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"content": "\u003cp>Mission mainstay \u003ca href=\"http://moderntimesbookstore.com/\" target=\"_blank\" rel=\"noopener\">Modern Times Bookstore Collective\u003c/a> has come to the end of its story.\u003c/p>\n\u003cp>The 45-year-old worker-owned bookstore will close its doors on Tuesday, Nov. 15, only five years after being displaced from its previous Valencia Street location to a nearby storefront on 24th Street. \u003c/p>\n\u003cp>According to a \u003ca href=\"http://missionlocal.org/2016/10/modern-times-ends-45-years-in-sfs-mission-district/\" target=\"_blank\" rel=\"noopener\">press release\u003c/a> issued Monday night, Modern Times struggled to sustain itself as a business since its relocation, despite ongoing community support.\u003c/p>\n\u003cp>“Though we have persevered out of love and duty and a willingness to continue to fulfill our mission, we are the first to admit the store is not operating at the level we would like and we can no longer serve our customer’s needs as well as those of our workers,” reads a \u003ca href=\"https://www.facebook.com/moderntimesbookstore/posts/565239356999833\" target=\"_blank\" rel=\"noopener\">Facebook post\u003c/a> from the collective.\u003c/p>\n\u003cp>Modern Times has served the Mission District since 1971, when it was founded in response to the Vietnam War. It moved through two other locations in the Mission before settling in its landmark location in Valencia for 20 years. The bookstore housed extensive offerings on topics like politics, globalization and sexuality. It also provided a space for arts and community events, such as a Spanish Book Club and its Modern Comedy night.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Comedian \u003ca href=\"www.natogreen.com/%20\" target=\"_blank\" rel=\"noopener\">Nato Green\u003c/a>, host of Modern Comedy, says the store offered a place for artists and comedians to stretch out and innovate, adding that San Francisco is becoming short on these qualities.\u003c/p>\n\u003cp>“San Francisco is a great city to be a comedian, but because of gentrification, audiences are getting less diverse and less curious,” Green says. “Shows at Modern Times immediately drew such a varied audience, and it’s a big loss in that sense. I think the experience of being a native San Franciscan in this day and age is one of continuous farewells.”\u003c/p>\n\u003cp>The \u003ca href=\"http://www.unitedbooksellers.com/\" target=\"_blank\" rel=\"noopener\">United Booksellers of San Francisco\u003c/a> plan to celebrate Modern Times’ 45th anniversary \u003ca href=\"https://litquake2016.sched.org/event/aa79e785825e6b3d18e71d392072c5ae#.V9Dgr65_qaQ.facebook\" target=\"_blank\" rel=\"noopener\">tonight, Oct. 11, at the Make Out Room\u003c/a>, a club and alternative performance space in the Mission.\u003c/p>\n\u003cp>“Our main concern right now is that the Modern Times communities continue to be served, and the books, events, and space it provided continue to be available in the neighborhood,” says Denise Sullivan, co-founder of United Booksellers of San Francisco and Modern Times community events coordinator. “We’re working on solutions together.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Modern Times will continue to host in-store events up until its final day of business. The store also plans to host a party on Saturday, Oct. 22 to bid farewell to both the business and retiring collective member Ruth Mahaney.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Comedian \u003ca href=\"www.natogreen.com/%20\" target=\"_blank\" rel=\"noopener\">Nato Green\u003c/a>, host of Modern Comedy, says the store offered a place for artists and comedians to stretch out and innovate, adding that San Francisco is becoming short on these qualities.\u003c/p>\n\u003cp>“San Francisco is a great city to be a comedian, but because of gentrification, audiences are getting less diverse and less curious,” Green says. “Shows at Modern Times immediately drew such a varied audience, and it’s a big loss in that sense. I think the experience of being a native San Franciscan in this day and age is one of continuous farewells.”\u003c/p>\n\u003cp>The \u003ca href=\"http://www.unitedbooksellers.com/\" target=\"_blank\" rel=\"noopener\">United Booksellers of San Francisco\u003c/a> plan to celebrate Modern Times’ 45th anniversary \u003ca href=\"https://litquake2016.sched.org/event/aa79e785825e6b3d18e71d392072c5ae#.V9Dgr65_qaQ.facebook\" target=\"_blank\" rel=\"noopener\">tonight, Oct. 11, at the Make Out Room\u003c/a>, a club and alternative performance space in the Mission.\u003c/p>\n\u003cp>“Our main concern right now is that the Modern Times communities continue to be served, and the books, events, and space it provided continue to be available in the neighborhood,” says Denise Sullivan, co-founder of United Booksellers of San Francisco and Modern Times community events coordinator. “We’re working on solutions together.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Modern Times will continue to host in-store events up until its final day of business. The store also plans to host a party on Saturday, Oct. 22 to bid farewell to both the business and retiring collective member Ruth Mahaney.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>While the \u003ca href=\"http://ncco.org/\" target=\"_blank\" rel=\"noopener\">New Century Chamber Orchestra\u003c/a> hunts for a permanent music director, it’s lined up British violinist \u003ca href=\"http://www.danielhope.com/\" target=\"_blank\" rel=\"noopener\">Daniel Hope\u003c/a> as an “artistic partner” for three seasons: 2017–2018 through 2019–2020.\u003c/p>\n\u003cp>The New Century Chamber Orchestra is one of only a handful of conductorless ensembles in the world. Its 19 members, including locals and those who travel here from across the U.S. and Europe, make musical decisions collaboratively.\u003c/p>\n\u003cp>The orchestra’s current music director, Nadja Salerno-Sonnenberg, is \u003ca href=\"https://ww2.kqed.org/arts/2016/01/19/salerno-sonnenberg-to-step-down-from-post-at-new-century-chamber-orchestra/\" target=\"_blank\" rel=\"noopener\">stepping down\u003c/a> in May 2017, after eight seasons. While Hope will lead the orchestra in many performances, candidates to replace Salerno-Sonnenberg will also appear as guest concertmasters.\u003c/p>\n\u003cp>That, as it happens, is how the New Century Chamber Orchestra initially met Hope, who made his debut with the organization in February 2016 as a guest concertmaster and principal soloist for a \u003ca href=\"http://www.mercurynews.com/2016/02/05/review-daniel-hope-and-new-century-deliver-a-masterful-program-of-music-devoted-to-violin-master-yehudi-menuhin/\" target=\"_blank\" rel=\"noopener\">tribute to his mentor, Yehudi Menuhin\u003c/a>.\u003c/p>\n\u003cp>“We are delighted that Daniel Hope has agreed to partner with us during this time of transition,” said Executive Director Philip Wilder. Hope’s creativity and experience as a chamber musician, soloist, and orchestral leader, Wilder says, should give audiences confidence that they can look forward to “a thrilling ride over the next three years.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=czltBDI4LTg]\u003c/p>\n\u003cp>Hope has appeared as soloist with a number of major orchestras and chamber orchestras, including the Los Angeles Chamber Orchestra. He has performed at the BBC Proms, and the Lucerne, Ravinia, Salzburg, Schleswig-Holstein, and Tanglewood festivals. Most recently, he was announced as Music Director of the Zurich Chamber Orchestra, succeeding Sir Roger Norrington.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Hope has also recorded over 25 albums, and has been nominated several times for the GRAMMY awards.\u003c/p>\n\n",
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"content": "\u003cp>Just before dawn on December 12, 2011, Jason \"Shake\" Anderson was marching with a group of thousands to the Port of Oakland.\u003c/p>\n\u003cp>“We are doing this to bring attention to what’s going on across the world, where the 1 percent is actually taking money from us every day, making our life hard,\" Anderson said, \"and they’re still collecting dough and they living a great life, and that’s off us.”\u003c/p>\n\u003cp>The march was one of \u003ca href=\"https://occupyoakland.org/\" target=\"_blank\">Occupy Oakland\u003c/a>'s largest actions, part of a months-long stretch that featured dozens of massive marches, a \u003ca href=\"http://ww2.kqed.org/news/2011/12/12/occupy-port-protest-live-tweets-from-reporters/\" target=\"_blank\">shutdown of the port\u003c/a> and clashes with police.\u003c/p>\n\u003cp>So where is Anderson now?\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/286661382\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>I got back in touch with him, and we met up in Oakland’s Mosswood Park to reminisce, surrounded by sunbathers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Occupy happened and it extended the way I was already living,\" Anderson said.\u003c/p>\n\u003cp>At the time Occupy Oakland began, Anderson was a Navy veteran, DJ'ing at a pirate radio station.\u003c/p>\n\u003cp>“I wasn’t necessarily political, but I also always had a wanting to learn the money system,\" said Anderson. \"My politics came from like, 'What is money really, and why do we need it, and why is it such a problem?' ”\u003c/p>\n\u003cp>Anderson saw \u003ca href=\"https://www.youtube.com/watch?v=n9KEg9cH6F4&feature=youtu.be\" target=\"_blank\">a video online\u003c/a> of someone at Occupy Wall Street.\u003c/p>\n\u003cp>\"And I was like wow! I mean like two years straight I’ve been asking the same money question ... this is great!\"\u003c/p>\n\u003cfigure id=\"attachment_11120188\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"wp-image-11120188 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/10/RS21353_Shake-Anderson-in-park-qut.jpg\" alt='Jason \"Shake\" Anderson volunteered for Occupy Oakland’s media committee. He ran for Mayor of Oakland in 2014.' width=\"1920\" height=\"1081\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/10/RS21353_Shake-Anderson-in-park-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/RS21353_Shake-Anderson-in-park-qut-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/RS21353_Shake-Anderson-in-park-qut-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/RS21353_Shake-Anderson-in-park-qut-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/RS21353_Shake-Anderson-in-park-qut-960x541.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jason \"Shake\" Anderson volunteered for Occupy Oakland’s media committee. He ran for mayor of Oakland in 2014. \u003ccite>(Andrew Stelzer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2011, Anderson’s tent was among more than 100 pitched on a plaza in the heart of downtown Oakland. Every day, the camp featured political workshops, performances, child care, and meals -- all for free.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Anderson volunteered for Occupy Oakland’s media committee, and served as a sort of de facto security guard at the camp, and helped de-escalate conflicts when they arose. \u003c/span>\u003c/p>\n\u003cp>\"Every type of anarchist was there with all their philosophies, right. I had to learn all that later. I was just there to help people,” he said.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There truly were people of all stripes there. Anderson, a local from West Oakland, marched in the same crowds as David Keenan, who grew up as a punk rocker in L.A. \u003c/span>\u003c/p>\n\u003cp>“I would say it was a radicalizing moment for me in terms of seeing how you can have a really incredible movement kind of just squashed very quickly.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Despite its global notoriety, the main Occupy Oakland camp actually lasted only five weeks before it was evicted by the city and removed by the police. \u003c/span>\u003cspan style=\"font-weight: 400\">After the camp was broken up, Keenan yearned for a permanent space to provide a home for the collective spirit of Occupy\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \"Not someone’s house that’s just like friends and friends of friends,\" Keenan said. \"But like a truly public space where anyone could participate and we could build solidarity, a space where that could happen all the time that couldn’t be closed down the way that the plaza was closed down.\"\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">After more than two years of looking, Keenan and other activists found a defunct Italian social club in North Oakland. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11120271\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11120271\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/10/RS21350_David-Keenan-qut.jpg\" alt=\"Inspired by his time with Occupy Oakland, David Keenan helped found Omni Commons.\" width=\"1920\" height=\"1081\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/10/RS21350_David-Keenan-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/RS21350_David-Keenan-qut-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/RS21350_David-Keenan-qut-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/RS21350_David-Keenan-qut-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/RS21350_David-Keenan-qut-960x541.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Inspired by his time with Occupy Oakland, David Keenan helped found Omni Commons. \u003ccite>(Andrew Stelzer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The 22,000-square-foot building is called the \u003ca href=\"https://omnicommons.org/\" target=\"_blank\">Omni Commons\u003c/a>. There’s a ballroom for concerts, a kitchen for a cafe, with winding hallways and alcoves everywhere. Currently, there are 13 groups using the Omni, ranging from food justice organizations to a small printing press.\u003c/p>\n\u003cp>“We’re doing something at a scale that most cultural groups or political organizers aren’t really doing,\" says Keenan. \"But coming out of a lot of the energy of Occupy and the sense of empowerment that you got doing things at a big scale, we’re like, 'Let’s try to have space for that to happen and that can’t be taken away.' \"\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Paying the monthly $15,000 rent has been difficult for these groups. But with the help of an anonymous million-dollar donation, they are very close to buying the building, which Keenan hopes will solidify the Omni as a cultural space for years to come. \u003c/span>\u003c/p>\n\u003cp>We peeked in one small room and found children and their parents, learning to do screen printing. \u003cspan style=\"font-weight: 400\">The screen the kids were working with said “Against Adult Supremacy.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11120333\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11120333\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/10/Velez-in-screenprint-room-qut-1.jpg\" alt=\"Franki Velez (with baby) helps teach screenprinting at the Omni Commons.\" width=\"1920\" height=\"1081\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/10/Velez-in-screenprint-room-qut-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/Velez-in-screenprint-room-qut-1-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/Velez-in-screenprint-room-qut-1-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/Velez-in-screenprint-room-qut-1-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/Velez-in-screenprint-room-qut-1-960x541.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Franki Velez (with baby) helps teach screen printing at the Omni Commons. \u003ccite>(Andrew Stelzer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">One of the moms in here was Franki Velez — her son, Ashoka, is 8 months old. When I asked her about Occupy Oakland, she beams.\u003cbr>\n\u003c/span>\u003c/p>\n\u003cp>“It was the best damn thing that ever happened to me. It changed my life,\" said Velez.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When \u003ca href=\"http://occupywallst.org/\" target=\"_blank\">Occupy Wall Street\u003c/a> started spreading to other cities in October 2011, Velez says she was living in Tacoma, Washington, getting her master's degree in public administration. She went straight to Occupy Tacoma, and was surrounded by 250 fellow dissatisfied souls. \u003c/span>\u003c/p>\n\u003cp>“And that was the first time in my life I didn’t feel alone,\" Velez said. \"So I sold everything I owned, jumped in my VW Bug, and I came to Oakland and I never left. I got involved in Occupy Oakland.\"\u003c/p>\n\u003cp>Velez camped with \u003ca href=\"http://takebackthetract.com/\" target=\"_blank\">Occupy the Farm\u003c/a> — a tract of UC Berkeley agricultural land in Albany slated for development. She helped run a free school at Occupy Lakeview, an effort to prevent the closing of an elementary school. She also met her future husband and father of her child through Occupy Oakland.\u003c/p>\n\u003cp>So what's she doing now?\u003c/p>\n\u003cp>\"Now I’m a mom, full time,\" Velez said, \"and I’m going to be starting apothecary school because I think we need to like get deeper with our healing, we need to connect with the earth. Food is medicine. We already screamed and yelled about the problems, and now it’s like we’re focused on the solutions,” she adds.\u003c/p>\n\u003cfigure id=\"attachment_11120513\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/10/Velez-800x473.jpg\" alt=\"Franki Velez outside Omni Commons in Oakland.\" width=\"800\" height=\"473\" class=\"size-medium wp-image-11120513\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/10/Velez-800x473.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/Velez-400x237.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/Velez.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/Velez-1180x698.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/Velez-960x568.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Franki Velez outside Omni Commons in Oakland. \u003ccite>(Andrew Stelzer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So what are those solutions? Well, there are still well-organized groups across the San Francisco Bay Area that try to stop home foreclosures. The activism of \u003ca href=\"http://blacklivesmatter.com/\" target=\"_blank\">Black Lives Matter\u003c/a> and the economic message of \u003ca href=\"https://berniesanders.com/stream/\" target=\"_blank\">Bernie Sanders’ campaign \u003c/a>both trace some of their roots to Occupy Wall Street.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And then there’s Shake Anderson, who we heard from a few minutes ago. In 2014, he decided to \u003ca href=\"https://oaklandnorth.net/2014/05/21/mayoral-candidate-jason-shake-anderson/\" target=\"_blank\">run for mayor of Oakland\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>\"It only seemed logical for me to run for mayor because I kept doing things in the vein of community work,\" Anderson explained. \"I ran for what Occupy should’ve run for, meaning that look at what we’ve done, this is our representative to speak to the masses.”\u003c/p>\n\u003cp>But \u003cspan style=\"font-weight: 400\">I had to ask: Isn’t running for public office inconsistent with the anti-establishment tenor of Occupy? \u003c/span>\u003c/p>\n\u003cp>“There’s a power that you’re fighting against. But then you, you don’t create any way to negotiate with that power? That's a futile movement,\" Anderson said. \"That means that you’ll never get past yelling on the streets. And since I’m about progress, I think we should evolve. So what I did was my evolution. It wasn’t Occupy’s evolution.\"\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Anderson ended up with less than 2 percent of the vote, but he says the simple fact that he ran was a victory.\u003c/span>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">To mark the five-year anniversary of Occupy Oakland, people will be gathering in the plaza where it all began \u003ca href=\"https://occupyoakland.org/2016/09/beyond-occupy-five-years-hence/\" target=\"_blank\">on Oct\u003c/a>. 8. Franki Velez and David Keenan say they’ll be there. Anderson might show up, too. He said Occupy is part of his DNA now.\u003c/span>\u003c/p>\n\n",
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"excerpt": "Occupy Oakland became perhaps the most well-known encampment outside of Occupy Wall Street in New York. So what are occupiers doing now?",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Just before dawn on December 12, 2011, Jason \"Shake\" Anderson was marching with a group of thousands to the Port of Oakland.\u003c/p>\n\u003cp>“We are doing this to bring attention to what’s going on across the world, where the 1 percent is actually taking money from us every day, making our life hard,\" Anderson said, \"and they’re still collecting dough and they living a great life, and that’s off us.”\u003c/p>\n\u003cp>The march was one of \u003ca href=\"https://occupyoakland.org/\" target=\"_blank\">Occupy Oakland\u003c/a>'s largest actions, part of a months-long stretch that featured dozens of massive marches, a \u003ca href=\"http://ww2.kqed.org/news/2011/12/12/occupy-port-protest-live-tweets-from-reporters/\" target=\"_blank\">shutdown of the port\u003c/a> and clashes with police.\u003c/p>\n\u003cp>So where is Anderson now?\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/286661382&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/286661382'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>I got back in touch with him, and we met up in Oakland’s Mosswood Park to reminisce, surrounded by sunbathers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Occupy happened and it extended the way I was already living,\" Anderson said.\u003c/p>\n\u003cp>At the time Occupy Oakland began, Anderson was a Navy veteran, DJ'ing at a pirate radio station.\u003c/p>\n\u003cp>“I wasn’t necessarily political, but I also always had a wanting to learn the money system,\" said Anderson. \"My politics came from like, 'What is money really, and why do we need it, and why is it such a problem?' ”\u003c/p>\n\u003cp>Anderson saw \u003ca href=\"https://www.youtube.com/watch?v=n9KEg9cH6F4&feature=youtu.be\" target=\"_blank\">a video online\u003c/a> of someone at Occupy Wall Street.\u003c/p>\n\u003cp>\"And I was like wow! I mean like two years straight I’ve been asking the same money question ... this is great!\"\u003c/p>\n\u003cfigure id=\"attachment_11120188\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"wp-image-11120188 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/10/RS21353_Shake-Anderson-in-park-qut.jpg\" alt='Jason \"Shake\" Anderson volunteered for Occupy Oakland’s media committee. He ran for Mayor of Oakland in 2014.' width=\"1920\" height=\"1081\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/10/RS21353_Shake-Anderson-in-park-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/RS21353_Shake-Anderson-in-park-qut-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/RS21353_Shake-Anderson-in-park-qut-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/RS21353_Shake-Anderson-in-park-qut-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/RS21353_Shake-Anderson-in-park-qut-960x541.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jason \"Shake\" Anderson volunteered for Occupy Oakland’s media committee. He ran for mayor of Oakland in 2014. \u003ccite>(Andrew Stelzer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2011, Anderson’s tent was among more than 100 pitched on a plaza in the heart of downtown Oakland. Every day, the camp featured political workshops, performances, child care, and meals -- all for free.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Anderson volunteered for Occupy Oakland’s media committee, and served as a sort of de facto security guard at the camp, and helped de-escalate conflicts when they arose. \u003c/span>\u003c/p>\n\u003cp>\"Every type of anarchist was there with all their philosophies, right. I had to learn all that later. I was just there to help people,” he said.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There truly were people of all stripes there. Anderson, a local from West Oakland, marched in the same crowds as David Keenan, who grew up as a punk rocker in L.A. \u003c/span>\u003c/p>\n\u003cp>“I would say it was a radicalizing moment for me in terms of seeing how you can have a really incredible movement kind of just squashed very quickly.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Despite its global notoriety, the main Occupy Oakland camp actually lasted only five weeks before it was evicted by the city and removed by the police. \u003c/span>\u003cspan style=\"font-weight: 400\">After the camp was broken up, Keenan yearned for a permanent space to provide a home for the collective spirit of Occupy\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \"Not someone’s house that’s just like friends and friends of friends,\" Keenan said. \"But like a truly public space where anyone could participate and we could build solidarity, a space where that could happen all the time that couldn’t be closed down the way that the plaza was closed down.\"\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">After more than two years of looking, Keenan and other activists found a defunct Italian social club in North Oakland. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11120271\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11120271\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/10/RS21350_David-Keenan-qut.jpg\" alt=\"Inspired by his time with Occupy Oakland, David Keenan helped found Omni Commons.\" width=\"1920\" height=\"1081\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/10/RS21350_David-Keenan-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/RS21350_David-Keenan-qut-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/RS21350_David-Keenan-qut-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/RS21350_David-Keenan-qut-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/RS21350_David-Keenan-qut-960x541.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Inspired by his time with Occupy Oakland, David Keenan helped found Omni Commons. \u003ccite>(Andrew Stelzer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The 22,000-square-foot building is called the \u003ca href=\"https://omnicommons.org/\" target=\"_blank\">Omni Commons\u003c/a>. There’s a ballroom for concerts, a kitchen for a cafe, with winding hallways and alcoves everywhere. Currently, there are 13 groups using the Omni, ranging from food justice organizations to a small printing press.\u003c/p>\n\u003cp>“We’re doing something at a scale that most cultural groups or political organizers aren’t really doing,\" says Keenan. \"But coming out of a lot of the energy of Occupy and the sense of empowerment that you got doing things at a big scale, we’re like, 'Let’s try to have space for that to happen and that can’t be taken away.' \"\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Paying the monthly $15,000 rent has been difficult for these groups. But with the help of an anonymous million-dollar donation, they are very close to buying the building, which Keenan hopes will solidify the Omni as a cultural space for years to come. \u003c/span>\u003c/p>\n\u003cp>We peeked in one small room and found children and their parents, learning to do screen printing. \u003cspan style=\"font-weight: 400\">The screen the kids were working with said “Against Adult Supremacy.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11120333\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11120333\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/10/Velez-in-screenprint-room-qut-1.jpg\" alt=\"Franki Velez (with baby) helps teach screenprinting at the Omni Commons.\" width=\"1920\" height=\"1081\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/10/Velez-in-screenprint-room-qut-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/Velez-in-screenprint-room-qut-1-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/Velez-in-screenprint-room-qut-1-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/Velez-in-screenprint-room-qut-1-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/Velez-in-screenprint-room-qut-1-960x541.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Franki Velez (with baby) helps teach screen printing at the Omni Commons. \u003ccite>(Andrew Stelzer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">One of the moms in here was Franki Velez — her son, Ashoka, is 8 months old. When I asked her about Occupy Oakland, she beams.\u003cbr>\n\u003c/span>\u003c/p>\n\u003cp>“It was the best damn thing that ever happened to me. It changed my life,\" said Velez.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When \u003ca href=\"http://occupywallst.org/\" target=\"_blank\">Occupy Wall Street\u003c/a> started spreading to other cities in October 2011, Velez says she was living in Tacoma, Washington, getting her master's degree in public administration. She went straight to Occupy Tacoma, and was surrounded by 250 fellow dissatisfied souls. \u003c/span>\u003c/p>\n\u003cp>“And that was the first time in my life I didn’t feel alone,\" Velez said. \"So I sold everything I owned, jumped in my VW Bug, and I came to Oakland and I never left. I got involved in Occupy Oakland.\"\u003c/p>\n\u003cp>Velez camped with \u003ca href=\"http://takebackthetract.com/\" target=\"_blank\">Occupy the Farm\u003c/a> — a tract of UC Berkeley agricultural land in Albany slated for development. She helped run a free school at Occupy Lakeview, an effort to prevent the closing of an elementary school. She also met her future husband and father of her child through Occupy Oakland.\u003c/p>\n\u003cp>So what's she doing now?\u003c/p>\n\u003cp>\"Now I’m a mom, full time,\" Velez said, \"and I’m going to be starting apothecary school because I think we need to like get deeper with our healing, we need to connect with the earth. Food is medicine. We already screamed and yelled about the problems, and now it’s like we’re focused on the solutions,” she adds.\u003c/p>\n\u003cfigure id=\"attachment_11120513\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/10/Velez-800x473.jpg\" alt=\"Franki Velez outside Omni Commons in Oakland.\" width=\"800\" height=\"473\" class=\"size-medium wp-image-11120513\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/10/Velez-800x473.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/Velez-400x237.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/Velez.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/Velez-1180x698.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/Velez-960x568.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Franki Velez outside Omni Commons in Oakland. \u003ccite>(Andrew Stelzer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So what are those solutions? Well, there are still well-organized groups across the San Francisco Bay Area that try to stop home foreclosures. The activism of \u003ca href=\"http://blacklivesmatter.com/\" target=\"_blank\">Black Lives Matter\u003c/a> and the economic message of \u003ca href=\"https://berniesanders.com/stream/\" target=\"_blank\">Bernie Sanders’ campaign \u003c/a>both trace some of their roots to Occupy Wall Street.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And then there’s Shake Anderson, who we heard from a few minutes ago. In 2014, he decided to \u003ca href=\"https://oaklandnorth.net/2014/05/21/mayoral-candidate-jason-shake-anderson/\" target=\"_blank\">run for mayor of Oakland\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>\"It only seemed logical for me to run for mayor because I kept doing things in the vein of community work,\" Anderson explained. \"I ran for what Occupy should’ve run for, meaning that look at what we’ve done, this is our representative to speak to the masses.”\u003c/p>\n\u003cp>But \u003cspan style=\"font-weight: 400\">I had to ask: Isn’t running for public office inconsistent with the anti-establishment tenor of Occupy? \u003c/span>\u003c/p>\n\u003cp>“There’s a power that you’re fighting against. But then you, you don’t create any way to negotiate with that power? That's a futile movement,\" Anderson said. \"That means that you’ll never get past yelling on the streets. And since I’m about progress, I think we should evolve. So what I did was my evolution. It wasn’t Occupy’s evolution.\"\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Anderson ended up with less than 2 percent of the vote, but he says the simple fact that he ran was a victory.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">To mark the five-year anniversary of Occupy Oakland, people will be gathering in the plaza where it all began \u003ca href=\"https://occupyoakland.org/2016/09/beyond-occupy-five-years-hence/\" target=\"_blank\">on Oct\u003c/a>. 8. Franki Velez and David Keenan say they’ll be there. Anderson might show up, too. He said Occupy is part of his DNA now.\u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Meet the City Kid Turned Rodeo King",
"title": "Meet the City Kid Turned Rodeo King",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>\u003cem>This story was originally published on Oct. 9, 2016.\u003c/em>\u003c/p>\n\u003cp>Later this month, 30,000 spectators will descend on San Francisco’s Cow Palace for the \u003ca href=\"http://www.cowpalace.com/p/grandnational\">Grand National Rodeo\u003c/a>. Since 1941, the Grand National has hosted livestock shows, team roping and bull riding, attracting country and city dwellers from around California.\u003c/p>\n\u003cp>But what most spectators won’t know is that one man has produced this and nearly every other rodeo in the Golden State at one time or another. Since Cotton Rosser bought the \u003ca href=\"http://www.flyingurodeo.com/\">Flying U Rodeo Company\u003c/a> 60 years ago, he has become a legend in the rodeo world. Everyone knows his name.\u003c/p>\n\u003cp>\"The loveliest people are in rodeos,\" says Rosser. \"They do it because they love it, and it’s a Western way of life. They love the animals and the horses and the outdoors, and the atmosphere of rodeo is just barbecues and fun.\"\u003c/p>\n\u003cp>At 89 years old, Rosser has been honored by nearly every cowboy, rodeo or rancher hall of fame there is. He has a place in the Hall of Great Westerners, alongside John Wayne, Ronald Reagan and Dwight D. Eisenhower. But he was actually born a city kid in Long Beach in 1928.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/286660324\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>He grew up reading books about cowboys and watching Gene Autry, Will Rogers and Hopalong Cassidy.\u003c/p>\n\u003cp>“I wanted to be a cowboy my whole life,” says Rosser. He was barely a teenager when he got a job on Santa Catalina Island, on a ranch owned by William Wrigley of chewing gum fame. At the time there were no cowboys for hire -- they were off fighting in World War II. So they gave young Cotton Rosser a chance, since he only had school half-days.\u003c/p>\n\u003cp>“I used to clean stalls, clean the manure, and they let me ride a donkey named Jack,” says Rosser. And the donkey was just the beginning. Soon, he graduated to riding bulls and saddle broncs, and by the time he was a student at Cal Poly San Luis Obispo, he turned pro.\u003c/p>\n\u003cp>Rosser competed in rodeos all over the country. “[The] Cow Palace, Las Vegas, Reno, Calgary Stampede,” he says. “All the rodeos -- Cheyenne, [and] Pendleton.” In 1951, he even won the Grand National Rodeo’s all-around cowboy title.\u003c/p>\n\u003cp>Then, in 1955, he broke both his legs in an accident while digging post holes on his Marysville ranch north of Sacramento. That ended his rodeo career.\u003c/p>\n\u003cfigure id=\"attachment_11120094\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11120094\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/10/RS21373_Cotton-and-kids-3-qut.jpg\" alt=\"Cotton Rosser greets children in the stands at the Folsom Pro Rodeo in Folsom, CA. \" width=\"1920\" height=\"1484\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/10/RS21373_Cotton-and-kids-3-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/RS21373_Cotton-and-kids-3-qut-400x309.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/RS21373_Cotton-and-kids-3-qut-800x618.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/RS21373_Cotton-and-kids-3-qut-1180x912.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/RS21373_Cotton-and-kids-3-qut-960x742.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Cotton Rosser greets children in the stands at the Folsom Pro Rodeo in Folsom, California. \u003ccite>(Rich Ruef/Flying U Rodeo Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“[It was the] best thing that ever happened to me,” Rosser says. He bought the Flying U Rodeo Company and started his career putting on shows and raising rodeo animals. Today, the Flying U is the oldest continually operating stock contracting company in the United States.\u003c/p>\n\u003cp>Since he joined the rodeo world in the 1940s, Rosser has seen the sport change, and at times it seemed like fans were slipping away. To bring more people to the arena, the Flying U Rodeo Company got creative. It added high production value, loud rock 'n' roll, audience engagement and freestyle motocross -- dirt bike riders performing flips off tall ramps.\u003c/p>\n\u003cp>And in recent years, Cotton says these new attractions have boosted attendance. That includes the Grand National Rodeo at the Cow Palace. Rosser says last year’s rodeo broke a 10-year attendance record.\u003c/p>\n\u003cp>Kelley Ferreira is a special projects coordinator at the Cow Palace, and he’s known Cotton Rosser for 30 years. Ferreira and his colleagues are busy getting ready for the Grand National later this month.\u003c/p>\n\u003cp>“It’s very action-packed,” he says. “It’s always something new [the Flying U Rodeo Company] brings in to energize the crowd. They put on a fabulous rodeo.”\u003c/p>\n\u003cp>Cotton Rosser will be at the Cow Palace for the upcoming Grand National Rodeo, but he won’t be running things quite like he used to. In the past several years, his son, Reno Rosser, has taken the reins of the family business. But the elder Rosser says there’s no question he’s going to stay involved.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"People catch up with you if you slow down,” says Cotton Rosser. “I love what I do.\"\u003c/p>\n\n",
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"excerpt": "Cotton Rosser has produced nearly every rodeo in California. Since he bought the Flying U Rodeo Company 60 years ago, he’s become a legend in the rodeo world.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story was originally published on Oct. 9, 2016.\u003c/em>\u003c/p>\n\u003cp>Later this month, 30,000 spectators will descend on San Francisco’s Cow Palace for the \u003ca href=\"http://www.cowpalace.com/p/grandnational\">Grand National Rodeo\u003c/a>. Since 1941, the Grand National has hosted livestock shows, team roping and bull riding, attracting country and city dwellers from around California.\u003c/p>\n\u003cp>But what most spectators won’t know is that one man has produced this and nearly every other rodeo in the Golden State at one time or another. Since Cotton Rosser bought the \u003ca href=\"http://www.flyingurodeo.com/\">Flying U Rodeo Company\u003c/a> 60 years ago, he has become a legend in the rodeo world. Everyone knows his name.\u003c/p>\n\u003cp>\"The loveliest people are in rodeos,\" says Rosser. \"They do it because they love it, and it’s a Western way of life. They love the animals and the horses and the outdoors, and the atmosphere of rodeo is just barbecues and fun.\"\u003c/p>\n\u003cp>At 89 years old, Rosser has been honored by nearly every cowboy, rodeo or rancher hall of fame there is. He has a place in the Hall of Great Westerners, alongside John Wayne, Ronald Reagan and Dwight D. Eisenhower. But he was actually born a city kid in Long Beach in 1928.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/286660324&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/286660324'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>He grew up reading books about cowboys and watching Gene Autry, Will Rogers and Hopalong Cassidy.\u003c/p>\n\u003cp>“I wanted to be a cowboy my whole life,” says Rosser. He was barely a teenager when he got a job on Santa Catalina Island, on a ranch owned by William Wrigley of chewing gum fame. At the time there were no cowboys for hire -- they were off fighting in World War II. So they gave young Cotton Rosser a chance, since he only had school half-days.\u003c/p>\n\u003cp>“I used to clean stalls, clean the manure, and they let me ride a donkey named Jack,” says Rosser. And the donkey was just the beginning. Soon, he graduated to riding bulls and saddle broncs, and by the time he was a student at Cal Poly San Luis Obispo, he turned pro.\u003c/p>\n\u003cp>Rosser competed in rodeos all over the country. “[The] Cow Palace, Las Vegas, Reno, Calgary Stampede,” he says. “All the rodeos -- Cheyenne, [and] Pendleton.” In 1951, he even won the Grand National Rodeo’s all-around cowboy title.\u003c/p>\n\u003cp>Then, in 1955, he broke both his legs in an accident while digging post holes on his Marysville ranch north of Sacramento. That ended his rodeo career.\u003c/p>\n\u003cfigure id=\"attachment_11120094\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11120094\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/10/RS21373_Cotton-and-kids-3-qut.jpg\" alt=\"Cotton Rosser greets children in the stands at the Folsom Pro Rodeo in Folsom, CA. \" width=\"1920\" height=\"1484\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/10/RS21373_Cotton-and-kids-3-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/RS21373_Cotton-and-kids-3-qut-400x309.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/RS21373_Cotton-and-kids-3-qut-800x618.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/RS21373_Cotton-and-kids-3-qut-1180x912.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/RS21373_Cotton-and-kids-3-qut-960x742.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Cotton Rosser greets children in the stands at the Folsom Pro Rodeo in Folsom, California. \u003ccite>(Rich Ruef/Flying U Rodeo Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“[It was the] best thing that ever happened to me,” Rosser says. He bought the Flying U Rodeo Company and started his career putting on shows and raising rodeo animals. Today, the Flying U is the oldest continually operating stock contracting company in the United States.\u003c/p>\n\u003cp>Since he joined the rodeo world in the 1940s, Rosser has seen the sport change, and at times it seemed like fans were slipping away. To bring more people to the arena, the Flying U Rodeo Company got creative. It added high production value, loud rock 'n' roll, audience engagement and freestyle motocross -- dirt bike riders performing flips off tall ramps.\u003c/p>\n\u003cp>And in recent years, Cotton says these new attractions have boosted attendance. That includes the Grand National Rodeo at the Cow Palace. Rosser says last year’s rodeo broke a 10-year attendance record.\u003c/p>\n\u003cp>Kelley Ferreira is a special projects coordinator at the Cow Palace, and he’s known Cotton Rosser for 30 years. Ferreira and his colleagues are busy getting ready for the Grand National later this month.\u003c/p>\n\u003cp>“It’s very action-packed,” he says. “It’s always something new [the Flying U Rodeo Company] brings in to energize the crowd. They put on a fabulous rodeo.”\u003c/p>\n\u003cp>Cotton Rosser will be at the Cow Palace for the upcoming Grand National Rodeo, but he won’t be running things quite like he used to. In the past several years, his son, Reno Rosser, has taken the reins of the family business. But the elder Rosser says there’s no question he’s going to stay involved.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"People catch up with you if you slow down,” says Cotton Rosser. “I love what I do.\"\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "a-man-and-an-amendment-are-re-examined-in-the-birth-of-a-nation-and-13th",
"title": "A Man And An Amendment Are Re-Examined In 'The Birth Of A Nation' And '13th'",
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"headTitle": "A Man And An Amendment Are Re-Examined In ‘The Birth Of A Nation’ And ’13th’ | KQED",
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"content": "\u003cp>In theory, the two new movies dealing with America’s racial history ought to describe a cinematic straight line: Nate Parker’s provocatively titled drama \u003cem>The Birth of a Nation\u003c/em> imagines the events leading up to an 1831 slave revolt, while Ava DuVernay’s documentary, \u003cem>13th\u003c/em>, examines the legacy of the constitutional amendment that outlawed slavery. A matched set…yes?\u003c/p>\n\u003cp>In practice, the underlying social narrative is twisty, and the films intersect in complicated ways.\u003c/p>\n\u003cp>\u003cem>The Birth of a Nation\u003c/em> begins with a young and inquisitive 1820s slave who discovers almost as soon as he learns to read, that there will be limits to his reading.\u003c/p>\n\u003cp>“These books are for white folks,” the plantation’s mistress tells him. “They’re full of things your kind wouldn’t understand.”\u003c/p>\n\u003cp>What his “kind” would understand, she figures, is the Bible. And indeed, young Nat Turner takes to the Good Book as he grows up, and shares its teachings with his fellow slaves in sermons that interpret biblical passages about slavery (“submit yourselves to your masters”) in a light that pleases neighboring slaveholders.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Nat’s master (Armie Hammer) realizes there’ll be profit in renting Nat out to preach. But as the comparatively well-treated Nat sees brutality in his travels, he starts to doubt that the Bible could endorse it, and his sermonizing changes in tone (“execute vengeance on the demonic nations, to bind their kings in chains”) as he decides God wants him to lead a slave revolt.\u003c/p>\n\u003cp>Filmmaker Nate Parker, who wrote, directed, produced and stars in \u003cem>The Birth of a Nation\u003c/em>, has been nurturing this passion project for the better part of a decade, and it shows in imagery that can turn oddly haunting even as the story lacerates — light streaming through slats in a barn, ripe cotton floating cloud-like in a field.\u003c/p>\n\u003cp>Parker’s directing style, though, while thoroughly accomplished for a first-timer, can sometimes feel over-emphatic, and as in-your-face as his script. He hammers home one slavery horror with a literal hammer, he leans far too hard on soaring strings, and his own performance is so central that it diminishes the surrounding characters.\u003c/p>\n\u003cp>All of which contributes to making \u003cem>The Birth of a Nation\u003c/em> feel more solid than shattering. Talk of Oscars would seem optimistic even if Parker didn’t have personal, off-screen controversies swirling around him. Still, it’s an impressive first feature.\u003c/p>\n\u003cfigure id=\"attachment_12174946\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/michelle-130000-copy_wide-2d04ee200a9477c5d3318922d089e701e44eb3dc-800x450.jpg\" alt=\"Author Michelle Alexander in '13th.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12174946\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/michelle-130000-copy_wide-2d04ee200a9477c5d3318922d089e701e44eb3dc-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/michelle-130000-copy_wide-2d04ee200a9477c5d3318922d089e701e44eb3dc-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/michelle-130000-copy_wide-2d04ee200a9477c5d3318922d089e701e44eb3dc-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/michelle-130000-copy_wide-2d04ee200a9477c5d3318922d089e701e44eb3dc-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/michelle-130000-copy_wide-2d04ee200a9477c5d3318922d089e701e44eb3dc-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/michelle-130000-copy_wide-2d04ee200a9477c5d3318922d089e701e44eb3dc.jpg 1917w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Author Michelle Alexander in ’13th.’ \u003ccite>(Photo: Courtesy of Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In her documentary, \u003cem>13th\u003c/em>, Ava DuVernay cites the wording of the 13th amendment, which outlawed slavery and involuntary servitude “except as a punishment for crime,” and then forcefully argues that that loophole has been used for politics and for profit.\u003c/p>\n\u003cp>This will come as no surprise to those who’ve read Michelle Alexander’s 2010 bestseller, \u003cem>The New Jim Crow\u003c/em>, but DuVernay gives the argument enormous cinematic force.\u003c/p>\n\u003cp>She uses scenes from D.W. Griffith’s original \u003cem>The Birth of a Nation\u003c/em>, a 1915 epic whose cinematic brilliance is irrevocably tarnished by its racism, to establish how discriminatory attitudes were deliberately shaped after the end of slavery — blacks depicted as monsters, rapists, criminals. Also how, in an age of mass-incarceration, that characterization has helped turn prisons into this era’s plantations.\u003c/p>\n\u003cp>DuVernay uses a number of techniques to bring this argument alive on screen, none more effective than a surprisingly simple device: nearly every time someone utters the word “criminal” — whether the speaker is a president, a professor, neighbor, newscaster, anyone at all — the screen fills with the word “criminal” in huge block letters. The effect is to mark how often and how casually, criminality gets linked with black men in public discourse.\u003c/p>\n\u003cp>Another point made repeatedly: That the resulting incarceration of black men has been monetized, with black men put to work against their will. Think roadside chain gangs, or more recently, corporations helping “rehabilitate” inmates by paying them pennies to make sports uniforms. The movie’s list of companies that have benefited from cheap inmate labor is long, and damning.\u003c/p>\n\u003cp>That’s also true of its recounting of how the War on Drugs created imbalances after “separate but equal” was otherwise banned. Mandatory sentences identical for one ounce of crack cocaine (used mostly in inner cities), and 100 ounces of powdered cocaine (the drug of choice in white suburbs). It’s a policy now condemned not just by prison-reform activists, but by such unexpected voices as law-and-order advocates as Newt Gingrich.\u003c/p>\n\u003cfigure id=\"attachment_12174947\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/newt-gingrich00-copy-497c6e7738a2fbd212b5cf044502c5c3a0e3434b-800x600.jpg\" alt=\"Newt Gingrich in '13th.'\" width=\"800\" height=\"600\" class=\"size-medium wp-image-12174947\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/newt-gingrich00-copy-497c6e7738a2fbd212b5cf044502c5c3a0e3434b-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/newt-gingrich00-copy-497c6e7738a2fbd212b5cf044502c5c3a0e3434b-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/newt-gingrich00-copy-497c6e7738a2fbd212b5cf044502c5c3a0e3434b-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/newt-gingrich00-copy-497c6e7738a2fbd212b5cf044502c5c3a0e3434b-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/newt-gingrich00-copy-497c6e7738a2fbd212b5cf044502c5c3a0e3434b-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/newt-gingrich00-copy-497c6e7738a2fbd212b5cf044502c5c3a0e3434b.jpg 1438w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Newt Gingrich in ’13th.’\u003c/figcaption>\u003c/figure>\n\u003cp>Matching archival footage that’s hard to watch, with political pronouncements that scald, DuVernay brings the same force to \u003cem>13th\u003c/em>, that she did to her Martin Luther King drama, \u003cem>Selma\u003c/em>. Only this time, she’s mapping the twisty road we’ve traveled since the events depicted in \u003cem>The Birth of a Nation\u003c/em>.\u003c/p>\n\u003cp>“They called the end of slavery ‘Jubilee,’ we thought we were done then,” says lawyer/activist Van Jones. “And then you had a hundred years of Jim Crow, terror and lynching. Dr. King, Ella Jo Baker, Fanny Lou Hamer come on the scene. We get the bills passed, to vote, and then they break out the handcuffs.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A hundred eighty-five years after Nat Turner’s slave revolt, a century and a half after the 13th amendment, and still, laments this powerful documentary, a people in chains. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Man+And+An+Amendment+Are+Re-Examined+In+%27The+Birth+Of+A+Nation%27+And+%2713th%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Nate Parker's rebellion film 'The Birth of A Nation' and Ava DuVernay's documentary '13th' tackle America's racial history, but intersect in complicated ways.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In theory, the two new movies dealing with America’s racial history ought to describe a cinematic straight line: Nate Parker’s provocatively titled drama \u003cem>The Birth of a Nation\u003c/em> imagines the events leading up to an 1831 slave revolt, while Ava DuVernay’s documentary, \u003cem>13th\u003c/em>, examines the legacy of the constitutional amendment that outlawed slavery. A matched set…yes?\u003c/p>\n\u003cp>In practice, the underlying social narrative is twisty, and the films intersect in complicated ways.\u003c/p>\n\u003cp>\u003cem>The Birth of a Nation\u003c/em> begins with a young and inquisitive 1820s slave who discovers almost as soon as he learns to read, that there will be limits to his reading.\u003c/p>\n\u003cp>“These books are for white folks,” the plantation’s mistress tells him. “They’re full of things your kind wouldn’t understand.”\u003c/p>\n\u003cp>What his “kind” would understand, she figures, is the Bible. And indeed, young Nat Turner takes to the Good Book as he grows up, and shares its teachings with his fellow slaves in sermons that interpret biblical passages about slavery (“submit yourselves to your masters”) in a light that pleases neighboring slaveholders.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Nat’s master (Armie Hammer) realizes there’ll be profit in renting Nat out to preach. But as the comparatively well-treated Nat sees brutality in his travels, he starts to doubt that the Bible could endorse it, and his sermonizing changes in tone (“execute vengeance on the demonic nations, to bind their kings in chains”) as he decides God wants him to lead a slave revolt.\u003c/p>\n\u003cp>Filmmaker Nate Parker, who wrote, directed, produced and stars in \u003cem>The Birth of a Nation\u003c/em>, has been nurturing this passion project for the better part of a decade, and it shows in imagery that can turn oddly haunting even as the story lacerates — light streaming through slats in a barn, ripe cotton floating cloud-like in a field.\u003c/p>\n\u003cp>Parker’s directing style, though, while thoroughly accomplished for a first-timer, can sometimes feel over-emphatic, and as in-your-face as his script. He hammers home one slavery horror with a literal hammer, he leans far too hard on soaring strings, and his own performance is so central that it diminishes the surrounding characters.\u003c/p>\n\u003cp>All of which contributes to making \u003cem>The Birth of a Nation\u003c/em> feel more solid than shattering. Talk of Oscars would seem optimistic even if Parker didn’t have personal, off-screen controversies swirling around him. Still, it’s an impressive first feature.\u003c/p>\n\u003cfigure id=\"attachment_12174946\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/michelle-130000-copy_wide-2d04ee200a9477c5d3318922d089e701e44eb3dc-800x450.jpg\" alt=\"Author Michelle Alexander in '13th.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12174946\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/michelle-130000-copy_wide-2d04ee200a9477c5d3318922d089e701e44eb3dc-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/michelle-130000-copy_wide-2d04ee200a9477c5d3318922d089e701e44eb3dc-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/michelle-130000-copy_wide-2d04ee200a9477c5d3318922d089e701e44eb3dc-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/michelle-130000-copy_wide-2d04ee200a9477c5d3318922d089e701e44eb3dc-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/michelle-130000-copy_wide-2d04ee200a9477c5d3318922d089e701e44eb3dc-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/michelle-130000-copy_wide-2d04ee200a9477c5d3318922d089e701e44eb3dc.jpg 1917w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Author Michelle Alexander in ’13th.’ \u003ccite>(Photo: Courtesy of Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In her documentary, \u003cem>13th\u003c/em>, Ava DuVernay cites the wording of the 13th amendment, which outlawed slavery and involuntary servitude “except as a punishment for crime,” and then forcefully argues that that loophole has been used for politics and for profit.\u003c/p>\n\u003cp>This will come as no surprise to those who’ve read Michelle Alexander’s 2010 bestseller, \u003cem>The New Jim Crow\u003c/em>, but DuVernay gives the argument enormous cinematic force.\u003c/p>\n\u003cp>She uses scenes from D.W. Griffith’s original \u003cem>The Birth of a Nation\u003c/em>, a 1915 epic whose cinematic brilliance is irrevocably tarnished by its racism, to establish how discriminatory attitudes were deliberately shaped after the end of slavery — blacks depicted as monsters, rapists, criminals. Also how, in an age of mass-incarceration, that characterization has helped turn prisons into this era’s plantations.\u003c/p>\n\u003cp>DuVernay uses a number of techniques to bring this argument alive on screen, none more effective than a surprisingly simple device: nearly every time someone utters the word “criminal” — whether the speaker is a president, a professor, neighbor, newscaster, anyone at all — the screen fills with the word “criminal” in huge block letters. The effect is to mark how often and how casually, criminality gets linked with black men in public discourse.\u003c/p>\n\u003cp>Another point made repeatedly: That the resulting incarceration of black men has been monetized, with black men put to work against their will. Think roadside chain gangs, or more recently, corporations helping “rehabilitate” inmates by paying them pennies to make sports uniforms. The movie’s list of companies that have benefited from cheap inmate labor is long, and damning.\u003c/p>\n\u003cp>That’s also true of its recounting of how the War on Drugs created imbalances after “separate but equal” was otherwise banned. Mandatory sentences identical for one ounce of crack cocaine (used mostly in inner cities), and 100 ounces of powdered cocaine (the drug of choice in white suburbs). It’s a policy now condemned not just by prison-reform activists, but by such unexpected voices as law-and-order advocates as Newt Gingrich.\u003c/p>\n\u003cfigure id=\"attachment_12174947\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/newt-gingrich00-copy-497c6e7738a2fbd212b5cf044502c5c3a0e3434b-800x600.jpg\" alt=\"Newt Gingrich in '13th.'\" width=\"800\" height=\"600\" class=\"size-medium wp-image-12174947\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/newt-gingrich00-copy-497c6e7738a2fbd212b5cf044502c5c3a0e3434b-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/newt-gingrich00-copy-497c6e7738a2fbd212b5cf044502c5c3a0e3434b-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/newt-gingrich00-copy-497c6e7738a2fbd212b5cf044502c5c3a0e3434b-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/newt-gingrich00-copy-497c6e7738a2fbd212b5cf044502c5c3a0e3434b-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/newt-gingrich00-copy-497c6e7738a2fbd212b5cf044502c5c3a0e3434b-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/newt-gingrich00-copy-497c6e7738a2fbd212b5cf044502c5c3a0e3434b.jpg 1438w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Newt Gingrich in ’13th.’\u003c/figcaption>\u003c/figure>\n\u003cp>Matching archival footage that’s hard to watch, with political pronouncements that scald, DuVernay brings the same force to \u003cem>13th\u003c/em>, that she did to her Martin Luther King drama, \u003cem>Selma\u003c/em>. Only this time, she’s mapping the twisty road we’ve traveled since the events depicted in \u003cem>The Birth of a Nation\u003c/em>.\u003c/p>\n\u003cp>“They called the end of slavery ‘Jubilee,’ we thought we were done then,” says lawyer/activist Van Jones. “And then you had a hundred years of Jim Crow, terror and lynching. Dr. King, Ella Jo Baker, Fanny Lou Hamer come on the scene. We get the bills passed, to vote, and then they break out the handcuffs.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A hundred eighty-five years after Nat Turner’s slave revolt, a century and a half after the 13th amendment, and still, laments this powerful documentary, a people in chains. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Man+And+An+Amendment+Are+Re-Examined+In+%27The+Birth+Of+A+Nation%27+And+%2713th%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "what-todays-artist-activists-can-learn-from-the-black-panthers-50-years-on",
"title": "What Today's Artist-Activists Can Learn From the Black Panthers, 50 Years On",
"publishDate": 1475780432,
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"headTitle": "What Today’s Artist-Activists Can Learn From the Black Panthers, 50 Years On | KQED",
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"content": "\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/286361203″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>If you want to get a sense of how art goes hand in hand with political activism, spend a little time with Emory Douglas and Ericka Huggins.\u003c/p>\n\u003cp>[contextly_sidebar id=”1UDJ59Jc9T1K13PaaWlHS2spN4LnP16i”]As “Minister of Culture” and a lead graphic artist for the Panthers, Douglas created striking images for the party’s weekly newspaper, like \u003ca href=\"https://ancienttofuture.files.wordpress.com/2011/08/emory-pigs.jpg\" target=\"_blank\" rel=\"noopener\">a famous ink drawing of an angry-looking pig dressed as a cop\u003c/a>, armed to the snout with a baseball bat and canisters of tear gas and mace. “It symbolically represents the police themselves in relationship to their bad manners in the community,” says Douglas, who joined the party in 1967.\u003c/p>\n\u003cfigure id=\"attachment_12163403\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12163403\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/EmoryErika.jpg\" alt=\"Emory Douglas at his home in San Francisco. Sep. 23, 2016; Ericka Huggins at Impact Hub Oakland, Sep. 14, 2016.\" width=\"1200\" height=\"593\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/EmoryErika.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/EmoryErika-400x198.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/EmoryErika-800x395.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/EmoryErika-768x380.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/EmoryErika-1180x583.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/EmoryErika-960x474.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Emory Douglas at his home in San Francisco. Sep. 23, 2016; Ericka Huggins at Impact Hub Oakland, Sep. 14, 2016. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The Black Panther Party always had art, music, dance, even fashion, as a way of thinking about how we shift cultural awareness,” says poet, educator and activist Ericka Huggins, who joined the organization when she was 18.\u003c/p>\n\u003cp>Beyond helping to shape the public’s views around issues like racial discrimination and police brutality against black Americans, Huggins says art also brought in much-needed bail money and helped pay legal fees as Panthers increasingly found themselves on the wrong side of the law. Rock bands like the Grateful Dead, and the Panthers’ own funk group, the Lumpen, performed benefits for party members like Bobby Seale, who was charged with inciting a riot following the 1968 Democratic National Convention in Chicago.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"The Lumpen - Free Bobby Now - Seize The Time.wmv\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/e01mZDrdmLw?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch3>Issues continue 50 years on\u003c/h3>\n\u003cp>As the Black Panther Party celebrates the 50th anniversary of its 1966 founding in Oakland with a slew of cultural events ranging from major museum exhibitions to concerts to underground dance shows, artists observe how little things have changed in five decades for black Americans. “The year marker might be different, but the conversations are much the same,” says Oakland musician and activist Jay-Marie Hill, who plays with the band \u003ca href=\"http://wearefarfetched.net/album/the-revolution-has-come\" target=\"_blank\" rel=\"noopener\">Reverend Sekou & the Holy Ghost\u003c/a>.\u003c/p>\n\u003cp>Bay Area artists like Hill are riffing off the Panther’s legacy to create art aimed at inspiring a modern-day revolution. The musician didn’t start out paying much attention to the Panthers. “I wasn’t connected to the history of black activism even as I grew up in the Bay Area,” Hill says. But struck by the near-constant barrage of news about Black Americans being shot and killed by police, she decided to devote herself full-time to making protest music.\u003c/p>\n\u003cfigure id=\"attachment_12159751\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12159751\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Jay-Marie-Hill-e1475624910403-800x451.jpeg\" alt=\"Oakland musician and activist Jay Marie Hill\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Jay-Marie-Hill-e1475624910403-800x451.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Jay-Marie-Hill-e1475624910403-400x226.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Jay-Marie-Hill-e1475624910403-768x433.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Jay-Marie-Hill-e1475624910403-960x542.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Jay-Marie-Hill-e1475624910403.jpeg 998w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland musician and activist Jay Marie Hill. \u003ccite>(Photo: Courtesy Paul Weaver Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hill admires the Panthers’ sense of urgency toward their mission. “Something that the Panthers were absolute about was we are not going to wait for your approval,” Hill says. “We’re coming. We have these demands and we’re not going to wait for you to say it’s OK.”\u003c/p>\n\u003cp>You can hear it in Hill’s forceful song, “We Comin’.” With lyrics like “No more water / Fire next time / If we don’t get no justice / You don’t get no peace’a mind / We ready / We comin,'” the song, Hill says, is inspired by the Panthers’ insistent call to action; their refusal to sit around.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/242410166″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>But Hill says looking to the Panthers will only get today’s activists so far. For her, it’s a matter of gender politics. “One of the differences of this movement, in this moment, is that we’re not down with the men being in front,” Hill says. “And there’s women who can nuance the conversation and really take care of the people.”\u003c/p>\n\u003ch3>Women up front\u003c/h3>\n\u003cp>I met many artists who feel the same way as Hill, and are also using the Panthers’ 50th anniversary as a way to refocus attention away from men and onto women. Women made up the majority of the Party’s membership, and did a huge share of its positive work in the community.\u003c/p>\n\u003cp>Those are facts that some arts organizations want to make plain. The curators at \u003ca href=\"https://oakland.impacthub.net\" target=\"_blank\" rel=\"noopener\">Impact Hub Oakland\u003c/a>, a co-working and creative space in the city’s Uptown neighborhood, commissioned six local contemporary artists including Karen Seneferu and Ain Bailey to contribute art to \u003cem>Sister Comrade\u003c/em>, a multimedia installation honoring some of the most prominent women of the Black Panther Party, such as Elaine Brown, Tarika Lewis and Huggins. The installation is part of \u003ca href=\"https://oakland.impacthub.net/event/opening-nite-reception-survival-pending-revolutionblack-panther-party-50/\" target=\"_blank\" rel=\"noopener\">\u003cem>Survival Pending Revolution: Black Panther Party 50\u003c/em>\u003c/a>, a larger series of programs at Impact Hub featuring archival material and Panther-related talks and other events.\u003c/p>\n\u003cfigure id=\"attachment_12159754\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12159754\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Impact-Hub-shrine-to-BPP-women-e1475625182820-800x451.jpg\" alt=\"The ‘Comrade Sister’ shrine honoring prominent women of the Black Panther Party at Impact Hub Oakland’s Omi Gallery.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Impact-Hub-shrine-to-BPP-women-e1475625182820-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Impact-Hub-shrine-to-BPP-women-e1475625182820-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Impact-Hub-shrine-to-BPP-women-e1475625182820-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Impact-Hub-shrine-to-BPP-women-e1475625182820-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Impact-Hub-shrine-to-BPP-women-e1475625182820-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Impact-Hub-shrine-to-BPP-women-e1475625182820-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Comrade Sister’ installation honoring prominent women of the Black Panther Party at Impact Hub Oakland’s Omi Gallery. \u003ccite>(Photo: Ashara Ekundayo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’re looking at the legacy of the feminine divine and women’s voices and making decisions that impact everyone,” says Ashara Ekundayo, who runs Impact Hub Oakland.\u003c/p>\n\u003cp>Meanwhile, the members of \u003ca href=\"https://www.dimensionsdance.org/\" target=\"_blank\" rel=\"noopener\">Dimensions Dance Theater\u003c/a>, also based in Oakland, are presenting a new version of \u003cem>Project Panther\u003c/em>, a theater and dance piece the company initially created in 1996 in honor of the Panthers’ 30th anniversary. This time around, though, they’ve added a female actor for the upcoming performances at the Malonga Casquelourd Center for the Arts in downtown Oakland.\u003c/p>\n\u003cfigure id=\"attachment_12159746\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12159746\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/L-to-R-Marianna-Hester-Justin-Sharlman-Phylicia-Stroud-Photo-Ed-Miller-e1475623883185-800x452.jpg\" alt=\"Dimensions Dance Theater company mmebers in a scene from 'Project Panther'. Left to Right: Marianna Hester, Justin Sharlman, Phylicia Stroud.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/L-to-R-Marianna-Hester-Justin-Sharlman-Phylicia-Stroud-Photo-Ed-Miller-e1475623883185-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/L-to-R-Marianna-Hester-Justin-Sharlman-Phylicia-Stroud-Photo-Ed-Miller-e1475623883185-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/L-to-R-Marianna-Hester-Justin-Sharlman-Phylicia-Stroud-Photo-Ed-Miller-e1475623883185-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/L-to-R-Marianna-Hester-Justin-Sharlman-Phylicia-Stroud-Photo-Ed-Miller-e1475623883185-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/L-to-R-Marianna-Hester-Justin-Sharlman-Phylicia-Stroud-Photo-Ed-Miller-e1475623883185-1920x1084.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/L-to-R-Marianna-Hester-Justin-Sharlman-Phylicia-Stroud-Photo-Ed-Miller-e1475623883185-960x542.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dimensions Dance Theater company members in a scene from ‘Project Panther.’ Left to Right: Marianna Hester, Justin Sharlman, Phylicia Stroud. \u003ccite>( Photo: Ed Miller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“But let’s give credit where credit is due, my brothers!,” says the nameless woman, played by actor Brittany Turner, in a scene in which she faces off against two male comrades. “The women in the BPP held it down, truth be told! You could not have done it without us! Then tell the whole story. We helped with the students, the paper, breakfast programs, spreading awareness, right?!”\u003c/p>\n\u003ch3>Spotlight on the rank and file\u003c/h3>\n\u003cp>Another critique levied by modern-day artists against the culture surrounding the Panthers has to do with the glorification of its leaders. Party celebrities like Huey Newton, convicted of manslaughter charges in 1968, were frequent targets of FBI investigations and the focus of much of the controversy surrounding the Party.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"A Live Black Panthers Free Huey Rally Filmed in Aug 1968\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/dkMmeu6FVIw?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>As a result, many artists now want to look at the important role ordinary people played in furthering the Panthers’ mission, rather than on its figureheads. “I would call it adding a dimension to the Panthers’ story that really hasn’t been told yet and that’s the viewpoint of the rank and file members,” says photojournalist Bryan Shih, co-author, along with historian Yohuru Williams, of the new book of portraits of still-living Panthers, \u003ca href=\"https://www.amazon.com/Black-Panthers-Portraits-Unfinished-Revolution/dp/1568585551/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Black Panthers: An Unfinished Revolution\u003c/em>\u003c/a>. “The effect of the portraits is to really humanize people that I think have been really demonized,” Shih says.\u003c/p>\n\u003cp>One of the many striking portraits in the book is of Richard Brown. Brown was a coordinator of Black Panther jobs and education programs at a San Francisco community center. In the photo, taken recently, the 75-year-old wears a leather jacket and a T-shirt bearing the slogan “All Power to the People.” Brown stares at the camera knowingly — daring us to take up the revolutionary mantle.\u003c/p>\n\u003cfigure id=\"attachment_12164407\" class=\"wp-caption aligncenter\" style=\"max-width: 598px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12164407\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-598x600.jpeg\" alt=\"Portrait of ex-Panther Richard Brown from the new book 'The Black Panthers: An Unfinished Revolution' by Bryan Shih and Yohuru Williams.\" width=\"598\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-598x600.jpeg 598w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-400x401.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-768x771.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-1176x1180.jpeg 1176w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-1920x1927.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-1180x1184.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-960x963.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-32x32.jpeg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-50x50.jpeg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-64x64.jpeg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-96x96.jpeg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-128x128.jpeg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-150x150.jpeg 150w\" sizes=\"(max-width: 598px) 100vw, 598px\">\u003cfigcaption class=\"wp-caption-text\">Portrait of ex-Panther Richard Brown from the new book ‘The Black Panthers: An Unfinished Revolution’ by Bryan Shih and Yohuru Williams. \u003ccite>(Photo: Bryan Shih)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Art that dares people to continue the fight\u003c/h3>\n\u003cp>If you want to follow in Brown’s footsteps, a good place to start your schooling is at the Oakland Museum of California’s new exhibition, \u003ca href=\"http://museumca.org/exhibit/all-power-people-black-panthers-50\" target=\"_blank\" rel=\"noopener\">\u003cem>All Power to the People: The Black Panthers At Fifty\u003c/em>\u003c/a>. Among the many artifacts and artworks on display, the exhibition includes 39 of Shih’s portraits.\u003c/p>\n\u003cp>But the first thing you’ll come across as you enter the galleries is a bronze replica of an enormous wicker chair. This is artist Sam Durant’s rendering of Huey Newton’s throne in what has become perhaps the Panthers’ most iconic image.\u003c/p>\n\u003cfigure id=\"attachment_12159758\" class=\"wp-caption aligncenter\" style=\"max-width: 464px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12159758\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/M20-283-464x600.jpg\" alt=\"Blair Stapp, Untitled (Huey Newton), circa 2003. Offset lithograph on paper, 26 x 20 in. Collection of the Oakland Museum of California, All Of Us Or None Archive. Gift of the Rossman Family.\" width=\"464\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/M20-283-464x600.jpg 464w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/M20-283-400x517.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/M20-283-768x993.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/M20-283-913x1180.jpg 913w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/M20-283-1920x2483.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/M20-283-1180x1526.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/M20-283-960x1241.jpg 960w\" sizes=\"(max-width: 464px) 100vw, 464px\">\u003cfigcaption class=\"wp-caption-text\">Blair Stapp, Untitled (Huey Newton), circa 2003. Offset lithograph on paper, 26 x 20 in. Collection of the Oakland Museum of California, All Of Us Or None Archive. Gift of the Rossman Family. \u003ccite>(Photo: Courtesy Oakland Museum of California)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And museum curator René de Guzman says there’s a twist: it’s interactive. “The public’s invited to sit in it,” de Guzman says. “So physically they can sit within the legacy of the Black Panther Party and reflect upon those ideas.”\u003c/p>\n\u003cp>Step up. Take a seat. Have a think. These artists hope you’ll take cues from the past to build a better world for the future.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"https://ww2.kqed.org/arts/2016/10/06/the-bay-area-celebrates-the-black-panther-party-at-50/\" target=\"_blank\" rel=\"noopener\">See our guide \u003c/a>for a full list of events, exhibitions, performances and conferences around the Bay Area commemorating the 50th anniversary of the Black Panther Party’s founding.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_12163006\" class=\"wp-caption aligncenter\" style=\"max-width: 635px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12163006\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/content-1-e1475685925796.jpg\" alt=\"Sam Durant Proposal for a Monument to Huey Newton at the Alameda County Courthouse Collection of the Oakland Museum of California. Gift of the artist and the Art Acquisition\" width=\"635\" height=\"405\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/content-1-e1475685925796.jpg 635w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/content-1-e1475685925796-400x255.jpg 400w\" sizes=\"(max-width: 635px) 100vw, 635px\">\u003cfigcaption class=\"wp-caption-text\">Sam Durant: Proposal for a Monument to Huey Newton at the Alameda County Courthouse\u003cbr>Collection of the Oakland Museum of California. Gift of the artist and the Art Acquisition. \u003ccite>(Photo: Courtesy Oakland Museum of California)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "As the Black Panther Party for Self Defense celebrates the 50th anniversary of its founding in Oakland, Bay Area artists create work to inspire a modern-day revolution.",
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"title": "What Today's Artist-Activists Can Learn From the Black Panthers, 50 Years On | KQED",
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"headline": "What Today's Artist-Activists Can Learn From the Black Panthers, 50 Years On",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/286361203″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/286361203″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>If you want to get a sense of how art goes hand in hand with political activism, spend a little time with Emory Douglas and Ericka Huggins.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>As “Minister of Culture” and a lead graphic artist for the Panthers, Douglas created striking images for the party’s weekly newspaper, like \u003ca href=\"https://ancienttofuture.files.wordpress.com/2011/08/emory-pigs.jpg\" target=\"_blank\" rel=\"noopener\">a famous ink drawing of an angry-looking pig dressed as a cop\u003c/a>, armed to the snout with a baseball bat and canisters of tear gas and mace. “It symbolically represents the police themselves in relationship to their bad manners in the community,” says Douglas, who joined the party in 1967.\u003c/p>\n\u003cfigure id=\"attachment_12163403\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12163403\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/EmoryErika.jpg\" alt=\"Emory Douglas at his home in San Francisco. Sep. 23, 2016; Ericka Huggins at Impact Hub Oakland, Sep. 14, 2016.\" width=\"1200\" height=\"593\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/EmoryErika.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/EmoryErika-400x198.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/EmoryErika-800x395.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/EmoryErika-768x380.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/EmoryErika-1180x583.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/EmoryErika-960x474.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Emory Douglas at his home in San Francisco. Sep. 23, 2016; Ericka Huggins at Impact Hub Oakland, Sep. 14, 2016. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The Black Panther Party always had art, music, dance, even fashion, as a way of thinking about how we shift cultural awareness,” says poet, educator and activist Ericka Huggins, who joined the organization when she was 18.\u003c/p>\n\u003cp>Beyond helping to shape the public’s views around issues like racial discrimination and police brutality against black Americans, Huggins says art also brought in much-needed bail money and helped pay legal fees as Panthers increasingly found themselves on the wrong side of the law. Rock bands like the Grateful Dead, and the Panthers’ own funk group, the Lumpen, performed benefits for party members like Bobby Seale, who was charged with inciting a riot following the 1968 Democratic National Convention in Chicago.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"The Lumpen - Free Bobby Now - Seize The Time.wmv\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/e01mZDrdmLw?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch3>Issues continue 50 years on\u003c/h3>\n\u003cp>As the Black Panther Party celebrates the 50th anniversary of its 1966 founding in Oakland with a slew of cultural events ranging from major museum exhibitions to concerts to underground dance shows, artists observe how little things have changed in five decades for black Americans. “The year marker might be different, but the conversations are much the same,” says Oakland musician and activist Jay-Marie Hill, who plays with the band \u003ca href=\"http://wearefarfetched.net/album/the-revolution-has-come\" target=\"_blank\" rel=\"noopener\">Reverend Sekou & the Holy Ghost\u003c/a>.\u003c/p>\n\u003cp>Bay Area artists like Hill are riffing off the Panther’s legacy to create art aimed at inspiring a modern-day revolution. The musician didn’t start out paying much attention to the Panthers. “I wasn’t connected to the history of black activism even as I grew up in the Bay Area,” Hill says. But struck by the near-constant barrage of news about Black Americans being shot and killed by police, she decided to devote herself full-time to making protest music.\u003c/p>\n\u003cfigure id=\"attachment_12159751\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12159751\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Jay-Marie-Hill-e1475624910403-800x451.jpeg\" alt=\"Oakland musician and activist Jay Marie Hill\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Jay-Marie-Hill-e1475624910403-800x451.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Jay-Marie-Hill-e1475624910403-400x226.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Jay-Marie-Hill-e1475624910403-768x433.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Jay-Marie-Hill-e1475624910403-960x542.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Jay-Marie-Hill-e1475624910403.jpeg 998w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland musician and activist Jay Marie Hill. \u003ccite>(Photo: Courtesy Paul Weaver Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hill admires the Panthers’ sense of urgency toward their mission. “Something that the Panthers were absolute about was we are not going to wait for your approval,” Hill says. “We’re coming. We have these demands and we’re not going to wait for you to say it’s OK.”\u003c/p>\n\u003cp>You can hear it in Hill’s forceful song, “We Comin’.” With lyrics like “No more water / Fire next time / If we don’t get no justice / You don’t get no peace’a mind / We ready / We comin,'” the song, Hill says, is inspired by the Panthers’ insistent call to action; their refusal to sit around.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/242410166″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/242410166″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>But Hill says looking to the Panthers will only get today’s activists so far. For her, it’s a matter of gender politics. “One of the differences of this movement, in this moment, is that we’re not down with the men being in front,” Hill says. “And there’s women who can nuance the conversation and really take care of the people.”\u003c/p>\n\u003ch3>Women up front\u003c/h3>\n\u003cp>I met many artists who feel the same way as Hill, and are also using the Panthers’ 50th anniversary as a way to refocus attention away from men and onto women. Women made up the majority of the Party’s membership, and did a huge share of its positive work in the community.\u003c/p>\n\u003cp>Those are facts that some arts organizations want to make plain. The curators at \u003ca href=\"https://oakland.impacthub.net\" target=\"_blank\" rel=\"noopener\">Impact Hub Oakland\u003c/a>, a co-working and creative space in the city’s Uptown neighborhood, commissioned six local contemporary artists including Karen Seneferu and Ain Bailey to contribute art to \u003cem>Sister Comrade\u003c/em>, a multimedia installation honoring some of the most prominent women of the Black Panther Party, such as Elaine Brown, Tarika Lewis and Huggins. The installation is part of \u003ca href=\"https://oakland.impacthub.net/event/opening-nite-reception-survival-pending-revolutionblack-panther-party-50/\" target=\"_blank\" rel=\"noopener\">\u003cem>Survival Pending Revolution: Black Panther Party 50\u003c/em>\u003c/a>, a larger series of programs at Impact Hub featuring archival material and Panther-related talks and other events.\u003c/p>\n\u003cfigure id=\"attachment_12159754\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12159754\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Impact-Hub-shrine-to-BPP-women-e1475625182820-800x451.jpg\" alt=\"The ‘Comrade Sister’ shrine honoring prominent women of the Black Panther Party at Impact Hub Oakland’s Omi Gallery.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Impact-Hub-shrine-to-BPP-women-e1475625182820-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Impact-Hub-shrine-to-BPP-women-e1475625182820-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Impact-Hub-shrine-to-BPP-women-e1475625182820-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Impact-Hub-shrine-to-BPP-women-e1475625182820-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Impact-Hub-shrine-to-BPP-women-e1475625182820-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Impact-Hub-shrine-to-BPP-women-e1475625182820-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Comrade Sister’ installation honoring prominent women of the Black Panther Party at Impact Hub Oakland’s Omi Gallery. \u003ccite>(Photo: Ashara Ekundayo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’re looking at the legacy of the feminine divine and women’s voices and making decisions that impact everyone,” says Ashara Ekundayo, who runs Impact Hub Oakland.\u003c/p>\n\u003cp>Meanwhile, the members of \u003ca href=\"https://www.dimensionsdance.org/\" target=\"_blank\" rel=\"noopener\">Dimensions Dance Theater\u003c/a>, also based in Oakland, are presenting a new version of \u003cem>Project Panther\u003c/em>, a theater and dance piece the company initially created in 1996 in honor of the Panthers’ 30th anniversary. This time around, though, they’ve added a female actor for the upcoming performances at the Malonga Casquelourd Center for the Arts in downtown Oakland.\u003c/p>\n\u003cfigure id=\"attachment_12159746\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12159746\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/L-to-R-Marianna-Hester-Justin-Sharlman-Phylicia-Stroud-Photo-Ed-Miller-e1475623883185-800x452.jpg\" alt=\"Dimensions Dance Theater company mmebers in a scene from 'Project Panther'. Left to Right: Marianna Hester, Justin Sharlman, Phylicia Stroud.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/L-to-R-Marianna-Hester-Justin-Sharlman-Phylicia-Stroud-Photo-Ed-Miller-e1475623883185-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/L-to-R-Marianna-Hester-Justin-Sharlman-Phylicia-Stroud-Photo-Ed-Miller-e1475623883185-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/L-to-R-Marianna-Hester-Justin-Sharlman-Phylicia-Stroud-Photo-Ed-Miller-e1475623883185-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/L-to-R-Marianna-Hester-Justin-Sharlman-Phylicia-Stroud-Photo-Ed-Miller-e1475623883185-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/L-to-R-Marianna-Hester-Justin-Sharlman-Phylicia-Stroud-Photo-Ed-Miller-e1475623883185-1920x1084.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/L-to-R-Marianna-Hester-Justin-Sharlman-Phylicia-Stroud-Photo-Ed-Miller-e1475623883185-960x542.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dimensions Dance Theater company members in a scene from ‘Project Panther.’ Left to Right: Marianna Hester, Justin Sharlman, Phylicia Stroud. \u003ccite>( Photo: Ed Miller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“But let’s give credit where credit is due, my brothers!,” says the nameless woman, played by actor Brittany Turner, in a scene in which she faces off against two male comrades. “The women in the BPP held it down, truth be told! You could not have done it without us! Then tell the whole story. We helped with the students, the paper, breakfast programs, spreading awareness, right?!”\u003c/p>\n\u003ch3>Spotlight on the rank and file\u003c/h3>\n\u003cp>Another critique levied by modern-day artists against the culture surrounding the Panthers has to do with the glorification of its leaders. Party celebrities like Huey Newton, convicted of manslaughter charges in 1968, were frequent targets of FBI investigations and the focus of much of the controversy surrounding the Party.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"A Live Black Panthers Free Huey Rally Filmed in Aug 1968\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/dkMmeu6FVIw?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>As a result, many artists now want to look at the important role ordinary people played in furthering the Panthers’ mission, rather than on its figureheads. “I would call it adding a dimension to the Panthers’ story that really hasn’t been told yet and that’s the viewpoint of the rank and file members,” says photojournalist Bryan Shih, co-author, along with historian Yohuru Williams, of the new book of portraits of still-living Panthers, \u003ca href=\"https://www.amazon.com/Black-Panthers-Portraits-Unfinished-Revolution/dp/1568585551/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Black Panthers: An Unfinished Revolution\u003c/em>\u003c/a>. “The effect of the portraits is to really humanize people that I think have been really demonized,” Shih says.\u003c/p>\n\u003cp>One of the many striking portraits in the book is of Richard Brown. Brown was a coordinator of Black Panther jobs and education programs at a San Francisco community center. In the photo, taken recently, the 75-year-old wears a leather jacket and a T-shirt bearing the slogan “All Power to the People.” Brown stares at the camera knowingly — daring us to take up the revolutionary mantle.\u003c/p>\n\u003cfigure id=\"attachment_12164407\" class=\"wp-caption aligncenter\" style=\"max-width: 598px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12164407\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-598x600.jpeg\" alt=\"Portrait of ex-Panther Richard Brown from the new book 'The Black Panthers: An Unfinished Revolution' by Bryan Shih and Yohuru Williams.\" width=\"598\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-598x600.jpeg 598w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-400x401.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-768x771.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-1176x1180.jpeg 1176w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-1920x1927.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-1180x1184.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-960x963.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-32x32.jpeg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-50x50.jpeg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-64x64.jpeg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-96x96.jpeg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-128x128.jpeg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Richard-Brown-Flat-150x150.jpeg 150w\" sizes=\"(max-width: 598px) 100vw, 598px\">\u003cfigcaption class=\"wp-caption-text\">Portrait of ex-Panther Richard Brown from the new book ‘The Black Panthers: An Unfinished Revolution’ by Bryan Shih and Yohuru Williams. \u003ccite>(Photo: Bryan Shih)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Art that dares people to continue the fight\u003c/h3>\n\u003cp>If you want to follow in Brown’s footsteps, a good place to start your schooling is at the Oakland Museum of California’s new exhibition, \u003ca href=\"http://museumca.org/exhibit/all-power-people-black-panthers-50\" target=\"_blank\" rel=\"noopener\">\u003cem>All Power to the People: The Black Panthers At Fifty\u003c/em>\u003c/a>. Among the many artifacts and artworks on display, the exhibition includes 39 of Shih’s portraits.\u003c/p>\n\u003cp>But the first thing you’ll come across as you enter the galleries is a bronze replica of an enormous wicker chair. This is artist Sam Durant’s rendering of Huey Newton’s throne in what has become perhaps the Panthers’ most iconic image.\u003c/p>\n\u003cfigure id=\"attachment_12159758\" class=\"wp-caption aligncenter\" style=\"max-width: 464px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12159758\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/M20-283-464x600.jpg\" alt=\"Blair Stapp, Untitled (Huey Newton), circa 2003. Offset lithograph on paper, 26 x 20 in. Collection of the Oakland Museum of California, All Of Us Or None Archive. Gift of the Rossman Family.\" width=\"464\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/M20-283-464x600.jpg 464w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/M20-283-400x517.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/M20-283-768x993.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/M20-283-913x1180.jpg 913w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/M20-283-1920x2483.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/M20-283-1180x1526.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/M20-283-960x1241.jpg 960w\" sizes=\"(max-width: 464px) 100vw, 464px\">\u003cfigcaption class=\"wp-caption-text\">Blair Stapp, Untitled (Huey Newton), circa 2003. Offset lithograph on paper, 26 x 20 in. Collection of the Oakland Museum of California, All Of Us Or None Archive. Gift of the Rossman Family. \u003ccite>(Photo: Courtesy Oakland Museum of California)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And museum curator René de Guzman says there’s a twist: it’s interactive. “The public’s invited to sit in it,” de Guzman says. “So physically they can sit within the legacy of the Black Panther Party and reflect upon those ideas.”\u003c/p>\n\u003cp>Step up. Take a seat. Have a think. These artists hope you’ll take cues from the past to build a better world for the future.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"https://ww2.kqed.org/arts/2016/10/06/the-bay-area-celebrates-the-black-panther-party-at-50/\" target=\"_blank\" rel=\"noopener\">See our guide \u003c/a>for a full list of events, exhibitions, performances and conferences around the Bay Area commemorating the 50th anniversary of the Black Panther Party’s founding.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_12163006\" class=\"wp-caption aligncenter\" style=\"max-width: 635px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12163006\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/content-1-e1475685925796.jpg\" alt=\"Sam Durant Proposal for a Monument to Huey Newton at the Alameda County Courthouse Collection of the Oakland Museum of California. Gift of the artist and the Art Acquisition\" width=\"635\" height=\"405\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/content-1-e1475685925796.jpg 635w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/content-1-e1475685925796-400x255.jpg 400w\" sizes=\"(max-width: 635px) 100vw, 635px\">\u003cfigcaption class=\"wp-caption-text\">Sam Durant: Proposal for a Monument to Huey Newton at the Alameda County Courthouse\u003cbr>Collection of the Oakland Museum of California. Gift of the artist and the Art Acquisition. \u003ccite>(Photo: Courtesy Oakland Museum of California)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"slug": "the-bay-area-celebrates-the-black-panther-party-at-50",
"title": "The Bay Area Celebrates the Black Panther Party at 50",
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"headTitle": "The Bay Area Celebrates the Black Panther Party at 50 | KQED",
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"content": "\u003cp>No matter how one looks at it, the Black Panther Party for Self Defense is an indelible part of U.S. history. Founded in October 1966 to empower the black community, its potent brand of social activism has inspired movements around the world.\u003c/p>\n\u003cp>[contextly_sidebar id=”TrQGVkEjM8LOvODYeFcdBfeklZ4a5fAu”]\u003c/p>\n\u003cp>Fifty years on, the Bay Area celebrates the revolutionary group that dug its roots in Oakland, commemorating the Panthers’ legacy and history through dance, song and the visual arts. Here are some of the ways in which organizations and artists around the Bay Area are celebrating the anniversary:\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12159754\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12159754 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Impact-Hub-shrine-to-BPP-women-e1475625182820-400x226.jpg\" alt=\"The ‘Comrade Sister’ shrine honoring prominent women of the Black Panther Party at Impact Hub Oakland’s Omi Gallery.\" width=\"400\" height=\"226\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Impact-Hub-shrine-to-BPP-women-e1475625182820-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Impact-Hub-shrine-to-BPP-women-e1475625182820-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Impact-Hub-shrine-to-BPP-women-e1475625182820-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Impact-Hub-shrine-to-BPP-women-e1475625182820-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Impact-Hub-shrine-to-BPP-women-e1475625182820-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Impact-Hub-shrine-to-BPP-women-e1475625182820-960x541.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Comrade Sister’ shrine honoring prominent women of the Black Panther Party at Impact Hub Oakland’s Omi Gallery. \u003ccite>(Photo: Ashara Ekundayo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Survival Pending Revolution: Black Panther Party at 50 Years\u003c/em> and \u003cem>Comrade Sister\u003c/em>\u003c/h3>\n\u003ch5>Oct. 7 – Jan. 7\u003cbr>\nImpact Hub, Oakland\u003cbr>\n\u003ca href=\"https://www.eventbrite.com/e/opening-nite-reception-survival-pending-revolutionblack-panther-party-50-tickets-27926611246\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Impact Hub Oakland’s Omi Gallery features photographs from archivist Lisbet Tellefsen’s extensive collection on the Black Panther Party’s history. Also on view is the show \u003cem>Comrade Sister\u003c/em>, showcasing pieces that celebrate women’s efforts within the revolutionary organization.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11980297\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11980297\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Douglas600-400x308.jpg\" alt=\"Emory Douglas, 'H. Rap Brown (Man with Match),' 1967.\" width=\"400\" height=\"308\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Douglas600-400x308.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Douglas600.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Emory Douglas, ‘H. Rap Brown (Man with Match),’ 1967. \u003ccite>(Collection of the Oakland Museum of California. All Of Us Or None Archive. Gift of the Rossman Family.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>The Point is… 2.0\u003c/em>\u003c/h3>\n\u003ch5>Oct. 7 – Oct. 29\u003cbr>\nJoyce Gordon Gallery, Oakland\u003cbr>\n\u003ca href=\"https://www.facebook.com/events/174650739611315/\" target=\"_blank\" rel=\"noopener\">Information\u003c/a>\u003c/h5>\n\u003cp>Oakland Maroons Art Collective and former Black Panther Party Minister of Culture Emory Douglas present work reflecting the Black Panther Party’s 10 Point Program as it relates to contemporary culture.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12164019\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-12164019\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Angela400-400x444.jpg\" alt=\"Richard Duardo / Lekit, 'Angela Davis'\" width=\"400\" height=\"444\">\u003cfigcaption class=\"wp-caption-text\">Richard Duardo / Lekit, ‘Angela Davis’ \u003ccite>(Courtesy of ICONIC: Black Panther Art Exhibit)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>ICONIC: Black Panther\u003c/em>\u003c/h3>\n\u003ch5>Oct. 7 – Nov. 6\u003cbr>\nAmerican Steel Studios, Oakland\u003cbr>\n\u003ca href=\"https://www.facebook.com/events/218884251860637/\" target=\"_blank\" rel=\"noopener\">Information\u003c/a>\u003c/h5>\n\u003cp>The multi-city exhibit curates work by local artists, international talents and founding Black Panther Party members that respond to the organization’s historical efforts as well as issues surrounding race, culture, class and gender.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12159554\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12159554 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/6608938_orig-400x267.jpg\" alt=\"A model wears Madow Futur's apparel.\" width=\"400\" height=\"267\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/6608938_orig-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/6608938_orig-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/6608938_orig-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/6608938_orig-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/6608938_orig.jpg 1100w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">A model wears Madow Futur’s apparel. \u003ccite>(Courtesy of Madow Futur.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>50 Years Later: The Art Show\u003c/em>\u003c/h3>\n\u003ch5>Oct. 7\u003cbr>\nSoleSpace, Oakland\u003cbr>\n\u003ca href=\"https://www.facebook.com/events/541981209341123/\" target=\"_blank\" rel=\"noopener\">Information\u003c/a>\u003c/h5>\n\u003cp>Black-owned, Oakland-based clothing company Madow Futur combines fashion, art, and music to respond to the same issues challenged by the Black Panther Party and commemorate the organization’s work through a youth-oriented lens.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12155111\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12155111 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/bobby-hutton-400x246.jpg\" alt=\"Bobby Hutton, the Black Panther Party's treasurer and first recruit.\" width=\"400\" height=\"246\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/bobby-hutton-400x246.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/bobby-hutton.jpg 597w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Bobby Hutton, the Black Panther Party’s treasurer and first recruit. \u003ccite>(Courtesy of Life is Living Fest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Life is Living Festival\u003c/h3>\n\u003ch5>Oct. 8\u003cbr>\nDeFremery Park, Oakland\u003cbr>\n\u003ca href=\"http://youthspeaks.org/lifeisliving\" target=\"_blank\" rel=\"noopener\">Information\u003c/a>\u003c/h5>\n\u003cp>Now in its ninth year, \u003ca href=\"https://ww2.kqed.org/arts/2016/10/03/sound-advice-life-is-living-festival/\" target=\"_blank\" rel=\"noopener\">Life is Living Festival\u003c/a> pays tribute to the Black Panther Party on the organization’s 50th anniversary with social justice workshops, a free breakfast program and other community events, all aptly set in the newly-dedicated “Bobby Hutton Grove” named in honor of the young Black Panther who was shot by police.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12163006\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-12163006\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/content-1-e1475685925796-400x255.jpg\" alt=\"Sam Durant, 'Proposal for a Monument to Huey Newton at the Alameda County Courthouse.'\" width=\"400\" height=\"255\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/content-1-e1475685925796-400x255.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/content-1-e1475685925796.jpg 635w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Sam Durant, ‘Proposal for a Monument to Huey Newton at the Alameda County Courthouse.’ \u003ccite>(Photo: Courtesy Oakland Museum of California)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>All Power to the People: Black Panthers at 50\u003c/em>\u003c/h3>\n\u003ch5>Oct. 8 – Feb. 12\u003cbr>\nOakland Museum of California, Oakland\u003cbr>\n\u003ca href=\"http://museumca.org/exhibit/all-power-people-black-panthers-50\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>The Oakland Museum of California explores and recreates the history of the Black Panther Party from multiple perspectives through artifacts, personal accounts and iconic and contemporary art.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12159167\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12159167 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/panther_1-400x254.jpg\" alt=\"Members of Oakland’s Dimensions Dance Theater perform 'Project Panther,' choreographed and directed by Deborah Vaughan, Oct. 15 at Malonga Casquelourd Center for the Arts.\" width=\"400\" height=\"254\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/panther_1-400x254.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/panther_1-800x508.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/panther_1-768x488.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/panther_1-1180x749.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/panther_1-1920x1219.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/panther_1-960x610.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Members of Oakland’s Dimensions Dance Theater perform ‘Project Panther,’ choreographed and directed by Deborah Vaughan, Oct. 15 at Malonga Casquelourd Center for the Arts. \u003ccite>(Ed Miller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Project Panther\u003c/h3>\n\u003ch5>Oct. 15\u003cbr>\nMalonga Casquelourd Center for the Arts, Oakland\u003cbr>\n\u003ca href=\"https://www.eventbrite.com/e/project-panther-tickets-27059125573\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Under direction of Company Artistic Director Deborah Vaughan, African American dance company Dimensions Dance Theater reflects on race, politics and the Black Panther Party’s place in our cultural history.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10359322\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10359322\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Fight-the-Power-400x225.jpg\" alt=\"Jeffrey Blankfort, 'Black Panther Protest,' 1960s.\" width=\"400\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Fight-the-Power-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Fight-the-Power.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Jeffrey Blankfort, ‘Black Panther Protest,’ 1960s. \u003ccite>(Courtesy African American Art & Culture Complex)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Black Panther Party 50th Anniversary Conference and Gala\u003c/h3>\n\u003ch5>Oct. 20 -23\u003cbr>\nOakland Museum of California, Oscar Grant (City Hall) Plaza, Bobby Hutton Grove (DeFremery Park)\u003cbr>\n\u003ca href=\"http://www.bpp50th.com/\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Organized by former members of the Black Panther Party, the three-day conference seeks to explore and celebrate the organization’s history, as well as examine the ways these experiences are applied in our current social climate through open workshops and panels.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12194689\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12194689\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/image-800x527.jpeg\" alt=\"Elder Freeman - Southern California Chapter of the Black Panther Party.\" width=\"800\" height=\"527\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/image.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/image-400x264.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/image-768x506.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Elder Freeman – Southern California Chapter of the Black Panther Party. \u003ccite>(Courtesy of Suzun Lucia Lamaina)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Exhibition and Book Signing of \u003ci>Revolutionary Grain: Celebrating the Spirit of the Black Panthers in Portraits and Stories\u003c/i>\u003c/h3>\n\u003ch5>Oct. 22 – Feb. 28\u003cbr>\nAfrican American Museum and Library, Oakland\u003cbr>\n\u003ca href=\"http://www.oaklandlibrary.org/events/african-american-museum-library-oakland/opening-reception-aamlos-exhibit-revolutionary-grain-\" target=\"_blank\" rel=\"noopener\">Information\u003c/a>\u003c/h5>\n\u003cp>Documentary photographer \u003ca href=\"http://www.susannalamainaphotography.com/\" target=\"_blank\" rel=\"noopener\">Suzun Lucia Lamaina\u003c/a> spent the past five years traveling across the United States taking portraits of and speaking to more than 65 former members of the Black Panther Party. She collects all those stories in her book, \u003ci>Revolutionary Grain: Celebrating the Spirit of the Black Panthers in Portraits and Stories\u003c/i>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12254719\" class=\"wp-caption alignleft\" style=\"max-width: 394px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12254719\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/14570794_317302491995753_3968417514687774311_o.jpg\" alt=\"Counterculture newspapers on display as part of the Revolution Times exhibit. \" width=\"394\" height=\"295\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14570794_317302491995753_3968417514687774311_o.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14570794_317302491995753_3968417514687774311_o-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14570794_317302491995753_3968417514687774311_o-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14570794_317302491995753_3968417514687774311_o-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14570794_317302491995753_3968417514687774311_o-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14570794_317302491995753_3968417514687774311_o-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14570794_317302491995753_3968417514687774311_o-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14570794_317302491995753_3968417514687774311_o-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14570794_317302491995753_3968417514687774311_o-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14570794_317302491995753_3968417514687774311_o-520x390.jpg 520w\" sizes=\"(max-width: 394px) 100vw, 394px\">\u003cfigcaption class=\"wp-caption-text\">Counterculture newspapers on display as part of the Revolution Times exhibit. \u003ccite>(Courtesy of Revolution Times Facebook.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Revolution Times: Underground Press of the ’60s and ’70s\u003c/em>\u003c/h3>\n\u003ch5>Oct. 20 – Dec. 1\u003cbr>\nSan Francisco State University Fine Arts Building\u003cbr>\n\u003ca href=\"http://lca.sfsu.edu/events/2016-10-20-070000-2016-11-18-080000/815379\" target=\"_blank\" rel=\"noopener\">Information\u003c/a>\u003c/h5>\n\u003cp>Black Panther Party historian Billy X Jennings shares publications from his archives that challenged societal norms and helped organize the counterculture movement in the 1960s and 1970s. Jennings will speak about the collection at a gallery talk and reception on November 3..\u003c/p>\n\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "Events on both sides of the Bay commemorate the organization's legacy and history through dance, song and the visual arts.",
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"title": "The Bay Area Celebrates the Black Panther Party at 50 | KQED",
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"headline": "The Bay Area Celebrates the Black Panther Party at 50",
"datePublished": "2016-10-06T12:00:23-07:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>No matter how one looks at it, the Black Panther Party for Self Defense is an indelible part of U.S. history. Founded in October 1966 to empower the black community, its potent brand of social activism has inspired movements around the world.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Fifty years on, the Bay Area celebrates the revolutionary group that dug its roots in Oakland, commemorating the Panthers’ legacy and history through dance, song and the visual arts. Here are some of the ways in which organizations and artists around the Bay Area are celebrating the anniversary:\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12159754\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12159754 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Impact-Hub-shrine-to-BPP-women-e1475625182820-400x226.jpg\" alt=\"The ‘Comrade Sister’ shrine honoring prominent women of the Black Panther Party at Impact Hub Oakland’s Omi Gallery.\" width=\"400\" height=\"226\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Impact-Hub-shrine-to-BPP-women-e1475625182820-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Impact-Hub-shrine-to-BPP-women-e1475625182820-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Impact-Hub-shrine-to-BPP-women-e1475625182820-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Impact-Hub-shrine-to-BPP-women-e1475625182820-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Impact-Hub-shrine-to-BPP-women-e1475625182820-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Impact-Hub-shrine-to-BPP-women-e1475625182820-960x541.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Comrade Sister’ shrine honoring prominent women of the Black Panther Party at Impact Hub Oakland’s Omi Gallery. \u003ccite>(Photo: Ashara Ekundayo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Survival Pending Revolution: Black Panther Party at 50 Years\u003c/em> and \u003cem>Comrade Sister\u003c/em>\u003c/h3>\n\u003ch5>Oct. 7 – Jan. 7\u003cbr>\nImpact Hub, Oakland\u003cbr>\n\u003ca href=\"https://www.eventbrite.com/e/opening-nite-reception-survival-pending-revolutionblack-panther-party-50-tickets-27926611246\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Impact Hub Oakland’s Omi Gallery features photographs from archivist Lisbet Tellefsen’s extensive collection on the Black Panther Party’s history. Also on view is the show \u003cem>Comrade Sister\u003c/em>, showcasing pieces that celebrate women’s efforts within the revolutionary organization.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11980297\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11980297\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Douglas600-400x308.jpg\" alt=\"Emory Douglas, 'H. Rap Brown (Man with Match),' 1967.\" width=\"400\" height=\"308\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Douglas600-400x308.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Douglas600.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Emory Douglas, ‘H. Rap Brown (Man with Match),’ 1967. \u003ccite>(Collection of the Oakland Museum of California. All Of Us Or None Archive. Gift of the Rossman Family.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>The Point is… 2.0\u003c/em>\u003c/h3>\n\u003ch5>Oct. 7 – Oct. 29\u003cbr>\nJoyce Gordon Gallery, Oakland\u003cbr>\n\u003ca href=\"https://www.facebook.com/events/174650739611315/\" target=\"_blank\" rel=\"noopener\">Information\u003c/a>\u003c/h5>\n\u003cp>Oakland Maroons Art Collective and former Black Panther Party Minister of Culture Emory Douglas present work reflecting the Black Panther Party’s 10 Point Program as it relates to contemporary culture.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12164019\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-12164019\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Angela400-400x444.jpg\" alt=\"Richard Duardo / Lekit, 'Angela Davis'\" width=\"400\" height=\"444\">\u003cfigcaption class=\"wp-caption-text\">Richard Duardo / Lekit, ‘Angela Davis’ \u003ccite>(Courtesy of ICONIC: Black Panther Art Exhibit)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>ICONIC: Black Panther\u003c/em>\u003c/h3>\n\u003ch5>Oct. 7 – Nov. 6\u003cbr>\nAmerican Steel Studios, Oakland\u003cbr>\n\u003ca href=\"https://www.facebook.com/events/218884251860637/\" target=\"_blank\" rel=\"noopener\">Information\u003c/a>\u003c/h5>\n\u003cp>The multi-city exhibit curates work by local artists, international talents and founding Black Panther Party members that respond to the organization’s historical efforts as well as issues surrounding race, culture, class and gender.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12159554\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12159554 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/6608938_orig-400x267.jpg\" alt=\"A model wears Madow Futur's apparel.\" width=\"400\" height=\"267\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/6608938_orig-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/6608938_orig-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/6608938_orig-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/6608938_orig-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/6608938_orig.jpg 1100w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">A model wears Madow Futur’s apparel. \u003ccite>(Courtesy of Madow Futur.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>50 Years Later: The Art Show\u003c/em>\u003c/h3>\n\u003ch5>Oct. 7\u003cbr>\nSoleSpace, Oakland\u003cbr>\n\u003ca href=\"https://www.facebook.com/events/541981209341123/\" target=\"_blank\" rel=\"noopener\">Information\u003c/a>\u003c/h5>\n\u003cp>Black-owned, Oakland-based clothing company Madow Futur combines fashion, art, and music to respond to the same issues challenged by the Black Panther Party and commemorate the organization’s work through a youth-oriented lens.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12155111\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12155111 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/bobby-hutton-400x246.jpg\" alt=\"Bobby Hutton, the Black Panther Party's treasurer and first recruit.\" width=\"400\" height=\"246\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/bobby-hutton-400x246.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/bobby-hutton.jpg 597w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Bobby Hutton, the Black Panther Party’s treasurer and first recruit. \u003ccite>(Courtesy of Life is Living Fest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Life is Living Festival\u003c/h3>\n\u003ch5>Oct. 8\u003cbr>\nDeFremery Park, Oakland\u003cbr>\n\u003ca href=\"http://youthspeaks.org/lifeisliving\" target=\"_blank\" rel=\"noopener\">Information\u003c/a>\u003c/h5>\n\u003cp>Now in its ninth year, \u003ca href=\"https://ww2.kqed.org/arts/2016/10/03/sound-advice-life-is-living-festival/\" target=\"_blank\" rel=\"noopener\">Life is Living Festival\u003c/a> pays tribute to the Black Panther Party on the organization’s 50th anniversary with social justice workshops, a free breakfast program and other community events, all aptly set in the newly-dedicated “Bobby Hutton Grove” named in honor of the young Black Panther who was shot by police.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12163006\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-12163006\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/content-1-e1475685925796-400x255.jpg\" alt=\"Sam Durant, 'Proposal for a Monument to Huey Newton at the Alameda County Courthouse.'\" width=\"400\" height=\"255\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/content-1-e1475685925796-400x255.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/content-1-e1475685925796.jpg 635w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Sam Durant, ‘Proposal for a Monument to Huey Newton at the Alameda County Courthouse.’ \u003ccite>(Photo: Courtesy Oakland Museum of California)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>All Power to the People: Black Panthers at 50\u003c/em>\u003c/h3>\n\u003ch5>Oct. 8 – Feb. 12\u003cbr>\nOakland Museum of California, Oakland\u003cbr>\n\u003ca href=\"http://museumca.org/exhibit/all-power-people-black-panthers-50\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>The Oakland Museum of California explores and recreates the history of the Black Panther Party from multiple perspectives through artifacts, personal accounts and iconic and contemporary art.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12159167\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12159167 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/panther_1-400x254.jpg\" alt=\"Members of Oakland’s Dimensions Dance Theater perform 'Project Panther,' choreographed and directed by Deborah Vaughan, Oct. 15 at Malonga Casquelourd Center for the Arts.\" width=\"400\" height=\"254\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/panther_1-400x254.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/panther_1-800x508.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/panther_1-768x488.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/panther_1-1180x749.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/panther_1-1920x1219.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/panther_1-960x610.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Members of Oakland’s Dimensions Dance Theater perform ‘Project Panther,’ choreographed and directed by Deborah Vaughan, Oct. 15 at Malonga Casquelourd Center for the Arts. \u003ccite>(Ed Miller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Project Panther\u003c/h3>\n\u003ch5>Oct. 15\u003cbr>\nMalonga Casquelourd Center for the Arts, Oakland\u003cbr>\n\u003ca href=\"https://www.eventbrite.com/e/project-panther-tickets-27059125573\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Under direction of Company Artistic Director Deborah Vaughan, African American dance company Dimensions Dance Theater reflects on race, politics and the Black Panther Party’s place in our cultural history.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10359322\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10359322\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Fight-the-Power-400x225.jpg\" alt=\"Jeffrey Blankfort, 'Black Panther Protest,' 1960s.\" width=\"400\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Fight-the-Power-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Fight-the-Power.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Jeffrey Blankfort, ‘Black Panther Protest,’ 1960s. \u003ccite>(Courtesy African American Art & Culture Complex)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Black Panther Party 50th Anniversary Conference and Gala\u003c/h3>\n\u003ch5>Oct. 20 -23\u003cbr>\nOakland Museum of California, Oscar Grant (City Hall) Plaza, Bobby Hutton Grove (DeFremery Park)\u003cbr>\n\u003ca href=\"http://www.bpp50th.com/\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Organized by former members of the Black Panther Party, the three-day conference seeks to explore and celebrate the organization’s history, as well as examine the ways these experiences are applied in our current social climate through open workshops and panels.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12194689\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12194689\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/image-800x527.jpeg\" alt=\"Elder Freeman - Southern California Chapter of the Black Panther Party.\" width=\"800\" height=\"527\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/image.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/image-400x264.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/image-768x506.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Elder Freeman – Southern California Chapter of the Black Panther Party. \u003ccite>(Courtesy of Suzun Lucia Lamaina)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Exhibition and Book Signing of \u003ci>Revolutionary Grain: Celebrating the Spirit of the Black Panthers in Portraits and Stories\u003c/i>\u003c/h3>\n\u003ch5>Oct. 22 – Feb. 28\u003cbr>\nAfrican American Museum and Library, Oakland\u003cbr>\n\u003ca href=\"http://www.oaklandlibrary.org/events/african-american-museum-library-oakland/opening-reception-aamlos-exhibit-revolutionary-grain-\" target=\"_blank\" rel=\"noopener\">Information\u003c/a>\u003c/h5>\n\u003cp>Documentary photographer \u003ca href=\"http://www.susannalamainaphotography.com/\" target=\"_blank\" rel=\"noopener\">Suzun Lucia Lamaina\u003c/a> spent the past five years traveling across the United States taking portraits of and speaking to more than 65 former members of the Black Panther Party. She collects all those stories in her book, \u003ci>Revolutionary Grain: Celebrating the Spirit of the Black Panthers in Portraits and Stories\u003c/i>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12254719\" class=\"wp-caption alignleft\" style=\"max-width: 394px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12254719\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/14570794_317302491995753_3968417514687774311_o.jpg\" alt=\"Counterculture newspapers on display as part of the Revolution Times exhibit. \" width=\"394\" height=\"295\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14570794_317302491995753_3968417514687774311_o.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14570794_317302491995753_3968417514687774311_o-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14570794_317302491995753_3968417514687774311_o-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14570794_317302491995753_3968417514687774311_o-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14570794_317302491995753_3968417514687774311_o-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14570794_317302491995753_3968417514687774311_o-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14570794_317302491995753_3968417514687774311_o-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14570794_317302491995753_3968417514687774311_o-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14570794_317302491995753_3968417514687774311_o-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14570794_317302491995753_3968417514687774311_o-520x390.jpg 520w\" sizes=\"(max-width: 394px) 100vw, 394px\">\u003cfigcaption class=\"wp-caption-text\">Counterculture newspapers on display as part of the Revolution Times exhibit. \u003ccite>(Courtesy of Revolution Times Facebook.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Revolution Times: Underground Press of the ’60s and ’70s\u003c/em>\u003c/h3>\n\u003ch5>Oct. 20 – Dec. 1\u003cbr>\nSan Francisco State University Fine Arts Building\u003cbr>\n\u003ca href=\"http://lca.sfsu.edu/events/2016-10-20-070000-2016-11-18-080000/815379\" target=\"_blank\" rel=\"noopener\">Information\u003c/a>\u003c/h5>\n\u003cp>Black Panther Party historian Billy X Jennings shares publications from his archives that challenged societal norms and helped organize the counterculture movement in the 1960s and 1970s. Jennings will speak about the collection at a gallery talk and reception on November 3..\u003c/p>\n\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Rod Temperton, a British-born musician and songwriter with a singular knack for pop-funk who wrote the Michael Jackson classics “Thriller,” “Rock With You” and many other hits, has died of cancer in London at 66.\u003c/p>\n\u003cp>His music publisher said in a statement Wednesday that Temperton had died last week of an “aggressive” cancer. No other details were provided.\u003c/p>\n\u003cp>Jon Platt of Warner/Chappell said Temperton was the sole writer of “Thriller,” “Off the Wall,” “Rock with You” and other major songs.\u003c/p>\n\u003cp>Temperton started his career in the disco band Heatwave and collaborated with Aretha Franklin, Herbie Hancock, Anita Baker and many others.\u003c/p>\n\u003cp>He was best known as a songwriter and worked closely with producer Quincy Jones on groundbreaking tracks for Jackson’s mega-selling “Off the Wall” and “Thriller” albums.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5X-Mrc2l1d0\u003c/p>\n\u003cp>Platt said Temperton was sometimes known as “the invisible man” for his behind-the-scenes role.\u003c/p>\n\u003cp>Temperton was a native of the seaside town of Cleethorpes, 180 miles (290 kilometers) north of London. He had been working in a frozen fish factory in the mid-1970s when he responded to an ad and joined Heatwave, an international group for whom he played keyboards and wrote two major hits, the disco favorite “Boogie Nights” and the ballad “Always and Forever.”\u003c/p>\n\u003cp>“Always and Forever” attracted wide attention and was later covered by Luther Vandross, among others.\u003c/p>\n\u003cp>His work with Heatwave attracted the attention of Jones, who was then working with Jackson.\u003c/p>\n\u003cp>Temperton revealed a gift for both fast and slow numbers, whether the easygoing “Rock with You” or the sci-fi funk of the title track from “Thriller.”\u003c/p>\n\u003cp>In a 2009 interview with The Telegraph, Temperton said “Thriller” was originally called “Starlight” until Jones asked him to find a new title.\u003c/p>\n\u003cp>“I went back to the hotel, wrote two or three hundred titles and came up with ‘Midnight Man,'” he recalled. “The next morning I woke up and I just said this word (thriller). Something in my head just said, ‘This is the title’. “You could visualize it at the top of the Billboard charts. You could see the merchandising for this one word, how it jumped off the page as ‘Thriller”’.\u003c/p>\n\u003cp>His success went beyond the worldwide smash that “Thriller” became. Numerous other artists would have hits with his work, including George Benson with “Give Me the Night” and Donna Summer with “Love Is in Control (finger on the Trigger).”\u003c/p>\n\u003cp>Temperton also received an Oscar nomination as a co-writer of “Miss Celie’s Blues (Sister),” from the soundtrack of \u003cem>The Color Purple\u003c/em>, and contributed several songs to the Billy Crystal-Gregory Hines comedy \u003cem>Running Scared\u003c/em>.\u003c/p>\n\u003cp>In 2009, The Guardian newspaper described Temperton as a “reclusive, Grammy-winning genius who has always shunned the spotlight.” The newspaper said he was rarely seen in public and rarely photographed.\u003c/p>\n\u003cp>Templeton once told BBC radio he had been lulled to sleep as a baby by the sound of music on a transistor radio placed in his crib.\u003c/p>\n\u003cp>Platt said Temperton’s family is “devastated” and has held a private funeral. He said they are requesting privacy at “the saddest of sad times.”\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rod Temperton, a British-born musician and songwriter with a singular knack for pop-funk who wrote the Michael Jackson classics “Thriller,” “Rock With You” and many other hits, has died of cancer in London at 66.\u003c/p>\n\u003cp>His music publisher said in a statement Wednesday that Temperton had died last week of an “aggressive” cancer. No other details were provided.\u003c/p>\n\u003cp>Jon Platt of Warner/Chappell said Temperton was the sole writer of “Thriller,” “Off the Wall,” “Rock with You” and other major songs.\u003c/p>\n\u003cp>Temperton started his career in the disco band Heatwave and collaborated with Aretha Franklin, Herbie Hancock, Anita Baker and many others.\u003c/p>\n\u003cp>He was best known as a songwriter and worked closely with producer Quincy Jones on groundbreaking tracks for Jackson’s mega-selling “Off the Wall” and “Thriller” albums.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/5X-Mrc2l1d0'\n title='//www.youtube.com/embed/5X-Mrc2l1d0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Platt said Temperton was sometimes known as “the invisible man” for his behind-the-scenes role.\u003c/p>\n\u003cp>Temperton was a native of the seaside town of Cleethorpes, 180 miles (290 kilometers) north of London. He had been working in a frozen fish factory in the mid-1970s when he responded to an ad and joined Heatwave, an international group for whom he played keyboards and wrote two major hits, the disco favorite “Boogie Nights” and the ballad “Always and Forever.”\u003c/p>\n\u003cp>“Always and Forever” attracted wide attention and was later covered by Luther Vandross, among others.\u003c/p>\n\u003cp>His work with Heatwave attracted the attention of Jones, who was then working with Jackson.\u003c/p>\n\u003cp>Temperton revealed a gift for both fast and slow numbers, whether the easygoing “Rock with You” or the sci-fi funk of the title track from “Thriller.”\u003c/p>\n\u003cp>In a 2009 interview with The Telegraph, Temperton said “Thriller” was originally called “Starlight” until Jones asked him to find a new title.\u003c/p>\n\u003cp>“I went back to the hotel, wrote two or three hundred titles and came up with ‘Midnight Man,'” he recalled. “The next morning I woke up and I just said this word (thriller). Something in my head just said, ‘This is the title’. “You could visualize it at the top of the Billboard charts. You could see the merchandising for this one word, how it jumped off the page as ‘Thriller”’.\u003c/p>\n\u003cp>His success went beyond the worldwide smash that “Thriller” became. Numerous other artists would have hits with his work, including George Benson with “Give Me the Night” and Donna Summer with “Love Is in Control (finger on the Trigger).”\u003c/p>\n\u003cp>Temperton also received an Oscar nomination as a co-writer of “Miss Celie’s Blues (Sister),” from the soundtrack of \u003cem>The Color Purple\u003c/em>, and contributed several songs to the Billy Crystal-Gregory Hines comedy \u003cem>Running Scared\u003c/em>.\u003c/p>\n\u003cp>In 2009, The Guardian newspaper described Temperton as a “reclusive, Grammy-winning genius who has always shunned the spotlight.” The newspaper said he was rarely seen in public and rarely photographed.\u003c/p>\n\u003cp>Templeton once told BBC radio he had been lulled to sleep as a baby by the sound of music on a transistor radio placed in his crib.\u003c/p>\n\u003cp>Platt said Temperton’s family is “devastated” and has held a private funeral. He said they are requesting privacy at “the saddest of sad times.”\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Final Opportunity to See Documentary on Cannabis-Selling Nuns",
"headTitle": "Final Opportunity to See Documentary on Cannabis-Selling Nuns | KQED",
"content": "\u003cp>Lyntoria Newton was in Atlanta last year, visiting her family for the holidays, when a news story about a pair of nuns came on TV. It profiled the Merced-based \u003ca href=\"https://www.sistersofcbd.com/\" target=\"_blank\" rel=\"noopener\">Sisters of the Valley\u003c/a> — Christine “Kate” Meeusen and her apprentice Darcy Johnson — not for their religious servitude or generosity during the Christmas season, but their business: cannabis. \u003c/p>\n\u003cp>And yet the Sisters aren’t really nuns; they may wear the uniforms, and they’ve taken vows of obedience and chastity, but they are not married to God. Meeusen and Darcy came together in 2015 to launch an Etsy business, where they sell thousands of dollars worth of salves, tinctures, and something called “clary sage spray” every day. The handmade products utilize hemp extract and CBD, the non-psychoactive forms of cannabis that ease pain without getting the user high.\u003c/p>\n\u003cfigure id=\"attachment_12154905\" class=\"wp-caption aligncenter\" style=\"max-width: 793px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/badhabits_019_photo-by-Priscilla-Gonzalez-Sainz-793x600.jpg\" alt=\"Darcy Johnson \" width=\"793\" height=\"600\" class=\"size-medium wp-image-12154905\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_019_photo-by-Priscilla-Gonzalez-Sainz-793x600.jpg 793w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_019_photo-by-Priscilla-Gonzalez-Sainz-400x303.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_019_photo-by-Priscilla-Gonzalez-Sainz-768x581.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_019_photo-by-Priscilla-Gonzalez-Sainz-1180x892.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_019_photo-by-Priscilla-Gonzalez-Sainz.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_019_photo-by-Priscilla-Gonzalez-Sainz-960x726.jpg 960w\" sizes=\"(max-width: 793px) 100vw, 793px\">\u003cfigcaption class=\"wp-caption-text\">Darcy Johnson \u003ccite>(Photo: Priscilla Gonzalez Sainz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think when you see two women who wear nuns’ habits and you realize they aren’t working at the Catholic Church, you can easily write them off as kooks,” says Newton, who is one of the directors of \u003cem>Bad Habits\u003c/em>, a short documentary about the Sisters. “At the end of the day, they are doing a lot for people.” \u003c/p>\n\u003cp>But now, due to concerns from the Sisters about their portrayal in the film, \u003cem>Bad Habits\u003c/em> is seeing its final public screening this month.\u003c/p>\n\u003ch3>How religion plays a role\u003c/h3>\n\u003cp>\u003cem>Bad Habits\u003c/em> is a product of the documentary program at Stanford, where Newton is currently in her second year. When she brought the idea up at a class roundtable, it attracted the attention of fellow student Priscilla Gonzalez Sainz. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I was immediately interested in what the habit meant and how religion played a role in the business that they were doing,” Gonzalez Sainz says. Being two female filmmakers, both Newton and Gonzalez Sainz embraced the opportunity to make a film about two successful women in business. \u003c/p>\n\u003cp>Meeusen and Darcy had already made national headlines, especially after the \u003ca href=\"http://www.mercedsunstar.com/news/local/article53064240.html\" target=\"_blank\" rel=\"noopener\">Merced City Council banned marijuana cultivation\u003c/a> in the city. (Newton wasn’t aware of the controversy when she saw the two women on TV.) So the directors decided to take an objective, observational approach to the production, which captured the Sisters’ professional and personal lives. \u003c/p>\n\u003cfigure id=\"attachment_12155112\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Bad-Habits-directors-800x403.jpg\" alt=\"'Bad Habits' directors Lyntoria Newton and Priscilla Gonzalez Sainz\" width=\"800\" height=\"403\" class=\"size-medium wp-image-12155112\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Bad-Habits-directors-800x403.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Bad-Habits-directors-400x202.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Bad-Habits-directors-768x387.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Bad-Habits-directors-1180x595.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Bad-Habits-directors-960x484.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Bad-Habits-directors.jpg 1872w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Bad Habits’ directors Lyntoria Newton and Priscilla Gonzalez Sainz \u003ccite>(Photo: Courtesy of the filmmakers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The purpose was to let them tell their own story, to let the viewer make their own decision about how they felt about them and what they were doing,” Gonzalez Sainz says. \u003c/p>\n\u003cp>Over the course of an eight-day shoot, the Sisters let the directors into the more intimate moments of their daily routines: their moon ceremony, relaxing in front of the television, and sitting around without their habits. \u003c/p>\n\u003cp>“I definitely expected them to be a bit quirky, honestly,” Newton says, but that wasn’t the case in reality. “Sister Kate did end up telling us that she did have a Catholic upbringing, and that was a large part of the reason for her wearing the habit.” \u003c/p>\n\u003ch3>Clash of the tunics\u003c/h3>\n\u003cp>\u003cem>Bad Habits\u003c/em> was completed in March and premiered at Stanford as part of a student screening, which the Sisters attended. Afterward, they were mobbed by newfound fans and even sold a few products. Newton and Gonzalez Sainz started submitting the nine-minute short to film festivals, but when the nuns learned \u003cem>Bad Habits\u003c/em> was accepted into this year’s San Francisco DocFest, they didn’t respond well to the good news. Instead, they called in their media relations representative. \u003c/p>\n\u003cp>“They were saying that it wasn’t made clear to them that we could show that film wherever we wanted,” Gonzalez Sainz says. “They were not happy with that.”\u003c/p>\n\u003cfigure id=\"attachment_12154908\" class=\"wp-caption aligncenter\" style=\"max-width: 610px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/badhabits_048_photo-by-Priscilla-Gonzalez-Sainz-610x600.jpg\" alt=\"Christine “Kate” Meeusen and Darcy Johnson\" width=\"610\" height=\"600\" class=\"size-medium wp-image-12154908\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_048_photo-by-Priscilla-Gonzalez-Sainz-610x600.jpg 610w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_048_photo-by-Priscilla-Gonzalez-Sainz-400x393.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_048_photo-by-Priscilla-Gonzalez-Sainz-768x755.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_048_photo-by-Priscilla-Gonzalez-Sainz-1180x1160.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_048_photo-by-Priscilla-Gonzalez-Sainz.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_048_photo-by-Priscilla-Gonzalez-Sainz-960x944.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_048_photo-by-Priscilla-Gonzalez-Sainz-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_048_photo-by-Priscilla-Gonzalez-Sainz-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_048_photo-by-Priscilla-Gonzalez-Sainz-64x64.jpg 64w\" sizes=\"(max-width: 610px) 100vw, 610px\">\u003cfigcaption class=\"wp-caption-text\">Christine “Kate” Meeusen and Darcy Johnson \u003ccite>(Photo: Priscilla Gonzalez Sainz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And they weren’t happy with how they were portrayed either. “They didn’t really like the sequences that we showed with them without habits,” Newton says. To be fair, that was a desire the Sisters made clear during pre-production — they didn’t want to be seen on screen without them. However, as filming went on and the nuns became more comfortable with Newton and Gonzalez Sainz, the directors say the Sisters eventually relented. The same was true for the moon ceremony, which initially the sisters wanted to keep private. \u003c/p>\n\u003cp>Prior to production, the Sisters signed appearance releases that give the filmmakers the complete rights to \u003cem>Bad Habits\u003c/em>. Meeusen and Johnson now claim they signed their releases under duress, according to Newton and Gonzalez Sainz. (KQED reached out to the Sisters, who replied “No Comment.”) This resulted in a lot of back and forth between the filmmakers, the Sisters, lawyers on both sides, and even the university. Gonzalez Sainz says the Sisters threatened to pull the short from DocFest, but they were eventually able to negotiate a settlement, and the film stayed in the program. \u003c/p>\n\u003cp>The nuns’ lawyers also agreed to two screenings at the Mill Valley Film Festival, which starts this week. But they will be \u003cem>Bad Habit\u003c/em>’s last. \u003c/p>\n\u003ch3>‘We have the right to win’\u003c/h3>\n\u003cp>“Although I don’t believe they have the legal right to stop us from showing the film, we are ceding to that because we don’t want to have further problems with them,” Gonzalez Sainz says. “We’re students. We’re working on our thesis films now. We have a lot going on in our own lives that we’re not going to keep fighting with them — even if it’s a fight that we know we have the right to win.” \u003c/p>\n\u003cfigure id=\"attachment_12154906\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/badhabits_035_photo-by-Priscilla-Gonzalez-Sainz-800x450.jpg\" alt=\"Sisters of the Valley\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12154906\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_035_photo-by-Priscilla-Gonzalez-Sainz-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_035_photo-by-Priscilla-Gonzalez-Sainz-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_035_photo-by-Priscilla-Gonzalez-Sainz-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_035_photo-by-Priscilla-Gonzalez-Sainz-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_035_photo-by-Priscilla-Gonzalez-Sainz.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_035_photo-by-Priscilla-Gonzalez-Sainz-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sisters of the Valley \u003ccite>(Photo: Priscilla Gonzalez Sainz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first MVFF screening is part of “\u003ca href=\"http://www.mvff.com/smoke-screens/\" target=\"_blank\" rel=\"noopener\">Smoke Screens\u003c/a>,” a full day of cannabis-themed programming on Oct. 8. There will also be a showing on Oct. 13 as part of a block of short pot films. But the directors hope \u003cem>Bad Habits\u003c/em> will have a wide appeal among its final public audience.\u003c/p>\n\u003cp>“We were not aiming to make a film for the cannabis community,” Gonzalez Sainz says. “We really wanted to make a film as an observational piece, as a character study, and we wanted to focus on these two women and their business and how their business helps people.” \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Bad Habits’ screens Oct. 8 and Oct. 13 at the Mill Valley Film Festival. \u003ca href=\"http://tickets.cafilm.org/websales/pages/info.aspx?evtinfo=240079~b5ffc240-184b-4172-a0fd-0f56eabee2d5&epguid=c6b17b06-9289-4456-9ea8-48c16255c85d&\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The film's subjects aren't happy with how they're portrayed in the documentary 'Bad Habits,' and the Mill Valley Film Festival is the public's last chance to see it. ",
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"description": "The film's subjects aren't happy with how they're portrayed in the documentary 'Bad Habits,' and the Mill Valley Film Festival is the public's last chance to see it. ",
"title": "Final Opportunity to See Documentary on Cannabis-Selling Nuns | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Lyntoria Newton was in Atlanta last year, visiting her family for the holidays, when a news story about a pair of nuns came on TV. It profiled the Merced-based \u003ca href=\"https://www.sistersofcbd.com/\" target=\"_blank\" rel=\"noopener\">Sisters of the Valley\u003c/a> — Christine “Kate” Meeusen and her apprentice Darcy Johnson — not for their religious servitude or generosity during the Christmas season, but their business: cannabis. \u003c/p>\n\u003cp>And yet the Sisters aren’t really nuns; they may wear the uniforms, and they’ve taken vows of obedience and chastity, but they are not married to God. Meeusen and Darcy came together in 2015 to launch an Etsy business, where they sell thousands of dollars worth of salves, tinctures, and something called “clary sage spray” every day. The handmade products utilize hemp extract and CBD, the non-psychoactive forms of cannabis that ease pain without getting the user high.\u003c/p>\n\u003cfigure id=\"attachment_12154905\" class=\"wp-caption aligncenter\" style=\"max-width: 793px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/badhabits_019_photo-by-Priscilla-Gonzalez-Sainz-793x600.jpg\" alt=\"Darcy Johnson \" width=\"793\" height=\"600\" class=\"size-medium wp-image-12154905\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_019_photo-by-Priscilla-Gonzalez-Sainz-793x600.jpg 793w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_019_photo-by-Priscilla-Gonzalez-Sainz-400x303.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_019_photo-by-Priscilla-Gonzalez-Sainz-768x581.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_019_photo-by-Priscilla-Gonzalez-Sainz-1180x892.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_019_photo-by-Priscilla-Gonzalez-Sainz.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_019_photo-by-Priscilla-Gonzalez-Sainz-960x726.jpg 960w\" sizes=\"(max-width: 793px) 100vw, 793px\">\u003cfigcaption class=\"wp-caption-text\">Darcy Johnson \u003ccite>(Photo: Priscilla Gonzalez Sainz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think when you see two women who wear nuns’ habits and you realize they aren’t working at the Catholic Church, you can easily write them off as kooks,” says Newton, who is one of the directors of \u003cem>Bad Habits\u003c/em>, a short documentary about the Sisters. “At the end of the day, they are doing a lot for people.” \u003c/p>\n\u003cp>But now, due to concerns from the Sisters about their portrayal in the film, \u003cem>Bad Habits\u003c/em> is seeing its final public screening this month.\u003c/p>\n\u003ch3>How religion plays a role\u003c/h3>\n\u003cp>\u003cem>Bad Habits\u003c/em> is a product of the documentary program at Stanford, where Newton is currently in her second year. When she brought the idea up at a class roundtable, it attracted the attention of fellow student Priscilla Gonzalez Sainz. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I was immediately interested in what the habit meant and how religion played a role in the business that they were doing,” Gonzalez Sainz says. Being two female filmmakers, both Newton and Gonzalez Sainz embraced the opportunity to make a film about two successful women in business. \u003c/p>\n\u003cp>Meeusen and Darcy had already made national headlines, especially after the \u003ca href=\"http://www.mercedsunstar.com/news/local/article53064240.html\" target=\"_blank\" rel=\"noopener\">Merced City Council banned marijuana cultivation\u003c/a> in the city. (Newton wasn’t aware of the controversy when she saw the two women on TV.) So the directors decided to take an objective, observational approach to the production, which captured the Sisters’ professional and personal lives. \u003c/p>\n\u003cfigure id=\"attachment_12155112\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Bad-Habits-directors-800x403.jpg\" alt=\"'Bad Habits' directors Lyntoria Newton and Priscilla Gonzalez Sainz\" width=\"800\" height=\"403\" class=\"size-medium wp-image-12155112\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Bad-Habits-directors-800x403.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Bad-Habits-directors-400x202.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Bad-Habits-directors-768x387.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Bad-Habits-directors-1180x595.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Bad-Habits-directors-960x484.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Bad-Habits-directors.jpg 1872w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Bad Habits’ directors Lyntoria Newton and Priscilla Gonzalez Sainz \u003ccite>(Photo: Courtesy of the filmmakers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The purpose was to let them tell their own story, to let the viewer make their own decision about how they felt about them and what they were doing,” Gonzalez Sainz says. \u003c/p>\n\u003cp>Over the course of an eight-day shoot, the Sisters let the directors into the more intimate moments of their daily routines: their moon ceremony, relaxing in front of the television, and sitting around without their habits. \u003c/p>\n\u003cp>“I definitely expected them to be a bit quirky, honestly,” Newton says, but that wasn’t the case in reality. “Sister Kate did end up telling us that she did have a Catholic upbringing, and that was a large part of the reason for her wearing the habit.” \u003c/p>\n\u003ch3>Clash of the tunics\u003c/h3>\n\u003cp>\u003cem>Bad Habits\u003c/em> was completed in March and premiered at Stanford as part of a student screening, which the Sisters attended. Afterward, they were mobbed by newfound fans and even sold a few products. Newton and Gonzalez Sainz started submitting the nine-minute short to film festivals, but when the nuns learned \u003cem>Bad Habits\u003c/em> was accepted into this year’s San Francisco DocFest, they didn’t respond well to the good news. Instead, they called in their media relations representative. \u003c/p>\n\u003cp>“They were saying that it wasn’t made clear to them that we could show that film wherever we wanted,” Gonzalez Sainz says. “They were not happy with that.”\u003c/p>\n\u003cfigure id=\"attachment_12154908\" class=\"wp-caption aligncenter\" style=\"max-width: 610px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/badhabits_048_photo-by-Priscilla-Gonzalez-Sainz-610x600.jpg\" alt=\"Christine “Kate” Meeusen and Darcy Johnson\" width=\"610\" height=\"600\" class=\"size-medium wp-image-12154908\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_048_photo-by-Priscilla-Gonzalez-Sainz-610x600.jpg 610w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_048_photo-by-Priscilla-Gonzalez-Sainz-400x393.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_048_photo-by-Priscilla-Gonzalez-Sainz-768x755.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_048_photo-by-Priscilla-Gonzalez-Sainz-1180x1160.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_048_photo-by-Priscilla-Gonzalez-Sainz.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_048_photo-by-Priscilla-Gonzalez-Sainz-960x944.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_048_photo-by-Priscilla-Gonzalez-Sainz-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_048_photo-by-Priscilla-Gonzalez-Sainz-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_048_photo-by-Priscilla-Gonzalez-Sainz-64x64.jpg 64w\" sizes=\"(max-width: 610px) 100vw, 610px\">\u003cfigcaption class=\"wp-caption-text\">Christine “Kate” Meeusen and Darcy Johnson \u003ccite>(Photo: Priscilla Gonzalez Sainz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And they weren’t happy with how they were portrayed either. “They didn’t really like the sequences that we showed with them without habits,” Newton says. To be fair, that was a desire the Sisters made clear during pre-production — they didn’t want to be seen on screen without them. However, as filming went on and the nuns became more comfortable with Newton and Gonzalez Sainz, the directors say the Sisters eventually relented. The same was true for the moon ceremony, which initially the sisters wanted to keep private. \u003c/p>\n\u003cp>Prior to production, the Sisters signed appearance releases that give the filmmakers the complete rights to \u003cem>Bad Habits\u003c/em>. Meeusen and Johnson now claim they signed their releases under duress, according to Newton and Gonzalez Sainz. (KQED reached out to the Sisters, who replied “No Comment.”) This resulted in a lot of back and forth between the filmmakers, the Sisters, lawyers on both sides, and even the university. Gonzalez Sainz says the Sisters threatened to pull the short from DocFest, but they were eventually able to negotiate a settlement, and the film stayed in the program. \u003c/p>\n\u003cp>The nuns’ lawyers also agreed to two screenings at the Mill Valley Film Festival, which starts this week. But they will be \u003cem>Bad Habit\u003c/em>’s last. \u003c/p>\n\u003ch3>‘We have the right to win’\u003c/h3>\n\u003cp>“Although I don’t believe they have the legal right to stop us from showing the film, we are ceding to that because we don’t want to have further problems with them,” Gonzalez Sainz says. “We’re students. We’re working on our thesis films now. We have a lot going on in our own lives that we’re not going to keep fighting with them — even if it’s a fight that we know we have the right to win.” \u003c/p>\n\u003cfigure id=\"attachment_12154906\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/badhabits_035_photo-by-Priscilla-Gonzalez-Sainz-800x450.jpg\" alt=\"Sisters of the Valley\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12154906\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_035_photo-by-Priscilla-Gonzalez-Sainz-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_035_photo-by-Priscilla-Gonzalez-Sainz-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_035_photo-by-Priscilla-Gonzalez-Sainz-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_035_photo-by-Priscilla-Gonzalez-Sainz-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_035_photo-by-Priscilla-Gonzalez-Sainz.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/badhabits_035_photo-by-Priscilla-Gonzalez-Sainz-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sisters of the Valley \u003ccite>(Photo: Priscilla Gonzalez Sainz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first MVFF screening is part of “\u003ca href=\"http://www.mvff.com/smoke-screens/\" target=\"_blank\" rel=\"noopener\">Smoke Screens\u003c/a>,” a full day of cannabis-themed programming on Oct. 8. There will also be a showing on Oct. 13 as part of a block of short pot films. But the directors hope \u003cem>Bad Habits\u003c/em> will have a wide appeal among its final public audience.\u003c/p>\n\u003cp>“We were not aiming to make a film for the cannabis community,” Gonzalez Sainz says. “We really wanted to make a film as an observational piece, as a character study, and we wanted to focus on these two women and their business and how their business helps people.” \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Bad Habits’ screens Oct. 8 and Oct. 13 at the Mill Valley Film Festival. \u003ca href=\"http://tickets.cafilm.org/websales/pages/info.aspx?evtinfo=240079~b5ffc240-184b-4172-a0fd-0f56eabee2d5&epguid=c6b17b06-9289-4456-9ea8-48c16255c85d&\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Gloria Naylor, whose debut novel \u003cem>The Women of Brewster Place\u003c/em>, became a best-seller, a National Book Award winner and a TV miniseries released through Oprah Winfrey’s production company, has died at the age of 66.\u003c/p>\n\u003cp>Naylor’s death was confirmed Monday to The Associated Press by Cara Reilly, an assistant at the literary agency Sterling Lord Literistic. Reilly provided no other details about Naylor’s death. Fellow authors soon paid tribute on Twitter, with Terry McMillan urging her followers to “read everything Gloria Naylor has ever written” and Tayari Jones thanking her for choosing her for a literary award in 2000 and helping to launch her career.\u003c/p>\n\u003cp>Naylor’s other books included \u003cem>Linden Hills\u003c/em>, \u003cem>Mama Day\u003c/em> and \u003cem>Bailey’s Cafe\u003c/em>.\u003c/p>\n\u003cp>\u003cem>The Women of Brewster Place\u003c/em> is Naylor’s self-described “love letter” to a determined community of seven African-American women in a decaying housing project, the exact location unspecified. It was published in 1982 and praised by \u003cem>The New York Times\u003c/em> as “emotionally satisfying and technically accomplished,” with Brewster Place itself the narrative’s star. “Brewster Place” won the National Book Award for best first fiction and was often likened to novels by Toni Morrison and Alice Walker among others as landmark books by black women.\u003c/p>\n\u003cp>Naylor, who grew up in New York City, would credit her mother for making “Brewster Place” possible.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Realizing that I was a painfully shy child, she gave me my first diary and told me to write my feelings down in there,” Naylor said in her National Book Award acceptance speech. “Over the years that diary was followed by reams and reams of paper that eventually culminated into \u003cem>The Women of Brewster Place\u003c/em>. And I wrote that book as a tribute to her and other black woman who, in spite of the very limited personal circumstances, somehow manage to hold a fierce belief in the limitless possibilities of the human spirit.”\u003c/p>\n\u003cp>Winfrey was among the novel’s many fans and the miniseries came out in 1989, with a cast including Winfrey, Cicely Tyson and Robin Givens. \u003cem>The Women of Brewster of Place\u003c/em> was also adapted into a musical, and Naylor revisited the setting in her 1998 novel \u003cem>The Men of Brewster Place\u003c/em>.\u003c/p>\n\u003cp>Naylor was an undergraduate at Brooklyn College and received a master’s from Yale University in African American studies, a degree earned around the time \u003cem>The Women of Brewster Place\u003c/em> was published. By the late 1970s, she had published stories in Essence magazine that would later become part of “Brewster Place.”\u003c/p>\n\u003cp>In college, she had vowed to write at least four novels, and at least one that would outlast her. Her fiction often centered on a common meeting place, like the diner in \u003cem>Bailey’s Cafe\u003c/em>, and her characters tended to be dreamers whose fantasies reflected Naylor’s early love for fairy tales.\u003c/p>\n\u003cp>“It runs throughout my work, the theme of dreaming,” she told \u003cem>The Associated Press\u003c/em> in 1992. “I ask myself why it always seems important. I am a daydreamer and I once was an avid daydreamer. I would dream in serials, the daydreams would start where the others left off.”\u003c/p>\n\u003cp>“I was still reading (fairy tales) … at age 16. You wanted Prince Charming and I looked too long. At some point, an adult woman has to wake up and smell the coffee.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Gloria Naylor, whose debut novel \u003cem>The Women of Brewster Place\u003c/em>, became a best-seller, a National Book Award winner and a TV miniseries released through Oprah Winfrey’s production company, has died at the age of 66.\u003c/p>\n\u003cp>Naylor’s death was confirmed Monday to The Associated Press by Cara Reilly, an assistant at the literary agency Sterling Lord Literistic. Reilly provided no other details about Naylor’s death. Fellow authors soon paid tribute on Twitter, with Terry McMillan urging her followers to “read everything Gloria Naylor has ever written” and Tayari Jones thanking her for choosing her for a literary award in 2000 and helping to launch her career.\u003c/p>\n\u003cp>Naylor’s other books included \u003cem>Linden Hills\u003c/em>, \u003cem>Mama Day\u003c/em> and \u003cem>Bailey’s Cafe\u003c/em>.\u003c/p>\n\u003cp>\u003cem>The Women of Brewster Place\u003c/em> is Naylor’s self-described “love letter” to a determined community of seven African-American women in a decaying housing project, the exact location unspecified. It was published in 1982 and praised by \u003cem>The New York Times\u003c/em> as “emotionally satisfying and technically accomplished,” with Brewster Place itself the narrative’s star. “Brewster Place” won the National Book Award for best first fiction and was often likened to novels by Toni Morrison and Alice Walker among others as landmark books by black women.\u003c/p>\n\u003cp>Naylor, who grew up in New York City, would credit her mother for making “Brewster Place” possible.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Realizing that I was a painfully shy child, she gave me my first diary and told me to write my feelings down in there,” Naylor said in her National Book Award acceptance speech. “Over the years that diary was followed by reams and reams of paper that eventually culminated into \u003cem>The Women of Brewster Place\u003c/em>. And I wrote that book as a tribute to her and other black woman who, in spite of the very limited personal circumstances, somehow manage to hold a fierce belief in the limitless possibilities of the human spirit.”\u003c/p>\n\u003cp>Winfrey was among the novel’s many fans and the miniseries came out in 1989, with a cast including Winfrey, Cicely Tyson and Robin Givens. \u003cem>The Women of Brewster of Place\u003c/em> was also adapted into a musical, and Naylor revisited the setting in her 1998 novel \u003cem>The Men of Brewster Place\u003c/em>.\u003c/p>\n\u003cp>Naylor was an undergraduate at Brooklyn College and received a master’s from Yale University in African American studies, a degree earned around the time \u003cem>The Women of Brewster Place\u003c/em> was published. By the late 1970s, she had published stories in Essence magazine that would later become part of “Brewster Place.”\u003c/p>\n\u003cp>In college, she had vowed to write at least four novels, and at least one that would outlast her. Her fiction often centered on a common meeting place, like the diner in \u003cem>Bailey’s Cafe\u003c/em>, and her characters tended to be dreamers whose fantasies reflected Naylor’s early love for fairy tales.\u003c/p>\n\u003cp>“It runs throughout my work, the theme of dreaming,” she told \u003cem>The Associated Press\u003c/em> in 1992. “I ask myself why it always seems important. I am a daydreamer and I once was an avid daydreamer. I would dream in serials, the daydreams would start where the others left off.”\u003c/p>\n\u003cp>“I was still reading (fairy tales) … at age 16. You wanted Prince Charming and I looked too long. At some point, an adult woman has to wake up and smell the coffee.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
"link": "/californiareportmagazine",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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},
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"rss": "https://feeds.npr.org/510308/podcast.xml"
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
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