Hells Angels with Sandy Alexander

Videofreex

1970 | 00:37:59 | United States | English | B&W | Mono | 4:3 | 1/2" open reel video

Collection: Videofreex Archive, Single Titles

Tags: Documentation, Politics

In February 1970, the Freex visit the garage of the Hells Angels to informally discuss American politics and motorcycle maintenance. In this video, David Cort leads an extensive interview with the group’s president, Sandy Alexander. A five-year veteran of the U.S. marine corps, Alexander emphasizes his commitment to supporting the troops fighting American wars abroad, while speaking adamantly about the Angels’ need to dismantle misconceptions of their group circulated by television and police. These misconceptions are further exacerbated by imitators who merely borrowed from the “look” of the group without subscribing to their philosophy of “love, loyalty, and dedication.” On this count, Cort and Alexander address the importance of community and education, consequences of the pervasive paranoia in the U.S., making reference to Big Brother and Orson Welles’s 1984, and the current status of the failing justice system in the U.S.

— Faye Gleisser

 

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Stream Single Title

Title Awards Image Major Exhibitions/Festivals Description
Sea in the Blood

Equal First Prize for Best Male Short, Inside Out, Toronto Lesbian and Gay Film Festival

Sea in the Blood

OutFest (LA, CA.), 2001

Rotterdam International Film Festival (The Netherlands), 2001

 

Athens Int'l Film/Video Festival (OH), 2001

 

 

Sea In The Blood is a personal documentary about living with illness, tracing the relationship of the artist to thalassemia in his sister Nan, and AIDS in his partner Tim. At the core of the piece are two trips. The first is in 1962, when Richard went from Trinidad to England with Nan to see a famous hematologist interested in her unusual case. The second is in 1977 when Richard and Tim made the counterculture pilgrimage from Europe to Asia. The relationship with Tim blossomed, but Nan died before their return. The narrative of love and loss is set against a background of colonialism in the Caribbean and the reverberations of migration and political change.

"Sea in the Blood was to be a meditation on race, sexuality and disease, but after working with the material for three years, it was the emotional story that came through. It's hard to work with such personal material, but in the end the work takes on a life of its own. 'Richard' is a character. Because of the subject matter — disease and death — I wanted to avoid sentimentality. I'd like the audience to think as well as feel."

— Richard Fung