About Me — April Jones
Hellraising with Purpose using Visual Storytelling
Skateboarding, art, and heavy metal are life — the foundation of my upbringing, the essence of my drive, and the fuel behind my global philanthropic filmmaking efforts.
100% Skateboarder & Heavy Metal Tyrant
A rare photo of me as a young feral child in the mid-80s before I discovered acid wash, high-tops, and hair metal. The children of this era are a special breed. We raised ourselves and thrived in the streets. We’re a bit ornery, we take no shit, we know how to raise hell, and what most would find uncomfortable, excites us!
I got into heavy metal at a very young age and started skateboarding to school and back in the mid-90s. I was already obsessed with drawing and crafting, but the raw aggression of skateboarding and heavy metal became my outlet, a much-needed release from the struggles and chaos of life. Both gave me a sense of freedom, a way to cope and channel my anger, frustration, and energy into something purely creative. Through the toughest of times and some of the best, these forces kept me grounded and gave me the strength to push forward, no matter the obstacles.
Wild and free.
My True Calling — Raising Hell with Purpose
When I began studying film and playing in heavy metal bands, I soon realized that none of my friends’ bands were getting the attention they deserved in media outlets— only the mainstream acts were in the spotlight. Determined to change that and raise a little bit of Hell on the side, I set out to give them a platform to be seen while honing and crafting my skills as a journalist and filmmaker — SLAYED IN OREGON was born. All That is Metal.
Heavy Metal Public Access TV
The Slayed in Oregon TV series was focused on amplifying the voices of the underground metal and punk scenes in the Pacific Northwest. It aired on Independent Television Network through Portland Community Media (Now, Open Signal) and still shows reruns today! I had interviewed nearly 40 bands in just a few years, becoming the only TV series to cover underground metal in the Pacific Northwest at that time (2010–2017).
The episode that erupted into a feature-length documentary film — KINGS OF SLEAZE
The Mentors, a satirical shock rock trio from the 1970’s blends sexist humor with provocative performances, earning them a place among the top 10 comedy bands of the 1980s, but also on the “shit list” of the PMRC movement (Parents Music Resource Center), the creators of the “Parental Advisory” labels that appear on music today and the Mentors notoriety contributed to this. The PMRC sought to regulate the explicit content in music. This backfired and thrust The Mentors into the national (and eventually global) spotlight, leading them to much more recognition and popularity which sparked fierce debates about freedom of expression. They became one of the most polarizing acts in music history.
One of my most ambitious projects yet —
Watch KINGS OF SLEAZE: The Mentors Rockumentary on Amazon Prime
THIS IS EXPLICIT CONTENT, and well worth watching. * This video provides journalistic documentation without endorsing any specific viewpoint. It aligns with objective storytelling which is crucial for filmmakers and journalists.
DIY — the underground and the most underrepresented.
Skateboarding— another one of those polarizing forms of expression. An expression that requires the element of public architecture and public space to be practiced in form, thus annoying people, leading to the anti-skateboard movement, forcing skateboarders to go underground.
As a result of that and the mass skatepark demolition of the 1980s — DIY skateparks emerged —100% renegade, no permission, no permits, and no blueprints. These community-built third spaces are havens for skateboarders to escape criminalization and stigmatization of their presence in public spaces. Built out of necessity, they have erupted worldwide. DIY urbanism at its finest!
These self-funded transformations of open public spaces serve as a crucial outlet for expression, diversity, identity, mental health, and community-building. The survival of these skateparks is few and far between. They rarely survive against the gavel of judgment, but the ones who escape the impending doom of fate will be the ones to carve the path forward.
Just ask the Channel Street crew…
It took nearly 8 years of fighting against the City of Los Angeles, the Port of Los Angeles, the Port of Long Beach, and the State of California.
We fought hard, we took no shit… and we WON!
After a significant and powerful community-led battle that amplified and shook throughout the world, the local city council joined forces with the skateboard community to help save the iconic Channel Street Skatepark. It was officially “legalized” and reopened in 2022 after nearly 8 years of closure. It’s a story that transcends skate culture and tests community perseverance in the face of political challenges, and I made a feature documentary about it. I ended up becoming entangled in the thick of the paperwork navigating the bureaucratic process along with the crew — the San Pedro Skatepark Association (SPSA). This paved the path toward my global philanthropic efforts.
Learn about the film‘s 2024 film festival and impact tour here — www.concretelawfilm.com
Mission — SAVE DIY
When I first joined the community in the fight to save Channel Street Skatepark, I wasn’t very familiar with the term “skate advocacy”. I hadn’t yet grasped the broader political forces that make it very difficult for DIY skate culture to thrive and survive.
My first goal was to hold the local government accountable by using visual storytelling as leverage. This drove me to challenge outdated perceptions and push for integration and inclusion, which requires a shift in perspective — recognizing DIY skateboarding not as disruptors but as creators and contributors to a vibrant, healthy, social infrastructure.
I also edited a video that highlighted the false promises exposing the city’s neglect.
The power of visual storytelling plays a critical role in this transformation.
It was important to highlight the contribution of a skate community to local culture, youth development, and economic activity.
This reinforces the alignment with city initiatives on recreation, arts, and small business growth, making it harder for the city to disregard something it claims to support.
“April went straight for the jugular when seeking out answers in city government.” — Quote from Rita Kassak
And that is what you have to do. You have to move faster than the bulldozer’s blade.
This is the fight for cultural preservation and urban equity.
We are a culture that fosters creative expression, sustainability, and growth that represents innovation, resilience, and solidarity.
My filmmaking efforts span nearly 2 decades, covering the underground and bringing unheard voices to the front, and we’re not done yet.
Through extensive fieldwork over the course of five years and seven countries, we’ve expanded the mission to fight for DIY preservation and urban equity.
Community challenges, experiences, and advocacy efforts to save DIY have been documented in a growing body of work dedicated to grassroots activism and policy discourse.
By reframing the role of DIY skateparks in urban landscapes, we not only challenge stigmas but also create a powerful call to action.
THE CALL TO ACTION IS NOW — #SAVEDIY
We owe it to the next generation and we owe it to skateboarding.
Join the movement
DM me at concretelawfilm@gmail.com and www.themindofapriljones.com
