JJ Velazquez on Finding Freedom, From Sing Sing to Sing Sing

As I delve deeper into the compelling narrative of Jon-Adrian Velazquez, I am struck by his indomitable spirit and unwavering determination that has transcended the confines of a prison cell. His journey, marked by triumphs and losses, is a testament to human resilience and the transformative power of empathy and community.

During Thanksgiving 2002, NBC Dateline producer Dan Slepian made a trip to Greenhaven Correctional Facility, which is located a few hours north of New York City. His destination was to meet David Lemus. In the year under discussion, while preparing a series that followed New York detectives solving murders, Slepian came across Lemus’ unjust imprisonment case. “I had no idea about false incarceration, wrongful convictions, or innocence,” he recalled. “I was a middle-class kid from Westchester who believed the legal criminal system functioned as it should.” That encounter marked his entry into this realm of knowledge.

Although he had gone to see Lemus, who was later cleared of charges thanks to Slepian’s work, another man’s situation caught Slepian’s attention that day and stayed with him. This man was Jon-Adrian “JJ” Velazquez, who shared a cell wall with Lemus. On that very same day, Velazquez was also receiving visitors – his mother Maria and his sons John Junior and Jacob, aged 8 and 5 respectively. Since Velazquez knew that Lemus’ case had gained momentum due to Slepian’s efforts (being one of Slepian’s many visits), Maria approached the producer to advocate for her son’s cause. As she told Slepian that her son was innocent, he felt a strong emotion in his chest, which he described as “a pang.” Slepian explains, “I didn’t care if this father was the Son of Sam; those little boys should not be in prison on Thanksgiving morning.

Later on, Velazquez decided to use one of his five weekly letters not for legal firms but for Slepian. This was because he felt compelled to share his feelings with someone who would listen, as he explains. His letters usually contained a summary of his case along with an introduction stating that in 1998, he had been given a sentence of 25 years to life for a crime he did not commit.

Through his communication with Slepian, Velazquez established a significant precedent, demonstrating how investigative journalism and media would become pivotal in the eventual exoneration process. Over a period of twenty years, Velazquez, under Slepian’s guidance, utilized every available platform to share his story, ultimately gaining his freedom last September. This journey produced a collection of insightful, expository narratives that challenge the effectiveness of the United States’ criminal justice system, including A24’s Sing Sing, the Pulitzer Prize-nominated podcast Letters from Sing Sing, and director Dawn Porter’s four-part documentary series The Sing Sing Chronicles, which debuted at DOC NYC on Nov. 16 and will air on MSNBC on Nov. 23 and 24.

A long delayed exoneration

After 22 years, nearly 250 visits from Slepian, and tens of thousands of case documents, Velazquez’s innocence has finally been recognized by the Manhattan courts. On the last Monday of September in New York, the Bronx native wore a black, New Era-branded cap that read “END OF AN ERROR” while addressing a crowd of legal colleagues, fellow advocates, formerly incarcerated peers, and loved ones, including Slepian (whom he now considers “like blood”). “Right now is an emotional moment, and I don’t want to mince words,” he started, “because the judge didn’t allow us to speak in the courtroom.”

48-year-old Velazquez expressed that despite the day being supposed to be his most joyful moment, the system managed to assert control in an unexpected manner. As the hearing was scheduled for 9:30 AM, the judge suddenly changed it to 9:15 AM, making it difficult for people to attend on time. Additionally, Velazquez noted that the judge had instructed attorneys not to express any sentiments after he addressed the room. He found the hearing’s conduct deeply troubling given the significance of the occasion, which marked the potential resolution of 27 years of injustice affecting him, his family, and the community. Velazquez was dismayed that the hearing concluded within just four minutes without an apology. After leaving the courtroom to applause, the judge reportedly said, “All right with the celebrations.” However, Velazquez clarified three days later in an interview that this was not a cause for celebration, but rather a condemnation of the system due to its mishandling of the proceedings even in their conclusion.

After being surrounded by those who welcomed him, Velazquez expressed, “It felt like I could take a deep breath again.” He further explained, “This wasn’t just a significant moment for me, but for the multitude of individuals similar to me who are watching TV and finding hope as they witness the release of another wrongfully convicted person.” The celebration continued on the entire second floor of the Pier 17 Jean-Georges restaurant, The Fulton, which offers a breathtaking view of the Brooklyn Bridge. Just three days after the hearing and this event, Velazquez was still dealing with 231 missed calls, 482 unread text messages, and tens of thousands of unopened emails from members of the community offering their support.

Over the span of more than two decades spent within prison walls, Velazquez assumed various roles. He functioned as a self-taught legal advisor within the prison system, mastering the intricacies of the criminal justice system to aid Slepian in uncovering numerous irregularities in his case, such as questionable identification tactics like “suspect shopping” that elevate the risk of misidentification and false convictions. He was also an activist, a term Slepian uses for him as a “one-man innocence project,” who additionally brought three more individuals to Slepian’s attention who were later cleared. Moreover, in his capacity as a community organizer, Velazquez aimed to reshape public perception regarding the effects of incarceration on individuals and society at large.

Sing Sing brings these stories to the masses

The latest manifestation of this work is seen in Velazquez’s involvement with A24’s “Sing Sing,” a movie starring Colman Domingo, which focuses on a troupe of actors preparing an original show within the Sing Sing Correctional Facility. Released in July and showing remarkable resilience, the film is adapted from an existing program, Rehabilitation Through the Arts (RTA). Thirteen former participants of this program are prominent cast members who portray themselves, including Velazquez. Notably, it was just 10 months after his release from Sing Sing, following a transfer from Greenhaven, that he began filming at a decommissioned prison in Fishkill, NY. At that time, Velazquez had received executive clemency from Governor Andrew Cuomo, but still had more legal hurdles to overcome before being fully exonerated. “Even though I fought so hard to get out,” Velazquez says, “I had to struggle with myself to step back into that mindset. But [Sing Sing] provided us a chance to challenge negative stereotypes and make people understand these characters in a more human way. So there was nothing that could stop me from putting on those greens.

In the initial meetings for “Sing Sing,” director Greg Kwedar swiftly identified Velazquez as a “genuine, values-guided leader who exudes charisma.” As soon as the audition concluded, Kwedar and the production team knew they had found someone special. It was Velazquez’s “subtle assurance” that impressed them enough to cast him on the theater troupe’s board, a group responsible for selecting new members, deciding on plays, and ultimately finalizing the cast. Throughout the filming process, Kwedar grew to know Velazquez as an individual who was not only a student in the traditional sense but also a lifelong learner of people and systems, always observant and open-minded. Velazquez held firm principles that he stood by, which made working with him comforting, according to Kwedar.

Velazquez’s principles radiate infectiously when you meet him. Even while discussing his experiences at Sing Sing and his time in prison, he manages to remain optimistic – a testament to his spirit, despite being confined for years in a small cell, every minute dictated by those who treated him as a number. Velazquez is driven by the goal of using Sing Sing as a means to advocate for humanity, aiming to keep the dialogue alive about the detrimental effects of mass incarceration and the healing power it possesses. “I want the world to understand that this film speaks a universal truth about human dignity,” he states. “Many cast members in the film have lost significant portions of their lives, and it often takes such a loss to recognize the true values of humanity – love, redemption, relationships. If those of us serving long sentences can reach a place where we live our lives with gratitude, then everyone can learn to appreciate each moment and each breath.

As a passionate movie critic, I’m excited to share that my current focus is on constructing an impactful campaign for our film, alongside fellow RTA alumni and talented actors from Sing Sing, Dario Peña and John “Divine G” Whitfield. Notably, John served as the real-life inspiration for the film’s protagonist, brilliantly portrayed by Colman Domingo. With A24 backing us, our goal is to bring this powerful film to prisons nationwide while developing parallel programs similar to those offered by RTA. We aim to equip others with the tools necessary to replicate and sustain our model of healing.

A multimedia campaign centered on empathy

Through his professional journey, Velazquez serves as a connection between individuals directly impacted by the criminal justice system and those whose only exposure is through entertainment or media. His friendship with Slepian has spawned numerous media narratives, such as the 2012 NBC special vindicating him, Porter’s Pulitzer Prize-nominated podcast “The Sing Sing Chronicles,” and Slepian’s latest book, “The Sing Sing Files.” Velazquez strategically uses these various communication platforms to advocate for his freedom, working alongside trustworthy partners who support his narrative rather than exploiting it. With each opportunity to share his story, Velazquez aims to establish avenues that allow communities to recognize the humanity in individuals, regardless of their guilt or innocence, and who deserve chances just as much. Slepian credits Velazquez for introducing him to the illogical, destructive, and twisted nature of mass incarceration as a whole.

Velazquez’s artistry, much of which was cultivated during his time in Sing Sing Correctional Facility, faces significant challenges amidst a sociopolitical climate that persists in using dehumanizing terms like “inmate,” “felon,” or “convict.” Despite the fact that only 3,591 people have been exonerated since 1989 in the U.S., even with experts acknowledging a 5% error rate in convictions and suggesting the actual number is much higher, five individuals were executed by their respective states last September. With over 2 million people currently incarcerated in the country, the increasing ranks of advocates working towards decarceration have a significant task at hand. This explains why Velazquez manages multiple projects, including his role as Program Director at The Frederick Douglass Project for Justice, serving on the board of A Second U Foundation, and being a founding member of Voices from Within. He co-founded the latter with fellow incarcerated individuals within Sing Sing (and Slepian), believing that those inside are the ideal agents to bring about change in the world.

When queried about his thoughts on different approaches to our present systems, Velazquez emphasizes collective efficacy: the belief that preventing harm and reducing crime stems from residents looking out for each other and their surroundings. This approach contrasts sharply with the Broken Windows Theory of the 1980s, which suggests that signs of disorder (such as broken windows, graffiti, or abandoned buildings) in a neighborhood foreshadow increasing violence. Not only did this theory often result in excessive policing of predominantly Black, brown, and low-income communities, but it has since been discredited. “As we travel through neighborhoods with broken windows, vandalism, and litter,” Velazquez explains, “it’s the community expressing that they don’t feel a sense of belonging, so they don’t take care of the area.” Instead of ostracizing them and labeling them, our approach should be to make residents feel this is their neighborhood by bringing them together and fostering respect through actions like painting the community center.

Velazquez has spent a considerable amount of time fostering collective strength alongside his fellow inmates, striving to “reshape the concept of repaying society’s debt.” This forward-thinking vision is notably present in “Sing Sing“, where conventional images of incarcerated individuals, such as handcuffs and chains, are swapped for scenes of affection, humor, ardor, and love. In Kwedar’s own words, “If you can envision a theatrical program within prison walls, perhaps you can also visualize many other aspects changing as well. Perhaps that very prison no longer existing at all.

Fierce determination to keep spreading the message

The narrative of Velazquez is marked by his profound influence within his community, yet tinged with unimaginable sorrow. To elaborate, the young men whom Slepian interacted with in the prison lobby so long ago have now grown to 27 and 30 years old, having missed out on their childhood with their father. Furthermore, Velazquez’s vindication on September 30 is a significant achievement, but it was achieved through a collaborative effort that involved various media platforms and resources beyond the reach of an individual confined within prison walls.

Slepian expresses concern when he observes numerous individuals attempting to connect with the television producer regarding their cases, as he puts it. Moreover, he questions the system’s effectiveness if even someone like JJ, who boasts an IQ of 590, extraordinary emotional intelligence, and a heart full of kindness, love, and wisdom—an individual who has never been convicted before, whose innocence is proven in an hour-long television documentary that earned three nominations, visited by celebrities such as Martin Sheen and Alfre Woodard, featured on a Pulitzer finalist podcast, and granted a meeting with President Biden, during which JJ was apologized to—still needs all this support just to be cleared of any wrongdoing. Slepian expresses his hope that those less fortunate will receive the same level of justice.

As a passionate cinephile, I’m committed to using my influence for the betterment of my community, working tirelessly towards their freedom and healing. I believe in harnessing my power to aid both the innocent and guilty who truly deserve a second chance. I’ll employ every available resource—from the media to addressing the Senate, and beyond—to make this happen. The core message I want to convey is how simple it can be to imprison those with fewer resources, and yet how arduous the task of liberating the wrongfully accused becomes.

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2024-11-22 19:07