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Sneakerbots is in a good position for us to kind of release online. The 1978 film tells the story of cash-strapped drummer Leroy “Horsemouth” Wallace (who plays himself) who buys a motorcycle with the intention of making extra money by distributing producers’ records to stores around the island. When a bicycle is stolen by an upper-class organized crime ring, Horsemouth and his friends set out to recover it and take back most of the criminals’ ill-gotten goods and distribute them to the residents of the Kingston ghetto.
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The skeletal plot is best summed up when the Jamaican reinterpretation of the Robin Hood legend meets Italian director Vittorio De Sicas
Mesmerizing as a kaleidoscopic look at late 1970s reggae, one of the most fascinating eras in the trajectory of Jamaican music, and in its reverent, almost mystical representation of Rastafarian culture, a relatively unknown way of life at the time of the film’s international debut.
Caused a near-riot at the 1979 Cannes Film Festival when crowds clamoring for tickets to four scheduled sold-out screenings clogged the streets around the theater and refused to leave. A review in a French daily
It’s not a movie, it’s a work of art. So good it’s hard to believe, but it’s real.”
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Provided the U.S. distribution in 1980; 40 years later, the film continues to be widely screened, critically acclaimed, and now meticulously documented in a magnificent 320-page coffee table book published by Gingko Press.
, originally written by Bafaloukos in 2005 (he died in 2016 at age 70 of complications from non-Hodgkin’s lymphoma). Contains many never-before-seen stunning black and white and color photographs taken in New York and during his trips to Jamaica in the mid to late 1970s,
The book tells Bafaloukos’ personal story as vividly and insightfully as the landmark film that bears his name.
Carayol, a French reggae historian and book curator and editor, brought the project to Gingko’s David Lopes. “We basically abandoned what Ted wrote; I was blown away by his writing style, very funny but informative at the same time, and it went beyond the film; ‘It’s not just for reggae fans, it speaks to everyone,’” Carayol said. Daily Beast.” “The chaotic backstory was entertaining enough, but Ted’s memoir tells his story from his birth into a family of Greek sailors to his landing in NYC. It’s almost like a Jamaican/New York version
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, illustrated with photographs. This book could have been published ten or twenty years ago, it doesn’t matter. “It’s a great testimony at any time.”
A Greek immigrant living in lower Manhattan in 1975, Bafaloukos took the first step on his journey to create
Magazine writer Mark Jacobson to Brooklyn for a party at the Paradise Cove nightclub/catering hall to film Jacobson’s story about Jamaican culture in New York and the island’s emerging reggae scene.
Bafaloukos was so captivated by the lead actor, Jamaican melodist Augusto Pablo, whose distinctive “Far Eastern” sound is characterized by minor chords played over hollow oak rhythms, that he stopped taking pictures. “What could a picture do for anyone who wasn’t there to hear it?” Bafaloukos enters
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. “How could anyone describe the sound? Each note magically transformed into a breathtakingly complex melody that kept taking unexpected turns and kept you in a state of suspense. “They were all in a trance, floating in the young man’s dreamscape.
Bafaloukos unexpectedly heard reggae again soon after visiting a friend in Chicago. They ventured downtown to the hippest club in town and joined the line, not knowing the band was playing until they saw the name emblazoned on the ticket: Bob Marley and The Wailers.
Bafaloukos described the experience as something not fun: “It was the sound of a whip hitting the air… causing waves of compressed air to hit your chest, their timing in sync with your heartbeat, sharp shards of sound hitting your nerves. And Bob Marley’s husky voice pulls the melody from the bottomless pit. Every word fired like morse code goes straight to your brain to wreak havoc on your emotions. “Something incredibly good.
, featuring Jimmy Cliff, and its soundtrack that introduced reggae to America. He was deeply moved by the Jamaican music he heard in New York and fascinated by the (sensational) articles that began to appear in the tabloids about the Jamaican Rastafari movement. He knew that something significant was happening in Jamaica, so he decided to go there, take pictures and make a film.
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The years 1975–1980 are considered the most violent in Jamaican history due to escalating polarization between Jamaica’s two main political parties, the socialist-oriented People’s National Party (PNP) and the pro-American Jamaica Labor Party (JLP). PNP
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