Tuesday, 25 April 2017

Kaaboo Festival: Lineup Announced

Perhaps the biggest music festival in Southern California has Unblocked Games 333 reached into the reggae genre to fill out the lineup.


KAABOO is three days of fun, with almost 40 hours packed full with memories and it has all of the makings of a comfortable event. We have plenty of shade and seating, all restrooms are clean with flushable toilets (no porta-potties), and there is no dirt, dust or mud to fight through just to have a good time.

Enjoy the world-class music, hilarious comedy, incredible cuisine, craft libations, inspiring contemporary art, and personal indulgences. KABOO Festival has it all, including some of the biggest names in the reggae genre Unblock Proxy Uk.

Set to perform at KAABOO Festival in Del Mar, California will be Jack Johnson, Steel Pulse, Rebelution, The Green, G. Love and the Special Sauce, Matt Costa, The Aggrolites, and many more musical acts, comedians and artists prepared to take the stage.

In past years, KAABOO has featured an even deeper lineup of homegrown and American based reggae bands, featuring performances by Slightly Stoopid, Michael Franti, Dirty Heads, Iration, Fortunate Youth, Natural Vibrations, and more. This year’s edition has more of a mainstream music appeal to the artist lineup with headlining acts consisting of Jimmy Buffet, Aerosmith, Fall Out Boy, Lenny Kravitz, Hall & Oats, Goo Goo Dolls, and Third Eye Blind, among many more.

Nonetheless, reggae fans in San Diego that missed out on the summer tour dates from Rebelution, The Green and others will have a chance to see them perform in a festival atmosphere in sunny San Diego.

The three-day festival will take place from September 16-18, 2016 at the Del Mar Fairgrounds. Tickets for the event are currently available for $119 per day or $279 for all three days.

For more information on KAABOO, follow the links below.

Tuesday, 26 April 2016

The Blue Jackets Should Trade Jack Johnson

The Blue Jackets should trade Jack Johnson. It sounds really easy doesn’t it? The problem with Johnson is that he is a bit of an enigma.

He is the worst, best player that I have ever seen and the best, worst player. I know that it doesn’t really make any sense, but that is the best way that I can describe him. Columbus could get a decent return for him, and in many ways it would be addition by subtraction. Here is my case for why this needs to happen.

Jeff Gross/Getty Images (Photo Courtesy of Columbus Blue Jackets)
Jeff Gross/Getty Images (Photo Courtesy of Columbus Blue Jackets)

Salary

There are quite a few reasons that Columbus should trade Johnson, not least among them is his cap-hit of $4.4 million (per General Fanager). Right now with the Blue Jackets salary cap situation, they cannot afford to sign any free agent help. They are $3.7 million under the cap, and most of that is reserved for possible incentive bonuses kicking in for certain players contracts. $4.4 million would go a long way towards signing a free agent defenseman or two.

Stats

Statistically, I have spoken at length in previous articles about why Johnson is a liability to the team. Here is an excerpt from an article that I wrote on 8/4/2015 called “Top-Three Players That Can Help (or Hurt) a Blue Jackets Cup Run”.

“Jack Johnson is the bane of the advanced stats community, and for good reason. Johnson’s Corsi For (The number of on-ice shot attempts on goal, missed, or blocked taken by the players team as defined by War On Ice) % has never been over 50%. His lowest number being 40.8 in 2007-08, and his highest 49.1 in 2009-10. In addition, his Relative Corsi numbers are bad as well. Relative Corsi is an indicator of how well his team controls the puck when he is on the ice versus when he is off of it. Johnson has only had one season with a positive Corsi Rel, ironically that being last season with a 0.2. his worst was in 2007-08 with a -8.6. Johnson is skilled and has the ability to be a game changer in a positive, and negative way. If he can get his game together, he could be a star, but now you have to take the good with the bad.”

He did improve towards the end of last season, but he is 28, so how likely is it that his career arc changes? Here is a good article from Sports Illustrated to help me make my point.

Trade Return

Johnson is highly overvalued in some NHL circles, so if Columbus General Manager Jarmo Kekalainen could find a good, or gullible, trade partner a solid return could be had. I would look for a young, mid-level defender and a pick.

Obviously there are a lot of variables, but look at what the Pittsburgh Penguins got in return for Brandon Sutter. Sutter was an overpaid, underperforming player that got a lot in return. A better third line center replacement, a defensive prospect, and an upgraded draft pick. Vancouver overvalued him, and as a result Pittsburgh got a veritable king’s ransom in return. Why couldn’t Kekalainen get even a fraction for Johnson?

Johnson is popular among his teammates and fans, so moving him would be difficult at first, but when the results start to show, I think people would easily move on. Columbus needs help on the blueline, and moving Johnson in the right deal would help in many ways.

Jack Johnson interview: 'I'm a goody two-shoes'

He writes songs about his wonderful children, insists venues use low-energy light bulbs and has given away millions to good causes. Is Jack Johnson just too nice to be a rock star? He talks to Craig McLean. 

Ever since he moved down the road – to a solar-powered home entirely built from wood salvaged from another house in his rural neighbourhood – Jack Johnson has had fewer problems with fans turning up at his front gate. But the Hawaiian singer-songwriter is still famous enough in the United States to recently be accorded that honour du jour: the social media celebrity death hoax.
“Was I? I don’t know, maybe,” shrugs the mellow environmentalist who is so off-the-grid that the only surfing he truly enjoys involves the world-beating waves that pound the shore near his home on the North Shore of Oahu, Hawaii’s main island. Still, he’s been online enough to have heard of one rumour. “There was one recently that was really funny – everybody started texting and calling me,” he says, a smile splitting his craggily handsome features. “It was this crazy thing that came out on the internet – a sex scandal! Somebody put out a press release saying ‘Jack Johnson nude photos released!’ They said they’d found my camera and they were posting the pictures.” But the release was deliberately misleading: the photos were of nude statues. “It was just a dumb joke, but it was pretty funny,” he says.
Rumours of Johnson’s untimely demise wouldn’t necessarily be wholly exaggerated. The 38-year-old has surfed since childhood, and almost did die when he was 17. Diving from his board to escape a towering wave, he smashed face-first into a coral head, broke his skull and his nose, lost his front teeth and had 150 stitches. It was while recuperating that he finessed his guitar playing and started on the path to some 15 million album sales, (with three British Number Ones in a row), a hit single (Better Together), a Brit Award (International Breakthrough Artist 2006), and becoming the king of easy-listening, campfire acoustics.
But a sex scandal? It couldn’t happen to a less likely musician. Johnson’s relationship with his wife, Kim, is 20 years strong, and he lives for his three children (aged nine and under, two boys, one girl; fiercely private Dad won’t even reveal their names). He founded a pair of charitable foundations, and donates all of his touring profits to noble causes. Johnson is the most right-on, eco-minded, sandal-wearing, guitar-toting campaigner in music. He makes Coldplay’s Chris Martin look like a fracking petrol-head.
Johnson is such a good guy that even his faecal matter doesn’t smell. And he should know, because he uses it to nourish his garden. “We don’t have a sewage line,” he says proudly. “We have an aerating system that basically breaks it all down to grey water. It sits long enough and it decomposes and then every so often you got to have the guy come and pump it out.

“It’s three different tanks underground,” he explains. “It’s pretty neat. It keeps cycling it through to the point where it breaks down enough to use – underground we have these little perforated pipes that water the yard. And,” he adds, warming to his where-there’s-muck-there’s-brass theme, “a really cool thing we got last year was an electric car. So now, ’cause we’ve got the solar panels [on the roof], we can charge the car and don’t have to use a gas station any more."

He runs his car off the sun? “More or less. We have a system that’s connected to the grid. As we’re making excess electricity it goes to the grid and the meter goes backwards. We zero-out, basically. We had fun doing all that stuff.”

Everyone, it seems, helped turn the family home into a paragon of green virtue. One of his elder brothers helped him build the house, having spotted a dwelling nearby that was about to be demolished. “So we took it apart ourselves, board by board. So almost our whole house is this house that used to be a mile down the street.”

Right now, Jack Johnson is a long way from home, geographically and spiritually and meteorologically. He’s in London, in the beer garden of a busy canalside pub, in a thunderstorm. “I’m fine to sit here in the rain,” he shrugs as fat raindrops spatter his sandalled feet. He’s in the UK to promote his new, sixth album, From Here to Now to You. A couple of nights previously he played an intimate show in west London church-turned-venue The Tabernacle. True to groovily chilled form, the lucky fans in attendance waited for his arrival on stage by sitting cross-legged on the floor.

After the shadows darkening his last album, To the Sea – written in the wake of the death of his father – From Here to Now to You returns to the feel-good, gently singalong vibes that have been Johnson’s stock-in-trade since his 2001 debut Brushfire Fairytales. There is, for example, one song for each of his children. “They come from a personal place, although I made sure there’s nothing there giving out little facts that I don’t want people to know about my family. But I wanted to focus energy on each of the kids.”

So his oldest boy has the song Tape Deck, which reflects the nine-year-old’s nascent enthusiasm for the guitar, “even though it’s really about the formation of my first band …” He’s referring to Limber Chicken, the “punk rock band” he formed while at high school in Hawaii, who are not to be confused with Soil, the metal band he formed while studying film and music production in California. “But I saw him and his cousin jamming, and now and then I saw this little flame starting up in him.”

Radiate, meanwhile, is for his middle child. “He does this thing where he walks around the house and you could be calling his name and he’s just in his world, where he’s painting a picture and he’s walking into it as he’s painting it and he’s making these noises – whoosh, whoosh, whoosh. So that song is just about the beautiful energy he radiates.”

Finally, You Remind Me of You (“your momma made you pretty and your momma made you sweet”) “is for my little girl”. Any songs for Kim? “Yeah,” he smiles. “All the love songs.”

This, says Johnson, is another of his missions: to increase the quotient of positivity in the world. “Cormac McCarthy said that he was trying to add more darkness to the world; he thinks there’s too much light. And I don’t agree,” he says, agreeably. “I think we got plenty of darkness.” Has he read any McCarthy? “Hell yeah!” he shoots back. He’s just finished The Road, the author’s post-apocalyptic novel about a father and son. “Oh man, that messes you up!” We agree that the (spoiler alert!) baby-on-the-spit passage is particularly gruelling. “It was so gnarly,” Johnson winces. “The other scene that just kills me is when he tells his kid he has this gun and it’s only got one bullet, and he tells him that if the cannibals get him, he has to put the gun in his mouth …”

Johnson’s ordinarily sunny disposition clouds over. “That whole part, I had to put the book down. I think I punched the book and maybe flipped it off,” he says, meaning he angrily showed the inanimate object the middle finger. “And I’m like, ‘What the … Why am I reading this?’ I was so mad! But then,” he smiles, “I picked it back up. It’s a meditation.” That said, “I did not want to see the movie.”


Jack Johnson performing with Neil Young, in 2008. (Steve Jennings/WireImage)
 
In terms of his environmental obsessions, Johnson isn’t afraid to put his money where his mouth is. While on tour, he insists on reusable/refillable water bottle stations at venues and the use of low-energy light bulbs, while his team donate to local pressure groups in every town they visit.
But even the most assiduously green international rock star has a sizeable carbon footprint. Johnson, who has come to London with just some guitars, one crew member and a manager, acknowledges this. “At one point I wasn’t sure if I wanted even to keep touring.” He was prepared to stop performing internationally just to reduce his impact on global warming? “A little bit,” he nods. “But I wanted to keep my options open. To us, to make the whole thing make sense, there are two things: we can either withdraw from this industry if we feel it’s too impactful. Or, you can be part of it and try and do little changes to make your part of the industry better.”

Is it an effort being a paragon of virtue? “Nah, it’s not, it’s really easy,” he insists. “The hardest part is to talk about it and make sure you’re expressing it the right way. I’m not gonna pretend I’m doing all the work. We have a great crew now that helps out with all of it.”

The Johnson Ohana Charitable Foundation (ohana means family in Hawaiian) has a board that disburses grants from the pot of the singer’s touring income. Sums are given to groups active in music, art and environmental education. There is also the Kokua Foundation, which fosters environmental education syllabuses in Hawaiian schools.

All of which, you might say, is too good to be true. Does Johnson mind the mickey-taking that lampoons him as the right-on rocker? “Not really,” he says evenly. “Well, maybe for a little while … I don’t get it too much any more. The first years we started to do the [Ohana Foundation], in 2008, I almost felt like I was on the defensive – half the people were like, ‘OK, you're doing this for your image, I get it.’ So they were trying to find holes in it all the time. But this time around it’s been great. We’ve been doing it for five years and we’re not really coming out and making a thing of it. I don’t feel like I have to explain it as much. And to be honest, it really does make my job easier to explain to my kids – it makes it feel a little more worth doing.”

All of which raises the question: are the Johnson children on-board with his environmentalism? They at least seem to have accepted the household computer rules – no screentime in daylight hours – and that there will be no PlayStation or Wii console coming through the door any time soon. “I mean, they have to be a little bit [accepting],” he admits. “’Cause it is what we do at the weekend sometimes. There’ll be a garden ‘party’, the ‘party’ in quotes ’cause basically it’s turning over the gardens at school, pulling out the weeds. And so far,” he adds with a grin, “they’re not at that age where they’re rebelling. They’re still, like, ‘This is awesome!’”


Doing it for the kids: Johnson with his wife Kim, and family. (L Cohen/WireImage)
 
Maybe in their teenage years the children might start questioning how their life might be if Dad wasn’t so philanthropic. Johnson’s accountant recently told him how much money he’s given away in the past five or so years: $25 million, with two lots of $10 million accruing from his most recent world tours. “I didn’t even know I’d earned that much,” he jokes. “I could have had way better cars and everything.”

On top of that, for a decade he and Kim have been part of One Percent for the Planet. The group’s members donate at least one per cent of their earnings to an approved list of environmental groups. “Although we’ve always donated more than that. And it’s your gross earnings too. It’s my wife’s fault, she’s the one …” he tails off.

So, if it hadn’t been for Kim, he could have been a proper rock star and had a drug habit, a mansion, a helicopter, the works? “I’m not gonna say yes,” he chuckles.

Still, Jack Johnson is not without his vices. As an obsessive surfer, he does splash out on boards – he owns “dozens and dozens. And they’re not the most environmentally friendly things – in general they’re made with foam and resin and they’re a little bit toxic. But I do splurge on boards.”

 

JOHNSON, JACK

JOHNSON, JACK (1878–1946). Jack Johnson (his real name was Arthur John, and he was also known as Lil' Arthur), the first black to win the world heavyweight boxing championship, was born in Galveston on March 31, 1878, of poor parents. He was the second of six children of Henry (a former slave) and Tiny Johnson. He left school in the fifth grade. Young Johnson began traveling in South Texas, picking up odd jobs as a porter, barber's helper, dockworker, and general laborer. He began his fighting career as a sparring partner and participated in so-called battles royal, where black youths fought each other and white spectators threw money to the winner. He started fighting in private clubs in the Galveston area, and became a professional prizefighter in 1897. The Galveston hurricane of 1900 destroyed his family's home, and the next year he was jailed for boxing—at that time it was illegal in Texas. He subsequently left Galveston and did not return. Johnson began wandering the country, fighting and gaining increasing recognition. In 1903 he won the Negro heavyweight championship. Jim Jeffries, the reigning white heavyweight champion, refused to cross the color line and fight him. Johnson had to wait until 1908, when he defeated Tommy Burns in Australia, to technically win the world heavyweight boxing championship; even then he was not officially recognized as the champion. The actual heavyweight championship title was bestowed on him on July 4, 1910, in Reno, Nevada, when he defeated Jim Jeffries, who had stepped out of retirement to become the first in a series of recruited "white hopes." Race riots erupted after the match. After his victory, Johnson continued to fight and also appeared in several vaudeville skits. In 1913 he fled a contrived conviction for a violation of the Mann Act, which forbade the transportation of white women interstate for the purpose of prostitution. Facing a year in prison and a $1,000 fine if he remained in the United States, Johnson toured Europe, Mexico, and Canada and hoped for a pardon. He lost his championship to white Jess Willard in Cuba in 1915. On July 20, 1920, he returned to the United States and was arrested. He was jailed in Leavenworth Prison, where he was appointed the athletic director of the penitentiary. After his release, he returned to boxing, but his professional career was over. By 1928 he was only taking part in exhibition fights; he managed, refereed, and occasionally trained boxers. He also gave speeches, selling war bonds during World War II. Johnson was a nonconformist; as his career took off he turned to white women, fast cars, and expensive jewels, defying an antagonistic press and public. Known "for his arrogance, his golden smile, and his white wives," Johnson married Etta Terry Duryea in 1911. She committed suicide in 1912, and he married Lucille Cameron in 1913. They were divorced in 1924, and he married Irene Marie Pineau in 1925. He did not have any children. Johnson died in an automobile crash on June 10, 1946, near Raleigh, North Carolina. See also SPORTS.

Review: ‘The Royale’ Harks Back to the Fighter Jack Johnson

Jay Jackson has found the zone, a place where all he hears is the upbeat percussion of his own thoughts and the drumming of flesh hitting flesh. A declaration of satisfaction purrs out of this perfectly proportioned giant, delivered both to himself and to the young opponent who has surprised him by giving almost as good as he gets: “We’re making music, boy.”

That’s the music of the sweet science of boxing. And it has seldom been played as quietly or as resonantly as it is in “The Royale,” Marco Ramirez’s absorbing drama about a black prizefighter in the early 20th century, which opened on Monday night at the Mitzi E. Newhouse Theater at Lincoln Center. That this production never deploys real physical blows in recreating life in the ring is by no means to say that it doesn’t pack a punch.

Staged with a swift, stark lyricism by the impossibly versatile Rachel Chavkin, “The Royale” boldly takes on and reorients a familiar genre and a familiar tale. Jay Jackson (played by Khris Davis), known in the trade and tabloids as Sport and “the black bringer of retribution,” is yet another character inspired by Jack Johnson (1878-1946), the first African-American world heavyweight boxing champion.

Johnson’s life has been the basis for Howard Sackler’s “The Great White Hope,” the 1967 Pulitzer Prize-winning play (and 1970 movie) that sealed the stardom of James Earl Jones; a two-part Ken Burns television documentary (“Unforgivable Blackness: The Rise and Fall of Jack Johnson”); and music by Miles Davis and Mos Def. His career both anticipated the rise of the celebrity athlete and spotlighted the racial antagonism festering in the age of Jim Crow.

It’s a complicated and ambivalent tale that bears far more social freight than the usual beat-the-odds sports melodrama. But when reading and watching factual and fictional accounts of Johnson’s fights — especially the historic 1910 match in which he retained his title by defeating the former champion James L. Jeffries, a white man — it’s hard not to experience the anxious, invested thrills that come with rooting for an underdog hero on the ropes.
Photo
From left, McKinley Belcher lll, Khris Davis and Clarke Peters in “The Royale.” Credit Sara Krulwich/The New York Times
First staged at the Kirk Douglas Theater in Los Angeles in 2013, “The Royale” does not traffic in the expected adrenaline-boosting staples of such fare. Its extraordinarily efficient 90 minutes progress at a calm, almost ceremonial pace, and we are never invited to feel the sensuous rush associated with boxing movies of both the upper (“Rocky”) and downer (“Raging Bull”) varieties.

True, the play begins and concludes with matches of bruising, bloodying violence. Yet as staged by Ms. Chavkin, these encounters are almost entirely free of physical contact. That’s because they’re taking place in another, more privileged arena, to which we have been allowed direct access — the uncommonly focused mind of Jay Jackson.

So in the opening sequence, in which Jay is paired against an engagingly green up-and-comer called Fish (played by McKinley Belcher III), the two men are often on different sides of the stage, which has been converted into a simple wooden space (by the set designer Nick Vaughan) that speaks of a still rough-hewed America. We know how the fight is proceeding by the running internal commentary each sustains.

When they land punches, the contact is conveyed by one or the other jumping hard with both feet on the canvas, or hoisting a movable railing. Though a rapport is struck between these men — Fish will be hired as Jay’s sparring partner — the ring still feels like the loneliest place in the world.

This is true for Jay despite his having an ever-present and supportive team. It includes his trainer, Wynton (the estimable Clarke Peters), and his white manager and promoter, Max (John Lavelle), whose ingrained prejudices keep slipping into view like an untucked shirttail.

Mr. Lavelle also portrays the various newspaper reporters who keep firing off questions at the rising black star, especially once the retired but still undefeated world champion (here named Bixby) agrees to fight Jay, who becomes the first African-American contender for the world title. Montego Glover (a Tony nominee for “Memphis”) shows up late in the play to assume a reverberant double role.

They make up the entire cast of this production, and they all embody their parts with laser sharpness. Mr. Peters does beautifully by the poetic monologue — describing his first experience fighting for money — that gives the play its title.

Though they engage us unconditionally, none of the performers provide a full, idiosyncratic character. But that kind of portraiture is not the intention here. There are the expected references to Jay’s serial conquests of white women (a preference that helped bring down the real Jack Johnson and was the center of “The Great White Hope”) and his love of sartorial sumptuousness, but they are not center stage here.

For the great subject of “The Royale,” which has been given such original and graceful theatrical form, is the selfish single-mindedness required of champions, and the repercussions such a focus has when it’s exercised by a black man in a white man’s world. Mr. Davis embodies this point of view with a stunning, arrogant innocence that charms and, in a subliminal way, terrifies.

Occasionally the script tips into overstatement and overexplanation. Was it really necessary to have a blunt, sentimental revelation of the childhood incident that drives Jay’s hunger for success? And historical purists may be annoyed by the anachronistic prominence of radio broadcasts in the play’s final scenes.

But you don’t feel like picking apart the individual elements when they cohere into such an organic whole. The show — which features stealthily effective sound (by Matt Hubbs) and lighting (by Austin R. Smith) — is accented throughout by the rhythmic punctuation of loud, abrupt hand claps and barked-out “hahs!” that suggest anger trapped in laughter.

Those sounds set the rhythms for Jay’s life in the public eye. He is as regimented and confined by them as a classical ballet dancer is by choreography.

It’s the rhythm that keeps him moving determinedly forward, allowing him to triumph as a fighter and to keep his cool when dealing with the far mightier opponent of institutionalized racism. But when the clapping and the laughing finally stop, in a blindingly bright moment of victory, the silence is so ominous it deafens.

Jack Johnson angry at Kings' general manager

Kings General Manager Dean Lombardi said Friday his harsh evaluation of Jack Johnson's old flaws in an interview on the blog frozenroyalty.net was intended to lend perspective to the defenseman's progress, not to disparage Johnson or the University of Michigan.

In the interview, conducted by Gann Matsuda and published as part of a series, Lombardi said Johnson "never had any coaching" at Michigan and was "awful as a hockey player" before he joined the Kings and refined his game enough to be chosen for the U.S. Olympic team at the Vancouver Games.

An angry Johnson told The Times on Thursday that Wolverines Coach Red Berenson is "one of the finest coaches and men that I've met. For my general manager to rip me as a person and criticize me as a person and as a player and call me an awful hockey player is irresponsible and unprofessional."

Lombardi said he meant to give Matsuda background information on Johnson's evolution and didn't expect those comments to be published. "The whole article was completely out of context," Lombardi said.

Matsuda said Lombardi never designated that part of the conversation as off the record. Lombardi did not dispute that.

"I wasn't trying to do a hatchet job," said Matsuda, who said he has been blogging for two full seasons and has a full-time job doing network and IT work for UCLA's School Management Program.

Lombardi was particularly barbed about Johnson's poor defensive play in college and in saying Johnson reacted badly to criticism. Lombardi said he expected Matsuda to know the comments were for his education and not for publication.

"I made a huge mistake thinking the guy would understand that," Lombardi said. "The question insinuated [Johnson] wasn't developed and not coming along fast. I was in there defending him. . . .

"If you just go, go, go, like he was at Michigan, you don't learn. I'm incredibly proud of this kid. He's a good player now, but the object is for him to be great. The part of the game he's learning now is very difficult and very subtle."

Lombardi is part of the Olympic selection committee and supported Johnson's candidacy. He said his peers also valued Johnson's talents above his team-worst minus-18 plus/minus rating.

"I look at Jack and I see the potential for greatness," Lombardi said. "This kid has got as much talent physically as any player I've ever had. He can skate, shoot, do it all. He's got to learn the mental part of the game and that's very subtle."

Lombardi said he spoke to Johnson about the blog posting "Am I going to trash a player who can help us?" Lombardi said. "I was defending him."

Jack Johnson American boxer

Alternative title: John Arthur Johnson
Jack JohnsonAmerican boxer
Jack Johnson, byname of John Arthur Johnson (born March 31, 1878, Galveston, Texas, U.S.—died June 10, 1946, Raleigh, N.C.) first black boxer to win the heavyweight championship of the world. Johnson is considered by many boxing observers to be one of the greatest heavyweights of all time.
Johnson fought professionally from 1897 to 1928 and engaged in exhibition matches as late as 1945. He won the title by knocking out champion Tommy Burns in Sydney on Dec. 26, 1908, and lost it on a knockout by Jess Willard in 26 rounds in Havana on April 5, 1915. Until his fight with Burns, racial discrimination had limited Johnson’s opportunities and purses. When he became champion, a hue and cry for a “Great White Hope” produced numerous opponents.

At the height of his career, the outspoken Johnson was excoriated by the press for his flashy lifestyle and for having twice married white women. He further offended white supremacists in 1910 by knocking out former champion James J. Jeffries, who had been induced to come out of retirement as a “Great White Hope.” The Johnson-Jeffries bout, which was billed as the “Fight of the Century,” led to nationwide celebrations by African Americans that were occasionally met by violence from whites, resulting in more than 20 deaths across the country.

In connection with one of his marriages, Johnson was convicted in 1912 of violating the Mann Act by transporting his wife-to-be across state lines before their marriage. He was sentenced to a year in prison and was released on bond, pending appeal. Disguised as a member of a black baseball team, he fled to Canada; he then made his way to Europe and was a fugitive for seven years.

He defended the championship three times in Paris before agreeing to fight Willard in Cuba. Some observers thought that Johnson, mistakenly believing that the charge against him would be dropped if he yielded the championship to a white man, deliberately lost to Willard. From 1897 to 1928 Johnson had 114 bouts, winning 80, 45 by knockouts.

In 1920 Johnson surrendered to U.S. marshals; he then served his sentence, fighting in several bouts within the federal prison at Leavenworth, Kan. After his release he fought occasionally and performed in vaudeville and carnival acts, appearing finally with a trained flea act. He wrote two books of memoirs, Mes Combats (in French, 1914) and Jack Johnson in the Ring and Out (1927; reprinted 1975). He died in an automobile accident.

In the years after Johnson’s death, his reputation was gradually rehabilitated. His criminal record came to be regarded as more a product of racially motivated acts than as a reflection of actual wrongdoing, and members of the U.S. Congress have on a number of occasions attempted to secure a posthumous presidential pardon for Johnson. His life story was lightly fictionalized in the hit play The Great White Hope (1967; filmed 1970), and he was the subject of Ken Burns’s documentary film Unforgivable Blackness (2004). Johnson was a member of the inaugural class of inductees into the International Boxing Hall of Fame in 1990.

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