize their aesthetic vision over an actor’s performance. Don’t be shocked, frustrated, or allow your ego to be bruised if hours are spent on a cool-looking, spinning, overhead dolly shot rather than your sublime performance in a close-up.

Keep in mind that these young filmmakers are attempting to bring their visions to life without large crews and budgets, so – “To be fair” – cut them some slack if things take longer than they should.

Actors, don’t feel ashamed, embarrassed or as if you are “settling” because you are auditioning for a student film. It doesn’t mean that you are a bad actor. Agents submit actors to films by USC, Columbia University and Columbia College Chicago every day.

“To be fair”, however, I will admit that many student films simply stink. The most common reason for such odoriferous works is lack of story. A suicide prone emo teen is a subject, not a story. If your story is about an emo college freshman with a football player roommate whose girlfriend is always trying to convince the emo kid to go out and party – who cares?

The second most common reason for the malodorousness is the student’s reach exceeding his or her grasp. The student tries to tell a story that is too convoluted; uses techniques that are far beyond his or her experience. The more complex the story, the more skill it takes to tell it and the greater likelihood that a relative beginner will fail in the telling of it.

Fortunately, Rite of Passage has some of the best professionals in independent film working on the project and the students chosen to work with us will be the best that GA-Tech has to offer, which, “To be fair,” is saying a lot, as GA-Tech is fast becoming recognized as one of the top film schools in America, particularly in the areas of special effects, sound effects, prop and graphics design and cinematography.

Below are the current professional members of the crew of Rite of Passage. We are all excited to work with the next generation of Scorseses, Lees, Singletons, Spielbergs, Poitiers, Tarantinos, Lucases and”To be fair,” Balogun Ojetades (go ahead, you can laugh)

Crew 1 Crew 2 Crew 3 Crew 4 Crew 5 Crew 6 Crew 7 Crew 8

HARRIET TUBMAN HAS GREAT STEAM-FU: Putting the Funk in your Fight Scenes!

HARRIET TUBMAN HAS GREAT STEAM-FU: Putting the Funk in your Fight Scenes!

I16I have choreographed and / or performed fight scenes for seven films – two “traditional” Hong Kong-style martial arts movies; one gritty urban fantasy; one thriller; one post-apocalyptic science fiction film; one alternate history movie and one comedy.

Filming a fight scene is totally different from shooting a scene of dialogue. It requires much more planning and the director must be able to tell a story through the fight itself.

I would like to share with you what I have learned about shooting and choreographing a fight scene because it is an interesting topic; because I hate it when I watch an otherwise great film fall apart because of its poorly shot fights; and because we go into pre-production for the Steamfunk movie, Rite of Passage, in a month and I want to make you, dear reader, aware of what we are doing and how it is done, because, ultimately, this is your film. We are making this for you.

Begin with the previous action

If your heroine, Harriet Tubman’s last action in the previous sequence you shot was a hook punch, even if you know you are not going to show that punch in a close-up, film it at the start of the next sequence anyway and then keep rolling and shoot that next sequence; this will make your fight appear much smoother and editing the scene will be easier.

Always return your strikes to their point of origin

fight 5If you watch martial arts movies with great fight scenes, such as Flashpoint, starring Donnie Yen, or the Bourne movies, then you’ll notice that every time they punch someone, their fist recoils back. By adding this subtle movement to your actors’ hits, it makes the impact of those strikes appear much more powerful and makes the character look as if he or she is really strong.

Always keep your eyes on your opponent

This is an important tip for your actors as well. After an actor is hit, he “sells” the strike as a powerful one by making sure his eyes always return back to his opponent.  So, if Harriet Tubman punches P.T. Barnum in the jaw with that hook punch, the actor playing Barnum would sell the punch by snapping his head sideways, looking over his shoulder and then snap his gaze right back to the actor playing General Tubman.

This also allows your actors to communicate their readiness before the next blow is thrown, thus helping you to avoid accidents in case one of your actors is not ready or has forgotten the next move. Remember, when filming fight scenes, safety first!

Shoot the entire fight wide and then move in for close-ups, over shoulder and medium shots

Not following this suggestion can cause you to run into some editing problems as a result. Often, when we shoot the intense over shoulder, medium and close-up shots first, which require much more facial expression along with technique to sell the fight, we forget to shoot the wide shot. If you don’t have a wide angle of your fight, you run the risk of the fight appearing choppy or worse, appearing disorienting to the audience.

Move your camera with the movements

fight 6Although this is often overdone in Western films to mask the lack of striking power possessed by most actors, this technique can add a little something extra to your fight scenes.

Moving with the punches makes the strike appear faster and by stopping the camera’s movement right as the punch connects, adds a jerky feel that can often make a punch appear more violent on screen. Shoot moving shots after your essential stationary shots.

Editing and Sound Design turn good fights into great fights

A great editor lets us forget that we are simply watching a fight scene and pulls us into the scene by making the action seamless.

This is the most essential part of the fight to be done.

Coming in a close second is the post production music and Foley (sound effects).

Don’t believe me? Watch any fight scene with the audio muted – that scene feels far less compelling. The hits become weaker and the fight now feels flat and totally fake.

The audio is edited and mixed with utmost acoustic continuity for fight scenes, because, while our eyes are okay with being cheated by the illusion created by camera angles, slow motion and the like, our ears are not. Since our ears are much more vital to our sense of balance, we notice the slightest break or hiccup in the audio with a 15 – 20 times higher temporal precision than we notice in the video.

So actually, fight scenes are not made sound real at all. But you are willing to let yourself drawn into them because of a flawless sound design.

Boot Camp or Bust

DSC02010On every film in which I am the Fight Choreographer, I conduct a Fighters’ Boot Camp. This camp – which can run over several days or over many hours in one day, depending on time and budget – is required for any actor who has a fight scene in the film to attend and strongly suggested for the Director and Cinematographer to attend as well.

This Boot Camp teaches non-martial artists how to move, hit and react to hits so they appear to be martial arts experts on screen. For the martial artists in the film, we teach them how to make their techniques look good on screen – most “real” martial arts techniques do not look powerful or cool onscreen – and how to sell the hits and the reaction to hits.

On one set, I worked with a former professional boxing champion. He did not want to do “that fake stuff” and wanted the actor to really strike him on film. I expressed concern for his safety. He said the actor – a woman – couldn’t hurt him. We humored him and shot it the way he wanted, as the scene was supposed to be comedic anyway and I wanted to teach him a lesson. During one sequence, the actor he was fighting struck him in the jaw with one of her “non-fake” punches and rocked him badly, dropping him to his knees.

Lesson learned. We kept that scene in the film.

When a fight scene seems real to you, the actors and the film crew have done a great job and have successfully executed the clearest demonstration of the magic that is filmmaking.

I now leave you with a few fight scenes featuring Yours Truly and my favorite fight scene of all time, featuring actors Donnie Yen and Wu Jing. Enjoy!

 

THE MAKING OF A STEAMFUNK MOVIE: Part 2, The Cast

THE MAKING OF A STEAMFUNK MOVIE: Part 2, The Cast

cast 4What is the most important element of creating a film?

Is it a great script? The film’s director? The type of camera and lenses you shoot with?

Or is casting the right actor most important?

Casting a film is much like cooking – you need the right ingredients in just the right amounts to create something that’s palatable and satisfying. Casting professionals are chefs. They take a director’s vision and a writer’s story, and concoct a ten-course meal that’s worthy of a five-star restaurant. If the recipe is off, however, even a potentially great film could easily turn out to be average.

Actors, especially A-list players, cost a lot of money. Money that – contrary to what you might believe – is well-deserved. I have acted in several movies and I can tell you, it is some of the most demanding work I have ever done. Imagine putting on sixty pounds of muscle to play a professional boxer, or learning to ride a horse and fire a longbow from horseback – all while looking good and making it look like you have been riding horses and firing arrows from their backs since you were knee-high to a grasshopper.

Lesser-known actors don’t have the same salary requirements, but they may lack exposure or experience.

Thus, the Casting Director walks a fine line between beauty, budget, and risk –  carefully assessing each role and the type of actor you need to make that character successful.

cast 3Picture Katt Williams playing Django in Django Unchained, or Honey Boo Boo playing Dorothy in The Wizard of Oz. Chances are, they would have flopped.

The Casting Director, or CD, is the individual responsible for finding and auditioning actors for the roles in a movie. CDs work closely with the director and producer to find the talent they are searching for – the talent right for a specific role.

Casting directors are pros at matching the right actor to the right role. They are the matchmakers of the filmmaking industry, arranging auditions, casting calls, and callbacks and their help is indispensable.

In making their decisions, Casting Directors examine a number of factors, including an actor’s experience, “chops” (proficiency in acting), physical characteristics, and other special talents, such as martial arts training or stunt experience.

cast 1If you take on the responsibilities of Casting Director for a film, here are a few tips I would like to share. I learned these the hard way – through assisting directors in casting films, through auditioning for films and through making mistakes during production of my own films.

1. Avoid using one of your crew members as an actor in the film. You diminish the size –and therefore the efficiency – of your production team when you pull one of them out to act. A crew of four people that loses one to become a performer is diminished 25%. Usually this drastic trade-off becomes visible on screen in numerous ways.

“Spike Lee and Quinton Tarantino do it all the time,” you say? Yep. They are exceptions. Not the rule.

2. Try to work with those who have a reason to commit to the film. Actors and even acting students have a reason to participate in a film until the very end because it is important for them to have an acting reel, meaning samples of them performing. The better the project is, the better their reel, so they have a strong incentive to perform well. Not only do they get a credit on a film, but the reel can lead to other acting gigs.

However, a close friend who is a professor of English Literature might be excited about – and even agree to dust off those college acting skills and be in – your movie, but after the first ten-hour production day, they may start to lose interest. With mid-terms coming up, with an impatient wife to appease and teaching assistants to maintain, suddenly the thought of sticking around for three more shooting days isn’t so appealing to the good old professor. Frequently, good friends find the limits of their friendship on film productions.

3. Think twice about casting family members. Family relations are often complex; add to that the stress and arduousness of the filmmaking process, and you’re working with a volatile mixture – kind of like a gallon of nitroglycerin in the hands of your ninety-seven year old uncle after he has had a decanter of coffee, two Krispy Kreme donuts and thirteen cigarettes. Imagine asking your mother to redo her lines after she has flubbed them for the tenth time, but is convinced the last take was “a keeper”. “But you directed your wife in that action film, A Single Link and in Rite of Passage: Initiation,” you say? Again…exceptions to the rule.

cast 24. Always remember that it takes a skilled director, and lots of patience, to get a great performance out of a non-actor. For most films, casting skilled actors is important in order to get what you need for your film. Even if your film has no dialogue, a good actor can bring a new interpretive energy, authenticity, and creative resources to the project.

Finally, I would like to share the current cast of Rite of Passage, the first Steamfunk film, with you. As we add more actors to the cast, I will edit this section, so please, check back often.

Oh, and if you happen to be an actor, a Steampunk maker or Steampunk fashion designer / costume maker and are interested in working on this awesome film, please join us Thursday, April 18, 2013 at GA-Tech in room 343 of the Skiles Building at 11:00 am for an Information Session.

Cast Akingbe Cast Angus Cast Bagwell Cast Bass Reeves Cast Clemente Cast Dorothy Cast Dug Cast Joe Cast Lana Cast Marie Cast Turnipseed

Cast Harriet

THE MAKING OF A STEAMFUNK MOVIE: Pt. 1, the Crew

THE MAKING OF A STEAMFUNK MOVIE: Pt. 1, the Crew

crew 1When I left Howard University – and my despised major in Finance – in 1986 (don’t do the math) to pursue my vision of novelist, screenwriter and film director, my family – particularly my mother was supportive. My sister, Alesia, however – a film and video producer for the Air Force – did not warn me about what I was getting myself into.

I enrolled in Columbia College – the renowned college of the Fine Arts in Chicago – and my training in film, which I just knew would be easy and fun every minute, began.

And so did work ten times more demanding than any Finance, Economics, or Statistics class ever was.

Easy? My ass!

Fun? Hell no!

The work was grueling; tiresome; boring; lonely.

Wait a minute…lonely?

crew 2The first week of my Film Directing I Class was a solo directing project. Unbeknownst to us ignorant students, that project was designed for the sole purpose of teaching us – the hard way – that film is always a collaborative effort. Anyone who tries to be a one-man film crew is about as sharp as a bowl of Jell-O.

For those of you looking to make a movie, but you do not have access to a multimillion-dollar budget, you may have to assume more than one responsibility to make your film. While it is possible – and often necessary – to wear two or three hats when making a film, it is not recommended. Search hard for qualified and experienced people to work with. The more you do, the more the quality of your film suffers and the quicker you will burn yourself out.

In May, we begin pre-production on the Steamfunk feature film, Rite of Passage. We start shooting in August. This is the bare minimum crew we will begin with:

I1Producer: A film producer creates the conditions for making movies. The producer initiates, coordinates, supervises, and controls matters such as raising funding, hiring key personnel, and arranging for distributors. The producer is involved throughout all phases of the filmmaking, from development to “delivery” of a project.

Executive producer: In major productions, can sometimes be a representative or CEO of the film studio. Or the title may be given as an honorarium to a major investor. Often they oversee the financial, administrative and creative aspects of production, though not always in a technical capacity. In smaller companies or independent projects, it may be synonymous with creator/writer. Often, a “Line Producer” is awarded this title if this producer has a lineage of experience, or is involved in a greater capacity than a “typical” line producer. E.G – working from development through post, or simply bringing to the table a certain level of expertise.

Associate producer: Usually acts as a representative of the Producer, who may share financial, creative, or administrative responsibilities, delegated from that producer. Often, a title for an experienced film professional acting as a consultant or a title granted as a courtesy to one who makes a major financial, creative or physical contribution to the production.

Script Supervisor: The script supervisor maintains a daily log of the shots covered and their relation to the script during the course of a production, acts as chief continuity person, and acts as an on-set liaison to the post-production staff. They maintain logs of all shots and act as the chief continuity person on set, performing daily cross-referencing with the continuity stills photographer to ensure shots remain accurate and in logical order.

Continuity Stills Photographer: The continuity stills photographer uses a digital still camera to establish continuity referents for each shot covered in a day of shooting. These shots are cross-referenced with the script supervisor’s log for accessibility on set. The continuity stills photographer takes pictures of each shot covered, paying particular attention to the in-point and out-point of a shot – a photograph is taken just before the director says “action,” and immediately after he or she says “cut.”

crew 3Director: The director is responsible for overseeing the creative aspects of a film, including controlling the content and flow of the film’s plot, directing the performances of actors, organizing and selecting the locations in which the film will be shot, and managing technical details such as the positioning of cameras, the use of lighting, and the timing and content of the film’s soundtrack. Though the director wields a great deal of power, they are ultimately subordinate to the film’s producer or producers. Some directors, especially more established ones, take on many of the roles of a producer, and the distinction between the two roles is sometimes blurred.

Stunt Coordinator: Where the film requires a stunt, and involves the use of stunt performers, the stunt coordinator will arrange the casting and performance of the stunt, working closely with the director. This includes Fight Choreographers – stunt coordinators who specialize in the casting, design and performance of fight scenes.

Production Designer: A production designer is responsible for creating the physical, visual appearance of the film – settings, costumes, properties, character makeup, all taken as a unit. The production designer works closely with the director and the cinematographer to achieve the ‘look’ of the film.

I2Director of Photography / Cinematographer: The director of photography is the chief of the camera and lighting crew of the film. The DP makes decisions on lighting and framing of scenes in conjunction with the film’s director. Typically, the director tells the DP how they want a shot to look, and the DP chooses the correct aperture, filter, and lighting to achieve the desired effect.

Camera Operator: The camera operator uses the camera at the direction of the cinematographer / director of photography, or the film director to capture the scenes on film. Generally, a cinematographer or director of photography does not operate the camera, but sometimes these jobs may be combined.

I16Boom Operator: The boom operator is an assistant to the production sound mixer, responsible for microphone placement and movement during filming. The boom operator uses a boom pole, a long pole made of light aluminum or carbon fiber that allows precise positioning of the microphone above or below the actors, just out of the camera’s frame. The boom operator may also place radio microphones and hidden set microphones.

I4Location Scout: Does much of the actual research, footwork and photography to document location possibilities.

Film Editor: The film editor is the person who assembles the various shots into a coherent film, with the help of the director.

Sound Designer: The sound designer, or “supervising sound editor”, is in charge of the post-production sound of a movie. Sometimes this may involve great creative license, and other times it may simply mean working with the director and editor to balance the sound to their liking.

Composer: The composer is responsible for writing the musical score for a film.

Foley Artist: The foley artist is the person who creates the sound effects for a film.

Key Makeup Person: The key makeup person applies and maintains the cast’s makeup, working in coordination with the script supervisor and the continuity stills photographer.

Key Hairdresser: The key hairdresser dresses and maintains the cast’s hair, working in coordination with the script supervisor and the continuity stills photographer.

crew 4Costume Designer: The costume designer works under the supervision of the director and the art director to design, obtain, assemble, and maintain the costumes for a production. Costume designers develop costuming concepts and the design of costumes in coordination with the art director, production designer, and DP.

This is the crew I am working with, plus the assistants for each member of the crew, caterers and security. I bet no Financier ever had to work with so many people – from a couple of months to a year or more – just to complete one project.

Such is the life of a filmmaker, but I love it and when you see the fruit of the labor of our crew, when Rite of Passage hits the silver screen at the Black Science Fiction Film Festival in February, 2014, you’ll love it – and us – too!

More funk to come. Stay tuned, Steamfunkateers!

If you would like to be a part of the making of this film and live in or near Atlanta, please join us at the Information Session at Georgia Tech Thursday, April 18, 2013; Skiles Building; Room 343 at 11:00 am. We will discuss cast and crew needs, scheduling and benefits to be enjoyed by all involved!

ROP 1

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