© Jamel Shabazz
The statistics were staggering. During the 1980s, “A man had a better survival rate fighting in Vietnam War for nine years, than a Black man fighting to survive in an urban city for one year.”
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When Jamel Shabazz returned home from the Army to his native Brooklyn in the summer of 1980, he discovered the streets had been turned into a war zone. He picked up his camera and began his mission to engage people and find out what was going on. Shabazz has used photography as part of a humanitarian mission that kept him connected to the streets, operating as an independent in what became one of the most deadly war zones in the New York City’s history as the years progressed. The photographs Shabazz has selected are portraits of brothers who died violent deaths in 1981. He speaks about his mission to honor these men. May they Rest in Peace.
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Please talk about what you saw when you returned from the army during the summer of 1980? What were the conditions in New York like at that time? And how did this inspire you to begin using your camera as a tool to connect with the people of New York?
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Jamel Shabazz: What captivated me the most upon returning home was seeing how so many of my peers’ little brothers were now rising stars in the neighborhood. Many were just a few years younger than me now in their mid-to-late teens; they were continuing much of what we started, but on a whole new level. When we came up during the 1970s, the usage of the 007 switchblade was a common weapon of choice. Gun ownership was rare, and if a person had a .25 automatic or .22 revolver that was a big thing. Now it seems like everyone had an assortment of weapons and a strong desire to get a ” REP”. The 9mm would make its introduction along with the Uzi machine gun, and life as we knew it would be forever changed.
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As I made my way back to areas I once embraced, I came upon so many really good young people that knew my history. Armed now with a clearer understanding of life and purpose, I carried along my new SLR camera. Marvin Gaye’s song ” What’s Happening Brother” sums up much of what I was feeling and I sought to know what was going on and what had transpired since I was gone. Almost everyone I encountered was warm and receptive as I would share stories about my personal journey overseas and the things I experienced. In return, they would brief me on what was going on in the neighborhood. I would come to find out that two people from my inner circle were doing life in prison for an alleged crime that transpired while they were under the influence of LSD, others were institutionalized as a result of experimenting with mind altering stimulants as well, and tragically some never fully recovered. I knew then that I had returned to a community that was rapidly losing its treasured youth.
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As I sought information about the conditions, I was informed that there were a number of territorial wars that were being fought and this took me aback, because mostly everyone involved went to the same schools and knew each other. In working to reestablish myself I would spend time with various crews that I would later find out had conflict with each other. It seemed like everybody had “beef.” Even within my immediate circle, my partners wanted my insight as to how to wage war on their opponents, who by chance were two young men I was mentoring. I had no idea my partners wanted them dead!
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It came to me when we sought to enact our justice upon “them” one night, locked and loaded with one thing on our minds. As the “targets” appeared and weapons were aimed, I recognized them as being the same young guys, which I knew by other names. I passionately explained to the would-be assassins that they could not carry out this action. An argument ensued, but everyone honored my request and we moved on. This event troubled me as did all of this newfound hate and brutality that was destroying my neighborhood.
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I had seen my share of hate while in the Army and I could no longer subscribe to it, so I made up my mind that I was going to do everything in my power to reverse this cycle of self-destruction. Reading numerous books in service, provided me with a strategy and solutions. The camera became my main tool in reaching folks and it was almost like a master key that helped me gain entrance to so many places. During the fall of 1980, I reestablished myself at two local high schools that many of the warring students attended, Samuel J. Tilden and Erasmus. I was raised in the neighborhood and knew many of the students. In other cases, I would build bounds with those I did not know. Once I gained their trust I would speak to them about the need to stop the killing and the dangers of a self-destructive lifestyle. Once that message was delivered I would take their photograph. This tactic allowed me to connect with a large number of people.
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The photographs you have shared, letting me know these men were murdered, take on a new level of meaning. Can you speak about what it is like to have not only taken these photographs so that the spirit and soul of the people are preserved, as well as what it is like to share them with the world? I’m curious about their second life, so to speak, as your photographs have become a vital part of photographic history and popular imagination.
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Jamel Shabazz: The photographs of the young men I share here were all individuals I knew personally. They were all in their early twenties, all Brooklyn born. Each one in his on right was considered a leader amongst men, and all displayed great potential. Tragically, none lived past the age of twenty-five and each one would meet a violent end by gunplay. In some cases I would come to find out that I even knew those responsible for taking their lives. When I reflect back on the moment in which I recorded my very last photograph of them, I can’t help but to think about the exchanges we had.
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My main objective was to always help them see the various obstacles that they were facing as young men, and at the same time I wanted them to know that I recognized the greatness that they all possessed. My words were always sincere and well received and I had no idea at the time that I would never see them again after capturing their last moments of innocence. In many cases I would learn of their passing years later, through others who recognized their photographs in my books. The work I have been so blessed to record, is all about preserving the legacy of those that stood before my lens; my gift to the friends and family, and food for thought for those that might have been responsible for taking the life of another human being.
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First published at NYC, 1981 in 2014
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© Jamel Shabazz