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"content": "\u003cp>Thomas Ford, the actor who played Martin Lawrence’s best friend Tommy Strawn on the hit ’90s sitcom \u003cem>Martin\u003c/em>, died Wednesday in Atlanta. He was 52.\u003c/p>\n\u003cp>The actor played the level-headed pal of Lawrence on \u003cem>Martin\u003c/em> for the show’s entire five-year run. One running joke was his not having a job, prompting the catch phrase: “You don’t got no job, Tommy!”\u003c/p>\n\u003cp>“It is with great sadness that we announce the untimely passing of our beloved Son, father, brother, husband, and friend Tommy Mykal Ford,” the family said in a statement. “On behalf of the family, we would like to thank everyone for their love, support and prayers.”\u003c/p>\n\u003cp>Family spokeswoman Joy Pervis confirmed Ford’s death but gave no cause.\u003c/p>\n\u003cp>Ford had other TV parts, notable as Lt. Malcolm Barker on Fox’s \u003cem>New York Undercover\u003c/em> and as Mel Parker on UPN’s \u003cem>The Parkers\u003c/em> as well as playing the Pope of Comedy on TV One’s \u003cem>Who’s Got Jokes\u003c/em> with Bill Bellamy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Several celebrities paid homage to Ford through social media, including Cedric the Entertainer and Rickey Smiley.\u003c/p>\n\u003cp>Before \u003cem>Martin\u003c/em>, he landed a spot in the 1989 Eddie Murphy and Richard Pryor film \u003cem>Harlem Nights\u003c/em>. He would co-produce, co-write or star in such films as \u003cem>Baby Mama’s Club\u003c/em>, \u003cem>Against the Law\u003c/em>, \u003cem>Beat Street Resurrection\u003c/em> and \u003cem>Love Different\u003c/em>.\u003c/p>\n\u003cp>Ford was also a motivational speaker and a children’s’ book author. He appeared in the fourth season of TV One’s \u003cem>Bill Bellamy’s Who’s Got Jokes?\u003c/em>\u003c/p>\n\u003cp>The actor’s website said he had been focusing on building a career behind the camera. He had directed and produced several webisodes, and currently filming \u003cem>Reverse the Lynch Curse\u003c/em>, a documentary about breaking curses of distrust and envy. Ford was also involved in several theater productions.\u003c/p>\n\u003cp>The family said funeral arrangements will be forthcoming.\u003c/p>\n\u003cp>“Please respect the privacy of the Ford family during our time of grief,” the statement said.\u003c/p>\n\u003cp>__\u003c/p>\n\u003cp>Associated Press writer Mark Kennedy in New York contributed to this report.\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>\u003c/p>\n\u003cp>Several celebrities paid homage to Ford through social media, including Cedric the Entertainer and Rickey Smiley.\u003c/p>\n\u003cp>Before \u003cem>Martin\u003c/em>, he landed a spot in the 1989 Eddie Murphy and Richard Pryor film \u003cem>Harlem Nights\u003c/em>. He would co-produce, co-write or star in such films as \u003cem>Baby Mama’s Club\u003c/em>, \u003cem>Against the Law\u003c/em>, \u003cem>Beat Street Resurrection\u003c/em> and \u003cem>Love Different\u003c/em>.\u003c/p>\n\u003cp>Ford was also a motivational speaker and a children’s’ book author. He appeared in the fourth season of TV One’s \u003cem>Bill Bellamy’s Who’s Got Jokes?\u003c/em>\u003c/p>\n\u003cp>The actor’s website said he had been focusing on building a career behind the camera. He had directed and produced several webisodes, and currently filming \u003cem>Reverse the Lynch Curse\u003c/em>, a documentary about breaking curses of distrust and envy. Ford was also involved in several theater productions.\u003c/p>\n\u003cp>The family said funeral arrangements will be forthcoming.\u003c/p>\n\u003cp>“Please respect the privacy of the Ford family during our time of grief,” the statement said.\u003c/p>\n\u003cp>__\u003c/p>\n\u003cp>Associated Press writer Mark Kennedy in New York contributed to this report.\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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"content": "\u003cp>Gabrielle Union is suing Black Entertainment Television, alleging the cable network wants to combine the fourth and fifth seasons of her series \u003cem>Being Mary Jane\u003c/em> into a single season of 20 episodes in an effort to extend her contract.\u003c/p>\n\u003cp>The actress claims in the suit filed Tuesday in Los Angeles County Superior Court that BET promised it would shoot no more than 13 episodes a season. She says those promises came in spite of a contract Union signed allowing up to 26 episodes per season.\u003c/p>\n\u003cp>The filing claims BET wants to combine the seasons to kick in an option to extend her contract another year. The lawsuit also says BET wants to avoid paying Union a contractually obligated, per-episode raise.\u003c/p>\n\u003cp>Union wants unspecified damages.\u003c/p>\n\u003cp>A BET spokeswoman says in a statement that the network feels it’s contractually within its rights.\u003c/p>\n\u003cp>[ad fullwidth]\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": "\u003cp>On Wednesday, Amazon announced the debut of an on-demand music-streaming service called Amazon Music Unlimited. With a subscription model like Spotify and Apple Music, Amazon will charge standard subscribers $10 per month; for Amazon Prime subscribers, just $8 a month; and for users of its Echo devices, only $4 a month.\u003c/p>\n\u003cp>Amazon has been a first-stop destination for serious music fans wanting to buy physical albums, especially as brick-and-mortar music retailers’ fortunes turned — in part because of the rise of Amazon. In more recent memory, however, Amazon’s grip on the market has been challenged, first by download services like iTunes and then by streaming platforms like Spotify, YouTube and Apple Music.\u003c/p>\n\u003cp>The \u003cem>New York Times\u003c/em> reported this morning that Amazon’s unlimited service will offer \u003ca href=\"http://www.nytimes.com/2016/10/12/business/amazon-music-apple-spotify.html\" target=\"_blank\" rel=\"noopener\">“tens of millions”\u003c/a> of tracks on-demand, which will make it a much more reliable platform for music fans than its previous, \u003ca href=\"http://www.npr.org/sections/therecord/2015/06/04/411963624/why-cant-streaming-services-get-classical-music-right\" target=\"_blank\" rel=\"noopener\">playlist-driven\u003c/a> Prime Music offerings. That service included only 2 million songs.\u003c/p>\n\u003cp>The $8 price point for Amazon Prime users could have been enough to trigger a price war between existing subscription services. Previously, record labels have been \u003ca href=\"http://www.nytimes.com/2015/03/26/technology/apple-and-beats-developing-streaming-music-service-to-rival-spotify.html\">unwilling\u003c/a> to lower their licensing costs, which meant that all the competing ad-free services were stuck at about $10 per month.\u003c/p>\n\u003cp>But Amazon is sweetening the deal even more for owners of its Echo system, a speaker and voice-controlled household computer. For Echo users, the monthly price of Amazon Music Unlimited is just $4 (though it is usable on just one Echo device). Echo is already compatible with other streaming services like Spotify, iHeartRadio and Pandora, as well as with speakers made by other companies like Sonos. However, Amazon Music Unlimited has additional benefits for Echo users, including the ability to request certain songs by lyrics or incomplete song titles.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That Echo tie-in is key. The Amazon Music Unlimited announcement seems to be more than a bid to reclaim market share in music — it’s a way of making the Echo a more central gadget in consumers’ everyday lives. Now, along with resetting thermostats (on purpose or \u003ca href=\"http://www.npr.org/2016/03/06/469383361/listen-up-your-ai-assistant-goes-crazy-for-npr-too\" target=\"_blank\" rel=\"noopener\">inadvertently\u003c/a>), playing the news headlines from NPR, reordering detergent and starting a car, the Echo will pull up some tunes on Amazon’s own service. For the smart-home savvy, a music streaming feature might be just a fun add-on, but for other music services competing for consumers’ monthly subscription dollars, this new Amazon foray could be a game-changer. \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=Amazon+Seeks+To+Recapture+Music+Fans+With+New+Streaming+Service&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Wednesday, Amazon announced the debut of an on-demand music-streaming service called Amazon Music Unlimited. With a subscription model like Spotify and Apple Music, Amazon will charge standard subscribers $10 per month; for Amazon Prime subscribers, just $8 a month; and for users of its Echo devices, only $4 a month.\u003c/p>\n\u003cp>Amazon has been a first-stop destination for serious music fans wanting to buy physical albums, especially as brick-and-mortar music retailers’ fortunes turned — in part because of the rise of Amazon. In more recent memory, however, Amazon’s grip on the market has been challenged, first by download services like iTunes and then by streaming platforms like Spotify, YouTube and Apple Music.\u003c/p>\n\u003cp>The \u003cem>New York Times\u003c/em> reported this morning that Amazon’s unlimited service will offer \u003ca href=\"http://www.nytimes.com/2016/10/12/business/amazon-music-apple-spotify.html\" target=\"_blank\" rel=\"noopener\">“tens of millions”\u003c/a> of tracks on-demand, which will make it a much more reliable platform for music fans than its previous, \u003ca href=\"http://www.npr.org/sections/therecord/2015/06/04/411963624/why-cant-streaming-services-get-classical-music-right\" target=\"_blank\" rel=\"noopener\">playlist-driven\u003c/a> Prime Music offerings. That service included only 2 million songs.\u003c/p>\n\u003cp>The $8 price point for Amazon Prime users could have been enough to trigger a price war between existing subscription services. Previously, record labels have been \u003ca href=\"http://www.nytimes.com/2015/03/26/technology/apple-and-beats-developing-streaming-music-service-to-rival-spotify.html\">unwilling\u003c/a> to lower their licensing costs, which meant that all the competing ad-free services were stuck at about $10 per month.\u003c/p>\n\u003cp>But Amazon is sweetening the deal even more for owners of its Echo system, a speaker and voice-controlled household computer. For Echo users, the monthly price of Amazon Music Unlimited is just $4 (though it is usable on just one Echo device). Echo is already compatible with other streaming services like Spotify, iHeartRadio and Pandora, as well as with speakers made by other companies like Sonos. However, Amazon Music Unlimited has additional benefits for Echo users, including the ability to request certain songs by lyrics or incomplete song titles.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That Echo tie-in is key. The Amazon Music Unlimited announcement seems to be more than a bid to reclaim market share in music — it’s a way of making the Echo a more central gadget in consumers’ everyday lives. Now, along with resetting thermostats (on purpose or \u003ca href=\"http://www.npr.org/2016/03/06/469383361/listen-up-your-ai-assistant-goes-crazy-for-npr-too\" target=\"_blank\" rel=\"noopener\">inadvertently\u003c/a>), playing the news headlines from NPR, reordering detergent and starting a car, the Echo will pull up some tunes on Amazon’s own service. For the smart-home savvy, a music streaming feature might be just a fun add-on, but for other music services competing for consumers’ monthly subscription dollars, this new Amazon foray could be a game-changer. \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=Amazon+Seeks+To+Recapture+Music+Fans+With+New+Streaming+Service&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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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>\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>\u003c/p>\u003c/div>",
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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": "\u003cdiv class=\"post-body\">\u003cp>\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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\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/czltBDI4LTg'\n title='//www.youtube.com/embed/czltBDI4LTg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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\u003c/div>\u003c/p>",
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"content": "\u003cp>More than 80 years ago, as fascism was spreading through Europe, writer Sinclair Lewis wrote a satirical novel imagining an American version of fascism. Berkeley Rep’s adaptation of the novel, “It Can’t Happen Here,” follows as a populist demagogue is elected president and subsequently tramples civil liberties, creates paramilitaries and institutes work camps. Forum talks with Berkeley Rep artistic director Tony Taccone and director Lisa Peterson about the play, Lewis’ novel and its parallels to today’s election.\u003c/p>\n\u003cp>\u003cstrong>More Information:\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"http://www.berkeleyrep.org/season/1617/10650.asp\">Berkeley Rep’s website\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"http://www.berkeleyrep.org/season/1617/10650.asp#tabbed-nav=reading\">Information on the Nationwide Reading\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "More than 80 years ago, as fascism was spreading through Europe, writer Sinclair Lewis wrote a satirical novel imagining an American version of fascism. Berkeley Rep's adaptation of the novel, \"It Can't Happen Here,\" follows as a populist demagogue is elected president and subsequently tramples civil liberties, creates paramilitaries and institutes work camps. Forum talks with Berkeley Rep artistic director Tony Taccone and director Lisa Peterson about the play, Lewis' novel and its parallels to today's election.",
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"content": "\u003cp>A new room has been discovered and is open to the public at San Jose's Winchester Mystery House, a Victorian mansion that was home to a widow of the Winchester rifle fortune.\u003c/p>\n\u003cp>The home's preservation team recently opened the new room, which is an attic space that has been boarded up since Sarah Winchester died in 1922.\u003c/p>\n\u003cp>Winchester boarded up the room after the 1906 earthquake because she was trapped in the room and she thought evil spirits were responsible for the quake.\u003c/p>\n\u003cp>The preservation team found numerous items in the room, including a pump organ, Victorian couch, dress form, sewing machine and paintings.\u003c/p>\n\u003cp>The new room means 161 rooms have been found in the mansion that is a California state landmark, San Jose landmark and is listed on the National Register of Historic Places.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The house has 10,000 windows, 2,000 doors, 47 fireplaces, 40 staircases, 13 bathrooms, and nine kitchens.\u003c/p>\n\n",
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"disqusTitle": "5 Years After Occupy Oakland, Still Fighting for the 99 Percent",
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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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"title": "5 Years After Occupy Oakland, Still Fighting for the 99 Percent | KQED",
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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",
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"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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"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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"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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"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. ",
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"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. ",
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"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.",
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"mindshift": {
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"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>",
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"order": 12
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"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.",
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"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?",
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"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",
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"perspectives": {
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
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},
"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"source": "npr"
},
"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
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