The mission of The Department of Afro-American Research Arts and Culture to identify the global significance of the creative contributions pioneered by an international diaspora of Blackness
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Showing posts with label Information. Show all posts
Showing posts with label Information. Show all posts

Thursday, September 7, 2017

DAARAC'S Top 10 Blaxploitation Films [Presented by FilmDoo]

A Blaxploitation top 10 list is a living breathing entity. Over the last 9 or so years, we have presented over 300 films we consider to be of the Blaxplotiation genre. The difficulty of selecting films to be in this top 10 was something we spent time thinking about. We have left off several films many may think should be in this top 10, but these are our favorite and FilmDoo has done an excellent job in presenting this list. We have been working closely with them to help bring awareness of Black films from around the world.

Friday, June 23, 2017

New Partnership With FilmDoo
We are happy to announce our partnership with FilmDoo, which is a Video on Demand (VOD) based company that focus on the diversity of independent and international films from around the world. FilmDoo is a particularly great resource for African cinema, which is an area DAARAC has been expanding on. We will also be helping FilmDoo expand their diversity of films by introducing more African-American cinema to the international community, especially independent films that are not as easily available.

Joe Bullet (1973)
As many know, DAARAC focuses on the education of Black Cinema and JOE BULLET is a testament to what we do here. Banned by the South African Apartheid Government, JOE BULLET was unseen until Gravel Road Distribution Group in cooperation with Retro Afrika Bioscope remastered the film for release. This film will be featured on FilmDoo for viewing as well as many other South African Blaxploitation films that were banned.

The partnership with FilmDoo will definitely open new avenues of films that we haven’t covered at DAARAC and we look forward to continue the tradition of promoting, educating and bringing awareness to Black Cinema around the world.

Friday, January 27, 2017

Black Dragon's Revenge (1975, Blu-Ray Edition by The Film Detective)

For the first time in High Definition, The Black Dragon’s Revenge (1975)

BD-R | 1975 | 90 min | Color | Not Rated | 2.35:1 | Region Free | Trailer |Dolby Digital Sound | Closed Captioning

Code Red DVD’s edition of The Black Dragon’s Revenge (now out-of-print) was long considered the superior digital transfer of this title, but no longer.

The Film Detective’s edition is as detailed as the film’s celluloid will allow, features accurate color rendition and a 2.35:1 aspect ratio with an even slightly wider field of view by comparison. We recommend this as a worthy successor to all previous home video releases, as the current “Definitive Edition” of The Black Dragon’s Revenge.

Available to purchase this Tuesday! 

-Michael R. Gibson-

Wednesday, November 23, 2016

Gravel Road Distribution Group | Retro Afrika Bioscope

Mission Abroad

The Department of Afro-American Research and Culture (DAARAC) has built a reputation of discovering and presenting lost treasures of Black Cinema. Our mission is to preserve the history of Black Cinema world wide while educating communities on the accomplishments of Afro-Americans in the film industry. This has been a focus for our organization since 2008. We have helped preserve the Blaxploitation Era, which was the roots of how DAARAC was started. Eventually, the discovery of Blaxploitation films started to slow down, so we decided to help preserve the Race Film Era as well as other eras. While discovering and presenting Race Films of the 1920s, 1930s and 1940s, it was apparent that many of the films we were looking for were destroyed or lost. A huge perspective of Afro-American history was erased. But what was fascinating was how those Race Films were discovered in the first place. You can see from this promotional video narrated by the great Ossie Davis which was released as part of Kino Lorber's Pioneers of African-American Cinema.

It wasn't until 1983 when some of these Race Films were discovered (Dirty Gertie from Harlem U.S.A. and The Blood of Jesus) America. So would this have happened somewhere else in the world? 

Joe Bullet (1973)
There is one thing that the United States of America and South Africa shared in common, which was the violation of Civil Rights towards Blacks through Jim Crow (United States) and Apartheid (South Africa). The cultural response not only echoed through the movements to end these violations, but Blacks found their way into the film industry by making movies for Black audiences. In the U.S., we know that to be the Blaxplotiation Era, but guess what? South Africa had their Blaxploitation Era and it started with a 1971 film called Joe Bullet. Gravel Road Distribution Group and Retro Afrika Bioscope (a restoration division of Gravel Road) has made it possible for the world to see Joe Bullet and several others titles from the South African Blaxploitation Era.

About Joe Bullet (info courtesy of Retro Afrika Bioscope)

Produced in 1971, Joe Bullet was one of the first South African films featuring an all-African cast, and starred Ken Gampu, of the first black South African actors to appear in Hollywood films.

Joe Bullet was independently released in 1973 in the Eyethu cinema in Soweto, and after only two screenings, the film was banned by the then Apartheid government. The film was later unbanned after special appeal and a personal screening to the Minister of Communications. The film was, however, never released again and simply disappeared.

DAARAC's New Partnership with Gravel Road Distribution Group

We are excited to announce that DAARAC will be helping Gravel Road promote their South African Blaxploitation titles to give an international audience outside of South Africa. There will be many films presented here to add an exciting new flavor to Blaxplotiation films. These films have been digitally restored by Retro Afrika Bioscope and we have plenty of titles to present on DAARAC.

As we move forward from here, we will keep everyone updated on the latest releases and provide a master list of South African Blaxplotiation titles as they are presented. Many of these films have been seen by few, but like we did with the Blaxploitation era here in the U.S.A.; we can bring life to a sleeping movement that was similar to the American Civil Rights Movement, but in another region of the world where Black's were fighting against oppression.

Connect With Gravel Road | Retro Afrika

Purchase or Watch Films Online

Sunday, October 23, 2016

Website Update

The forwarding process is complete and those that are use to using may continue to use that domain for the time being. I do encourage you to change any link you have to as we will use that domain from this point forward. Eventually the blaxploitationpride domain name will end.

All links have been updated to Thanks for the support and we will get back to posting.

Wednesday, October 19, 2016

The End of

Don't be startled. The website is NOT going anywhere. We have decided to retire the blog name 'Blaxploitation Pride' because we have grown to be more than just blaxploitation films and music. We have ventured into eras before and beyond the genre. The term 'blaxploitation' is out-dated and in a sense, still racially charged. Looking at the demographics of the website, it's apparent that ages 30 and upove dominates the traffic. Ages 18 to 29 are a very low percentage of traffic to the site. While those that understands what blaxplotiation is, there are many younger folks that doesn't. Society changes over time. Evidence is within this website since we have archived over 100 years of Black Cinema to see such evolution.

I can positively say that we have help secure the legacy of the Blaxploitation Era here at Blax Pride. Over 300 films from the era is archived here. Some of you may or may not agree with the films that we have labeled as blaxploitation, but our purpose was to be informative. To let you know that certain films exist. Since the blog started in 2008, there has been over 200 releases of Blaxploitation films on DVD/Blu-Ray and many still have upcoming remastered releases. If that doesn't speak volumes on the security of the era, then I'm not sure what does. The Race film era suffered many loses and looking deeper into the history, it's very sad that many of these films will never be watched again.

It's time to move forward. We will officially be called the Department of Afro-American Research and Culture (DAARAC). During this transition phase over the next several weeks (or months), the domain name will be phased out and replaced. This will cause many links on this site and around the net to go dead that are linked to the URL. The website will temporarily go back to before the move to This transition is going to take time. It may be difficult to navigate the website because most links will give you a 404 redirect once the domain name it switched.

I will keep everyone updated on the progress of the transition and thank you for your continuous support.


Friday, September 23, 2016

Colorizing the Race Film Era

As of late, I have been spending time researching and discovering Black Independent films from the 20s, 30s and 40s. The Race Film movie list is steadily growing, but the unfortunate truth is that many of these films are missing or destroyed. I have been captivated by some of the aesthetics from these films. Showing African-American culture and perspective from Chicago, Harlem, Atlanta and many more cities across the United States; these films represent imagery in a time when African-Americans had to find their way in cinematography within an oppressed society. Nevertheless, here are some photos that I have colorized from the Race Film Era.

  Ethel Moses and Carmen Newsome, Birthright (1938)

Lawrence Chenault, Body & Soul (1925)

Tressie Mitchell, Ten Minutes To Live (1932)

 Lena Horne and Bill Robinson, Stormy Weather (1943)

Kathryn Boyd, The Flying Ace (1926)

William Clayton Jr. and Edgar Moore, Ten Nights in a Barroom (1926)

 Fredi Washington, Imitations of Life (1934)

 Starr Calloway, The Girl From Chicago (1932)

Willor Lee Guilford, Ten Minutes To Live (1932) 

 Lorenzo Tucker, Veiled Aristocrats (1932)

 Lena Horne, Stormy Weather (1943)

 Cathryn Caviness, The Blood of Jesus (1941)

Evelyn Preer, The Homesteader (1919)

Thursday, June 16, 2016

Lost Blaxploitation Films!!!

With the efforts of those who love blaxploitation around the world, we can find these films! Please contact us if you have any information on these films. 

-Self Science

Tuesday, February 2, 2016

Blaxploitation Soundtrack Album Covers

Peace Blax Pride Readers,

I have went through all the Blaxploitation soundtrack posts and updated the soundtrack album covers. While I was doing that, I saved all of them and uploaded into a single folder (over 250 images). You may download the album covers for your enjoyment.

-Self Science

Sunday, August 31, 2014

Blaxploitation Soundtrack Mix

Peace Fans,

It's been a while since there has been activity on the website. We are still around, but there has been many transitions in our lives so we don't spend much time posting on BP. I try and fill request to people who sends me an email, but sometimes is takes me a while to respond. If there is anything that your interested in from BP, then just shoot me an email at

For now, enjoy this Blaxploitation soundtrack by Skeme Richards from Hot Peas and Butter.

Take Care,

Saturday, March 16, 2013

New Jack Cinema

       The end of the 1970s saw a great diminution of films by African American directors. This was particularly the case in Hollywood, for the industry had committed to the blockbuster model of filmmaking, more or less abandoning the production of low-to-middle budget films—the range in which most African American movies were placed. Many of the established directors moved to television, while still others worked on direct-to-video releases. A few directors capitalized on the newly developing youth subculture of hip hop with films like Beat Street (Stan Lathan, 1984) and Krush Groove (Michael Schultz, 1985), films centered on the music industry. Another link to popular music was Under the Cherry Moon (1986), a black and white feature directed by and starring the musical artist Prince.

      The course of African American filmmaking was redirected, literally, by the newcomer Spike Lee (b. 1957), who in 1986 saw great success with his independently produced first feature film, She's Gotta Have It , an irreverent look at an African American professional woman and her romantic relationships. Well-received by critics and audiences, She's Gotta Have It , along with Hollywood Shuffle (Robert Townsend, 1987), a comedic treatment of Hollywood's racist production practices, and I'm Gonna Git You Sucka (Keenan Ivory Wayans, 1988), a parody of blaxploitation films, heralded a new era in African American filmmaking. The popularity of these three films, as well as the ascendancy of rap music, opened the door for a new generation of directors. In 1991 sixteen African American–directed movies were released theatrically, the most since the era of the race movie. Those titles included Jungle Fever , New Jack City , True Identity , The Five Heartbeats , House Party II , Talkin' Dirty After Dark , Hangin' with the Homeboys , A Rage in Harlem , Chameleon Street , Strictly Business , Living Large , To Sleep with Anger , and Up Against the Wall.

      It was also the year of release for Boyz N' the Hood by John Singleton (b. 1968) and Straight Out of Brooklyn by Matty Rich (b. 1971). Both films were tense coming-of-age dramas about male teens trying to make it out of the ghetto (South Central L.A. and Red Hook, Brooklyn) and its pervasive cycle of poverty. While Singleton's film was supported by a major studio (Columbia Pictures), Rich's film was funded by family credit cards and an address on a local radio station for investors. Both went on to receive widespread attention. Singleton became the youngest person ever nominated for an Oscar ® for Best Direction, as well as a nominee for Best Original Screenplay. A number of movies followed in their wake, all featuring young men in urban locales and focusing on crime, such as Juice (1992) and Menace II Society (1993), causing many critics to wonder if it was a case of blaxploitation revisited. In addition, cultural critics lamented the masculinist perspective of the films, concerned that the films perpetuated the stereotype of young urban African American males as crack-dealing gangsters pervasive in the late 1980s and early 1990s. There was also the issue of presenting a singular construction of African American communities—ignoring the true diversity of African American populations.

     One film that did diverge from the urban male hegemony was Daughters of the Dust (1991) by Julie Dash. The first feature-length film by an African American woman to be released theatrically, this unique vision, which took more than twelve years to bring to the screen, is a hypnotic period drama, set in 1902 on one of the Sea Islands off the East Coast of the United States. It is a celebration and remembrance of Gullah, a distinct African American culture that developed during slavery. Because of the islands' relative isolation, the inhabitants were able to build a culture more closely linked to that of Africa than were those enslaved on the mainland. Dash uses this setting and rich cultural tradition to tell the story of a family that gathers for what may be their last meal together.

     Toward the end of the 1990s, African American film making was no longer typified by the narrow parameters that defined its renaissance. Haile Gerima provided a harrowing, much-needed lesson on slavery in Sankofa (1994), the most successful self-distributed independent feature of African American cinema, while Spike Lee with Malcolm X in 1992 brought the slain activist to the consciousness of a generation with no experience of the civil rights movement. This was also the decade when several women directors came into their own. With Just Another Girl on the I.R.T . (1992), Leslie Harris provided a female perspective on teen life in an urban locale. I Like It Like That 1994) by Darnell Martin (b. 1964), the first film directed by an African American woman to receive studio funding, provides an interesting tale of a woman who, driven by a family crisis, finally comes to full selfrealization. Other women directors who would emerge in the 1990s include Bridgett M. Davis, Alison Swan, DeMane Davis, Cauleen Smith, and Neema Barnette. Cheryl Dunye directed Watermelon Woman , the first African American lesbian feature, in 1996, and in 1997 Kasi Lemmons delivered a haunting, atmospheric drama, Eve's Bayou , the most successful independent film of that year. Chicago-based George A. Tillman, Jr. (b. 1969),

Read more:

Preliminary List of Films (not accurate and will be updated)
  • A Low Down Dirty Shame (1994)
  • A Rage In Harlem (1991)
  • A Thin Line Between love and Hate (1996)
  • Above the Rim (1994)
  • Babe's Kids (1992)
  • Beat Street (1984)
  • Blankman (1994)
  • Boomerang (1992)
  • Boyz N The hood (1991)
  • Breakin' (1984)
  • Breakin' 2: Electric Boogaloo (1984)
  • Brother From Another Planet, The (1984)
  • CB4 (1993)
  • Class Act (1992)
  • Coming to America (1988)
  • Crack House (1989)
  • Crooklyn (1994)
  • Dead Presidents (1995)
  • Def By Temptation (1990)
  • Disorderlies (1986)
  • Do The Right Thing (1989)
  • Don't Be A Menace While Drinking Your Juice In The Hood (1996)
  • Drop Squad (1994)
  • Eve's Bayou (1997)
  • Fast Forward (1985)
  • Fear of a Black hat (1993)
  • First Time Felon (1997)
  • Five Heartbeats, The (1991)
  • Fresh (1994)
  • Girl 6 (1996)
  • Great White Hype, The (1996)
  • Harlem Nights (1989)
  • Hav Plenty (1997)
  • Hawk Jones (1986)
  • He Got Game (1998)
  • Higher Learning (1995)
  • Hollywood Shuffle (1987)
  • Hoodlum (1997)
  • House Party (1990)
  • House Party 2 (1991)
  • House Party 3 (1994)
  • I'm gonna Git You Sucka (1988)
  • In Too Deep (1999)
  • Jason's Lyric (1994)
  • Juice (1992)
  • Jungle Fever (1991)
  • Just Another Girl on the I.R.T. (1992)
  • Krush Groove (1985)
  • Last Dragon, The (1985)
  • Lean On Me (1989)
  • Love Jones (1997)
  • Malcolm X (1992)
  • Mena II Society (1993)
  • Meteor Man (1993)
  • Mo' Better Blues (1990)
  • Mo' Money (1992)
  • New Jack City (1991)
  • New Jersey Drive (1995)
  • Original Gangstas (1996)
  • Panther (1995)
  • Players Club, The (1998)
  • Poetic Justice (1993)
  • Posse (1993)
  • Purple Rain (1984)
  • Rappin' (1985)
  • School Daze (1988)
  • Set it Off (1996)
  • She's Gotta Have It (1986)
  • Slam (1998)
  • Soul Central (1992)
  • Straight Out of Brooklyn (1991)
  • Strapped (1993)
  • Strictly Business (1992)
  • Sugar Hill (1993)
  • Sunset Park (1996)
  • Tales From The Hood (1995)
  • Tougher Than Leather (1988)
  • True Identity (1991)
  • Under the Cherry Moon (1986)
  • Vampire In Brooklyn (1995)
  • Who's The Man (1993)
  • Wild Style (1983)

Wednesday, July 4, 2012


This is my absolute favorite sub-genre of blaxploitation. I am going to need the help of the blaxploitation community, but I think this will be a fun project for all.

Certain movies (i.e. Sung Dragon (1979))  did not quite make the list as a blaxploitation movie mainly because it is more kung fu oriented versus a blaxploitation flick. So I met with the Blax-Pride committee and the suggestion of blax-fu was brought to my attention. This is a solid way to combine blaxploitation and kung-fu into one sub-genre of blaxploitation. Blax-Fu features material art stars like Ron Van Clief, Jim Kelly, Clint Robinson, Warhawk Tanzania, and Carl Scott.

Ron Van Clief
Jim Kelly
Carl Scott

I have a preliminary list of blax-fu that will be updated accordingly. Contributions are always welcome because this project has some rare gems.

If there are more than can be added then please let me know. I also got some funky tunes from the movies that I would like share as well. Enjoy!

Monday, February 7, 2011

Blacque Sistory

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This is appropriate not just for the month, but to teach a lesson of education and entertainment internationally. I wrote a poem some years ago inspired by a dream where in this club were legendary figures of the past and I was in the place marveling at the marvelous relevance. Years later, 250 Black women rounded out this fictional interpretation and each time performing I would think "It would be fire to have moving images projected behind me as I recited this". The video here was a struggle to complete but a template for a larger vision in the future had to begin from a foundation. Nevertheless and without excuse, I present to our Blaxploitation Pride community..............

"Blacque Sistory"

Saturday, December 11, 2010

Tom Skinner – Up From Harlem (Blaxploitation Style Comics) ’1975

@ Musicdawn
Thanks to Brother Zen Tiger

"Wazzup brothers & sisters! Today I am pleased to present to you great blaxploitation comics from seventies! The plot is about Tom Skinner trying to instruct ghetto thugs on the gods path. Ohh not again? But it really doesn’t matter because its drawn in true blaxploitation style with lots of gangsters, sluts and ghetto dudes with cool afros! Big thanxes to the real soul brother Zen Tiger for this great blax art sharing!


Monday, September 1, 2008

What's the purpose of this Blaxploitation Pride thing?

Depending on who you ask, it can be said that history is overrated. One thing for sure is the appreciation and preservation of it is underserved.

Collecting anything takes time, even time itself is costly and non-refundable as it moves perpetually whether we choose to or not.
In compiling a slice of Black American pie from an artistic cinematic perspective, one would be hard pressed in a long-standing debate until death do you part on what elements actually constitute a "blaxploitation" stamp of ‘approval’.
First of all, if there's any I.D. tag that's been run into the ground for almost 40 years it is the ‘portmanteau’ (French term for compounding two words to form another) "blaxploitation".
The birth name was uttered from the mouth of journalist and one-time NAACP head Junius Griffin interviewed by Variety Magazine tagging what he believed were negative portrayals in the film Superfly.
Fred "The Hammer" Williamson (Black Caesar, Adios Amigo) has been quoted many times saying "Who was being exploited? My checks cleared. The crew, the cast, everybody's check cleared. Who was exploited?"
Here's a glimpse of my homeboy David "Badazz Mofo" Walker's documentary "Macked, Hammered, Slaughtered & Shafted".
(You'll notice a few faces who knew a little of what they were talking about in this small clip)

There might be an argument that the term is not indicative of the genre other than the fact it sounds so good rolling off the tongue.
"Blaxploitation". Say it again.
Seems matrimonial to the time and style of the revolutionary and independently expressive movement of Blacks in film back then, right?
Wrong. Today's films are synonymous with the caricatures seen during the minstrel/blackface era of the 1920's. If any genre should be referred to as "blaxploitation" it's the current drab selection featuring any given rapper holding any given weapon standing next to any given third-rate actor on any given DVD cover emblazoned with keywords "Fast" "Hard" "Time" "Clip" "Glock", an 'ebonic' phrase, a number and a reference to money.
That is Black Exploitation at the highest plateau.
What you see here on BP is the sensibility of digging beyond the surface natures of the lowest common denominator and discovering hidden jewels in the most obscure of places.
Here lies the embodiment of all the untethered images you rarely see today.
As I type this and realize the broad access to resources and the limitless ability to communicate overseas in a nanosecond's mouse click, who knows what type of charge this generation can draw inspiration from within 90 undivided minutes of quality lesson.
If there were films produced along the lines of The Spook Who Sat By The Door, Uptight and The Baron, what collective intelligence could generate from it?This is still a time of desperation, depression, and disregard but now this state is met with an unlimited means of production.
The un-oppressed untainted imagery I speak of has to do with elements best associated with the genre:
Baritone voices (William Marshall, Raymond St. Jacques, James Earl Jones)
Chiseled features (Calvin Lockhart, Philip Michael Thomas. Billy Dee Williams)
Muscular physiques (Jim Brown, Fred Williamson, Woody Strode)
Gorgeous Chocolate Women (Pam Grier, Gloria Hendry, Tamara Dobson)
Gorgeous Caramel Women (Vonetta McGee, Jayne Kennedy, Barbara McNair)
Staples in most of the films:
Some authority figure excessively bullying or threatening the lead character only to become the chump or turkey by the time the credits roll.
You didn't see the star shedding tears in a compromise of either his masculinity or his money.
Responsibilities were assumed, challenges were conquered, heroes were born.
"You come straight out of a comic book", a popular line for fans quoting Jim Kelly's character Williams in "Enter The Dragon" but in actuality the so-called blaxploitation era was a conception of fantasy, fearlessness and possibility in a world best described and custom-fit for a comic book.
We are not done.
I want a Black Caesar action figure on the shelf with Wolfgang Von Tripps, Goldie, Priest and Willie. I'd like to have a pull-string figure of Rudy Ray Moore that says "Dolemite is my name, and f%$#kin' up motherfu&^%# is my motherfu%$# game", a Black Belt Jones and Black Dragon anime series (Afro Samurai ain't it!), ringtones that alert me of calls in the voice of Blacula or Billy Dee Williams.
A history that lifts itself from underground, rises above ground level and ascends to the celestial region of timelessness and immortality.
The main fixtures are dying what seems to be each month. The Struggle was tougher for those actors back then having to deal with the real world that heavily tested them once the reel was off for chastisement of the fortitude they projected on film.
One can only imagine the stories that will never be told or end up as folly from the lips or digits of an inauthentic source ala The Negro Leagues, The Negro Basketball League or the Oscar Micheaux/Spencer Williams movie era of the 20’s and 30’s.
Why do we do this at Blaxploitation Pride?
Why not?
Call it what you want and section off what "qualifies" as the term that shouldn't have been an identification in the first place for such a sacred and most beautiful liberation that was and is 70's Black film.
Ya dig it?
Mr. Wone