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"content": "\u003cp>On Wednesday, Oct. 22, the City of Oakland will celebrate the 89th birthday of Black Panther Party cofounder \u003ca href=\"https://www.kqed.org/arts/tag/bobby-seale\">Bobby Seale\u003c/a> with \u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Seale.Proclamation.pdf\">a formal proclamation\u003c/a> of “Bobby Seale Day” and a commemorative street renaming.\u003c/p>\n\u003cp>Seale, who helped create one of the Unites States’ most well-known community activist groups of the 20th century, also ran for \u003ca href=\"https://aadl.org/node/195634\">mayor of Oakland in 1973\u003c/a>.\u003c/p>\n\u003cp>Seale was born in Liberty, Texas. His family moved to the Bay Area when Seale was a child, first residing in Albany’s \u003ca href=\"https://monumenttoextraction.org/stories/worldwar2-housing/\">Codornices Village\u003c/a> before moving to North Oakland’s 57th Street.\u003c/p>\n\u003cp>[aside postID='arts_13888332']At a Wednesday evening block party, the intersection of 57th Street and Martin Luther King Jr. Way will officially be renamed \u003ca href=\"https://oakland.legistar.com/MeetingDetail.aspx?ID=1314826&GUID=EE02C9D2-93D3-4C5A-87FE-450007B1900A&G=undefined&Options=&Search=\">Bobby Seale Way\u003c/a>.\u003c/p>\n\u003cp>Bobby Seale himself will be in attendance at the event, which runs from 5 p.m.–7 p.m. and is open to the public.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hosted by North Oakland lyricist and entrepreneur \u003ca href=\"https://www.kqed.org/arts/tag/mistah-fab\">Mistah F.A.B., \u003c/a>the party will also feature comments from Oakland Mayor Barbara Lee, a performance by \u003ca href=\"https://www.thecurtisfamilycnotes.com/\">The Curtis Family C-Notes\u003c/a> and a speech from thespian and comedian\u003ca href=\"https://www.instagram.com/donaldlacyjr/?hl=en\" target=\"_blank\" rel=\"noopener\" data-saferedirecturl=\"https://www.google.com/url?q=https://www.instagram.com/donaldlacyjr/?hl%3Den&source=gmail&ust=1761158109722000&usg=AOvVaw3XYfKaDszxwnSzCyU_yHj4\"> Donald Lacy Jr\u003c/a>.\u003c/p>\n\u003cdiv>\n\u003cdiv id=\"m_4006817488853157233gmail-:4fz\" role=\"textbox\" aria-label=\"Message Body\" aria-controls=\":4iz\" aria-expanded=\"false\">\n\u003cp>This week is also \u003ca href=\"https://www.lovelifefoundation.org/\">“Love Life Week” in Oakland\u003c/a>. In 2016, after Lacy’s 16-year old daughter Lo’Eshe Lacy was killed in a shooting, Oakland adopted “Love Life” as its official motto; the term is inspired by the meaning of Lacy’s daughter’s name.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_13920156\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13920156\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-scaled.jpg\" alt=\"a black and white photo of five African-American people, some in lab coats, standing outside doing a blood draw on one of them, an older woman\" width=\"2560\" height=\"1701\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-1536x1020.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-2048x1360.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-1920x1275.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Black Panther Adrienne Humphrey conducts sickle cell anemia testing during Bobby Seale’s campaign for mayor of Oakland in 1973. \u003ccite>(Stephen Shames)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The \u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Seale.Proclamation.pdf\">city proclamation\u003c/a> honoring Bobby Seale notes that his “visionary leadership and fearless activism have not only transformed Oakland but have left a lasting impact on national movements for racial and economic justice.”\u003c/p>\n\u003cp>The proclamation also praises Seale’s leadership of the Black Panther Party in Oakland, which “rose to national prominence not only for its stance against police brutality but for its pioneering community-based programs, including free breakfast programs for children, health clinics, educational initiatives, and mutual aid efforts that served as blueprints for future social welfare models.”\u003c/p>\n\u003cp>In recent years, the City of Oakland has taken strides to honor its local luminaries. \u003ca href=\"https://www.kqed.org/arts/13937563/tupac-shakur-way-oakland-street-renaming\">Tupac Shakur\u003c/a> has a commemorative plaque on Grand Avenue and MacArthur Boulevard near Lake Merritt, and rapper \u003ca href=\"https://www.kqed.org/arts/13922616/too-short-way-street-sign-unveiled-oakland\">Too Short has a street sign\u003c/a> mounted on the corner of High Street and Foothill Boulevard. Black Panther Party cofounder Dr. Huey P. Newton has\u003ca href=\"https://www.kqed.org/news/11893532/debut-of-dr-huey-p-newton-bust-spotlights-an-influential-black-panther-party-leader\"> a sculpture\u003c/a> and a three-block section of 9th Street in West Oakland named in his honor. And in June of this year a street sign in recognition of \u003ca href=\"https://www.instagram.com/reel/DLbFFE9ycHg/\">Black Panther leader Elaine Brown\u003c/a> was unveiled in West Oakland.\u003c/p>\n\u003cp>[aside postID='arts_13851531'] Seale’s story has been told extensively, both through his autobiography \u003cem>A Lonely Rage\u003c/em> and his book \u003cem>Seize the Time: The Story of the Black Panther Party and Huey P. Newton. \u003c/em>The cover of the latter shows Seale bound and gagged as the result of a order from \u003ca href=\"https://www.loc.gov/exhibitions/drawing-justice-courtroom-illustrations/about-this-exhibition/political-activists-on-trial/bobby-seale-bound-and-gagged/\">the presiding judge in the Chicago 8 trial\u003c/a>.\u003c/p>\n\u003cp>That case was also depicted in the 2020 film \u003cem>\u003ca href=\"https://www.npr.org/2020/10/24/927306419/yahya-abdul-mateen-ii-on-playing-bobby-seale-in-the-trial-of-the-chicago-7\">The Trial of the Chicago 7\u003c/a>\u003c/em>, where Seale was portrayed by Oakland’s Yahya Abdul-Mateen II.\u003c/p>\n\u003cp>Seale’s name already graces the halls of\u003ca href=\"https://merritt.edu/black-student-union/\"> Merritt College\u003c/a> — the campus where he met Newton, and where the seeds of the Black Panther Party for Self-Defense took root. Now, Seale will have a street and a day dedicated in his honor as well.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The public unveiling of Bobby Seale Way takes place on Wednesday, Oct. 22, from 5 p.m.–7 p.m. at the intersection of Martin Luther King Jr. Way and 57th Street in Oakland.\u003c/em>\u003c/p>\n\n",
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"headline": "Oakland to Honor Bobby Seale, Black Panther Party Cofounder, With Street Renaming",
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"subhead": "North Oakland is now home to 'Bobby Seale Way.'",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Wednesday, Oct. 22, the City of Oakland will celebrate the 89th birthday of Black Panther Party cofounder \u003ca href=\"https://www.kqed.org/arts/tag/bobby-seale\">Bobby Seale\u003c/a> with \u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Seale.Proclamation.pdf\">a formal proclamation\u003c/a> of “Bobby Seale Day” and a commemorative street renaming.\u003c/p>\n\u003cp>Seale, who helped create one of the Unites States’ most well-known community activist groups of the 20th century, also ran for \u003ca href=\"https://aadl.org/node/195634\">mayor of Oakland in 1973\u003c/a>.\u003c/p>\n\u003cp>Seale was born in Liberty, Texas. His family moved to the Bay Area when Seale was a child, first residing in Albany’s \u003ca href=\"https://monumenttoextraction.org/stories/worldwar2-housing/\">Codornices Village\u003c/a> before moving to North Oakland’s 57th Street.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At a Wednesday evening block party, the intersection of 57th Street and Martin Luther King Jr. Way will officially be renamed \u003ca href=\"https://oakland.legistar.com/MeetingDetail.aspx?ID=1314826&GUID=EE02C9D2-93D3-4C5A-87FE-450007B1900A&G=undefined&Options=&Search=\">Bobby Seale Way\u003c/a>.\u003c/p>\n\u003cp>Bobby Seale himself will be in attendance at the event, which runs from 5 p.m.–7 p.m. and is open to the public.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hosted by North Oakland lyricist and entrepreneur \u003ca href=\"https://www.kqed.org/arts/tag/mistah-fab\">Mistah F.A.B., \u003c/a>the party will also feature comments from Oakland Mayor Barbara Lee, a performance by \u003ca href=\"https://www.thecurtisfamilycnotes.com/\">The Curtis Family C-Notes\u003c/a> and a speech from thespian and comedian\u003ca href=\"https://www.instagram.com/donaldlacyjr/?hl=en\" target=\"_blank\" rel=\"noopener\" data-saferedirecturl=\"https://www.google.com/url?q=https://www.instagram.com/donaldlacyjr/?hl%3Den&source=gmail&ust=1761158109722000&usg=AOvVaw3XYfKaDszxwnSzCyU_yHj4\"> Donald Lacy Jr\u003c/a>.\u003c/p>\n\u003cdiv>\n\u003cdiv id=\"m_4006817488853157233gmail-:4fz\" role=\"textbox\" aria-label=\"Message Body\" aria-controls=\":4iz\" aria-expanded=\"false\">\n\u003cp>This week is also \u003ca href=\"https://www.lovelifefoundation.org/\">“Love Life Week” in Oakland\u003c/a>. In 2016, after Lacy’s 16-year old daughter Lo’Eshe Lacy was killed in a shooting, Oakland adopted “Love Life” as its official motto; the term is inspired by the meaning of Lacy’s daughter’s name.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_13920156\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13920156\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-scaled.jpg\" alt=\"a black and white photo of five African-American people, some in lab coats, standing outside doing a blood draw on one of them, an older woman\" width=\"2560\" height=\"1701\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-1536x1020.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-2048x1360.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-1920x1275.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Black Panther Adrienne Humphrey conducts sickle cell anemia testing during Bobby Seale’s campaign for mayor of Oakland in 1973. \u003ccite>(Stephen Shames)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The \u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Seale.Proclamation.pdf\">city proclamation\u003c/a> honoring Bobby Seale notes that his “visionary leadership and fearless activism have not only transformed Oakland but have left a lasting impact on national movements for racial and economic justice.”\u003c/p>\n\u003cp>The proclamation also praises Seale’s leadership of the Black Panther Party in Oakland, which “rose to national prominence not only for its stance against police brutality but for its pioneering community-based programs, including free breakfast programs for children, health clinics, educational initiatives, and mutual aid efforts that served as blueprints for future social welfare models.”\u003c/p>\n\u003cp>In recent years, the City of Oakland has taken strides to honor its local luminaries. \u003ca href=\"https://www.kqed.org/arts/13937563/tupac-shakur-way-oakland-street-renaming\">Tupac Shakur\u003c/a> has a commemorative plaque on Grand Avenue and MacArthur Boulevard near Lake Merritt, and rapper \u003ca href=\"https://www.kqed.org/arts/13922616/too-short-way-street-sign-unveiled-oakland\">Too Short has a street sign\u003c/a> mounted on the corner of High Street and Foothill Boulevard. Black Panther Party cofounder Dr. Huey P. Newton has\u003ca href=\"https://www.kqed.org/news/11893532/debut-of-dr-huey-p-newton-bust-spotlights-an-influential-black-panther-party-leader\"> a sculpture\u003c/a> and a three-block section of 9th Street in West Oakland named in his honor. And in June of this year a street sign in recognition of \u003ca href=\"https://www.instagram.com/reel/DLbFFE9ycHg/\">Black Panther leader Elaine Brown\u003c/a> was unveiled in West Oakland.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp> Seale’s story has been told extensively, both through his autobiography \u003cem>A Lonely Rage\u003c/em> and his book \u003cem>Seize the Time: The Story of the Black Panther Party and Huey P. Newton. \u003c/em>The cover of the latter shows Seale bound and gagged as the result of a order from \u003ca href=\"https://www.loc.gov/exhibitions/drawing-justice-courtroom-illustrations/about-this-exhibition/political-activists-on-trial/bobby-seale-bound-and-gagged/\">the presiding judge in the Chicago 8 trial\u003c/a>.\u003c/p>\n\u003cp>That case was also depicted in the 2020 film \u003cem>\u003ca href=\"https://www.npr.org/2020/10/24/927306419/yahya-abdul-mateen-ii-on-playing-bobby-seale-in-the-trial-of-the-chicago-7\">The Trial of the Chicago 7\u003c/a>\u003c/em>, where Seale was portrayed by Oakland’s Yahya Abdul-Mateen II.\u003c/p>\n\u003cp>Seale’s name already graces the halls of\u003ca href=\"https://merritt.edu/black-student-union/\"> Merritt College\u003c/a> — the campus where he met Newton, and where the seeds of the Black Panther Party for Self-Defense took root. Now, Seale will have a street and a day dedicated in his honor as well.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The public unveiling of Bobby Seale Way takes place on Wednesday, Oct. 22, from 5 p.m.–7 p.m. at the intersection of Martin Luther King Jr. Way and 57th Street in Oakland.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "assata-shakur-tupac-cuba-dies-at-78-obituary",
"title": "Assata Shakur, Godmother of Tupac Who Found Asylum in Cuba, Dies at 78",
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"content": "\u003cfigure id=\"attachment_13981784\" class=\"wp-caption aligncenter\" style=\"max-width: 1478px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981784\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/GettyImages-1066615210.jpg\" alt=\"\" width=\"1478\" height=\"2115\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/GettyImages-1066615210.jpg 1478w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/GettyImages-1066615210-160x229.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/GettyImages-1066615210-768x1099.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/GettyImages-1066615210-1073x1536.jpg 1073w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/GettyImages-1066615210-1431x2048.jpg 1431w\" sizes=\"auto, (max-width: 1478px) 100vw, 1478px\">\u003cfigcaption class=\"wp-caption-text\">Assata Shakur holds the manuscript of her autobiography with Old Havana, Cuba, in the background on October 7, 1987. \u003ccite>(Ozier Muhammad/Newsday RM via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Assata Shakur, a Black liberation activist who was given political asylum in Cuba after her 1979 escape from a U.S. prison where she had been serving a life sentence for killing a police officer, has died, her daughter and the Cuban government said.\u003c/p>\n\u003cp>Shakur, who was born Joanne Deborah Chesimard, died Thursday in the capital city of Havana due to “health conditions and advanced age,” Cuba’s Ministry of Foreign Affairs \u003cspan class=\"LinkEnhancement\">\u003ca class=\"Link AnClick-LinkEnhancement\" href=\"https://cubaminrex.cu/es/nota-de-prensa-del-ministerio-relaciones-exteriores\" target=\"_blank\" rel=\"noopener\" data-gtm-enhancement-style=\"LinkEnhancementA\">said in a statement\u003c/a>\u003c/span>. Shakur’s daughter, Kakuya Shakur, also confirmed her mother’s death in a Facebook post.\u003c/p>\n\u003cp>Born in Queens, New York in 1947, Shakur briefly relocated to Oakland as a young woman in the late 1960s, where she became a member of the Black Panther Party. After returning to the East Coast, Shakur served in the Black Panthers’ New York City chapter, where she met Afeni Shakur, whose son Tupac would go on to become a global icon in rap music and politics. Assata Shakur became Tupac’s godmother and step-aunt when Afeni married Assata’s brother, Mutulu.\u003c/p>\n\u003cfigure id=\"attachment_13981781\" class=\"wp-caption aligncenter\" style=\"max-width: 1823px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981781\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/GettyImages-515114572-scaled.jpg\" alt=\"\" width=\"1823\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/GettyImages-515114572-scaled.jpg 1823w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/GettyImages-515114572-160x225.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/GettyImages-515114572-768x1078.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/GettyImages-515114572-1094x1536.jpg 1094w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/GettyImages-515114572-1459x2048.jpg 1459w\" sizes=\"auto, (max-width: 1823px) 100vw, 1823px\">\u003cfigcaption class=\"wp-caption-text\">New Brunswick, N.J.: Assata Shakur, a.k.a. Joanna Chesimard, arrives at Middlesex County jail after her transfer from New York City for her trail involving the killing of a New Jersey State trooper. \u003ccite>(Bettman/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shakur’s case had long been a thorny issue in the fraught relations between the U.S. and Cuba. American authorities, including President Donald Trump during \u003cspan class=\"LinkEnhancement\">\u003ca class=\"Link AnClick-LinkEnhancement\" href=\"https://apnews.com/general-news-b182fefc30a04b2d8de3956b92eb1a9a\" data-gtm-enhancement-style=\"LinkEnhancementA\">his first term in office\u003c/a>\u003c/span>, had demanded her return from the communist nation for decades.\u003c/p>\n\u003cp>In her telling, and in the minds of her supporters, she was being pursued for crimes she didn’t commit, or which were justified. The FBI put Shakur on its list of “\u003cspan class=\"LinkEnhancement\">\u003ca class=\"Link AnClick-LinkEnhancement\" href=\"https://www.fbi.gov/wanted/wanted_terrorists/joanne-deborah-chesimard/download.pdf\" target=\"_blank\" rel=\"noopener\" data-gtm-enhancement-style=\"LinkEnhancementA\">most wanted terrorists\u003c/a>\u003c/span>.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A member of the Black Liberation Army, Shakur and two others were involved in a gunfight with New Jersey State Police Troopers following a highway traffic stop on May 2, 1973.\u003c/p>\n\u003cp>Trooper Werner Foerster was killed and another officer was wounded, while one of Shakur’s companions was also killed.\u003c/p>\n\u003cp>Shakur, who was at the time wanted on several felonies, including bank robbery, fled but was eventually apprehended. She maintained in her \u003ca href=\"https://hoodcommunist.org/2024/03/07/an-open-letter-from-assata-shakur/\" target=\"_blank\" rel=\"noopener\">writings from Cuba over the years\u003c/a> that she didn’t shoot anyone and had her hands in the air when she was wounded during the gunfire.\u003c/p>\n\u003cp>Shakur was found guilty of murder, armed robbery and other crimes in 1977 and was sentenced to life in prison, only to escape in November 1979.\u003c/p>\n\u003cp>Members of the Black Liberation Army, posing as visitors, stormed the Clinton Correctional Facility for women, took two guards hostage and commandeered a prison van to break Shakur out.\u003c/p>\n\u003cp>She disappeared before eventually emerging in 1984 in Cuba, where Fidel Castro granted her asylum, according to the FBI. A companion who was also convicted in Foerster’s killing, Sundiata Acoli, was \u003cspan class=\"LinkEnhancement\">\u003ca class=\"Link AnClick-LinkEnhancement\" href=\"https://apnews.com/article/cuba-crime-new-jersey-fidel-castro-supreme-court-c6dc08d755f73e24ebd229f07adfa7f4\" data-gtm-enhancement-style=\"LinkEnhancementA\">granted parole\u003c/a>\u003c/span> in 2022. His attorneys had argued the then-octogenarian had been a model prisoner for nearly three decades and counseled other inmates.\u003c/p>\n\u003cp>Shakur’s autobiography, \u003cem>Assata\u003c/em>, has remained an influential text for activists and artists in the Bay Area and beyond since its publication in 1987.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Nastia Voynovskaya contributed reporting.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13981784\" class=\"wp-caption aligncenter\" style=\"max-width: 1478px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981784\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/GettyImages-1066615210.jpg\" alt=\"\" width=\"1478\" height=\"2115\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/GettyImages-1066615210.jpg 1478w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/GettyImages-1066615210-160x229.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/GettyImages-1066615210-768x1099.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/GettyImages-1066615210-1073x1536.jpg 1073w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/GettyImages-1066615210-1431x2048.jpg 1431w\" sizes=\"auto, (max-width: 1478px) 100vw, 1478px\">\u003cfigcaption class=\"wp-caption-text\">Assata Shakur holds the manuscript of her autobiography with Old Havana, Cuba, in the background on October 7, 1987. \u003ccite>(Ozier Muhammad/Newsday RM via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Assata Shakur, a Black liberation activist who was given political asylum in Cuba after her 1979 escape from a U.S. prison where she had been serving a life sentence for killing a police officer, has died, her daughter and the Cuban government said.\u003c/p>\n\u003cp>Shakur, who was born Joanne Deborah Chesimard, died Thursday in the capital city of Havana due to “health conditions and advanced age,” Cuba’s Ministry of Foreign Affairs \u003cspan class=\"LinkEnhancement\">\u003ca class=\"Link AnClick-LinkEnhancement\" href=\"https://cubaminrex.cu/es/nota-de-prensa-del-ministerio-relaciones-exteriores\" target=\"_blank\" rel=\"noopener\" data-gtm-enhancement-style=\"LinkEnhancementA\">said in a statement\u003c/a>\u003c/span>. Shakur’s daughter, Kakuya Shakur, also confirmed her mother’s death in a Facebook post.\u003c/p>\n\u003cp>Born in Queens, New York in 1947, Shakur briefly relocated to Oakland as a young woman in the late 1960s, where she became a member of the Black Panther Party. After returning to the East Coast, Shakur served in the Black Panthers’ New York City chapter, where she met Afeni Shakur, whose son Tupac would go on to become a global icon in rap music and politics. Assata Shakur became Tupac’s godmother and step-aunt when Afeni married Assata’s brother, Mutulu.\u003c/p>\n\u003cfigure id=\"attachment_13981781\" class=\"wp-caption aligncenter\" style=\"max-width: 1823px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981781\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/GettyImages-515114572-scaled.jpg\" alt=\"\" width=\"1823\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/GettyImages-515114572-scaled.jpg 1823w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/GettyImages-515114572-160x225.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/GettyImages-515114572-768x1078.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/GettyImages-515114572-1094x1536.jpg 1094w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/GettyImages-515114572-1459x2048.jpg 1459w\" sizes=\"auto, (max-width: 1823px) 100vw, 1823px\">\u003cfigcaption class=\"wp-caption-text\">New Brunswick, N.J.: Assata Shakur, a.k.a. Joanna Chesimard, arrives at Middlesex County jail after her transfer from New York City for her trail involving the killing of a New Jersey State trooper. \u003ccite>(Bettman/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shakur’s case had long been a thorny issue in the fraught relations between the U.S. and Cuba. American authorities, including President Donald Trump during \u003cspan class=\"LinkEnhancement\">\u003ca class=\"Link AnClick-LinkEnhancement\" href=\"https://apnews.com/general-news-b182fefc30a04b2d8de3956b92eb1a9a\" data-gtm-enhancement-style=\"LinkEnhancementA\">his first term in office\u003c/a>\u003c/span>, had demanded her return from the communist nation for decades.\u003c/p>\n\u003cp>In her telling, and in the minds of her supporters, she was being pursued for crimes she didn’t commit, or which were justified. The FBI put Shakur on its list of “\u003cspan class=\"LinkEnhancement\">\u003ca class=\"Link AnClick-LinkEnhancement\" href=\"https://www.fbi.gov/wanted/wanted_terrorists/joanne-deborah-chesimard/download.pdf\" target=\"_blank\" rel=\"noopener\" data-gtm-enhancement-style=\"LinkEnhancementA\">most wanted terrorists\u003c/a>\u003c/span>.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A member of the Black Liberation Army, Shakur and two others were involved in a gunfight with New Jersey State Police Troopers following a highway traffic stop on May 2, 1973.\u003c/p>\n\u003cp>Trooper Werner Foerster was killed and another officer was wounded, while one of Shakur’s companions was also killed.\u003c/p>\n\u003cp>Shakur, who was at the time wanted on several felonies, including bank robbery, fled but was eventually apprehended. She maintained in her \u003ca href=\"https://hoodcommunist.org/2024/03/07/an-open-letter-from-assata-shakur/\" target=\"_blank\" rel=\"noopener\">writings from Cuba over the years\u003c/a> that she didn’t shoot anyone and had her hands in the air when she was wounded during the gunfire.\u003c/p>\n\u003cp>Shakur was found guilty of murder, armed robbery and other crimes in 1977 and was sentenced to life in prison, only to escape in November 1979.\u003c/p>\n\u003cp>Members of the Black Liberation Army, posing as visitors, stormed the Clinton Correctional Facility for women, took two guards hostage and commandeered a prison van to break Shakur out.\u003c/p>\n\u003cp>She disappeared before eventually emerging in 1984 in Cuba, where Fidel Castro granted her asylum, according to the FBI. A companion who was also convicted in Foerster’s killing, Sundiata Acoli, was \u003cspan class=\"LinkEnhancement\">\u003ca class=\"Link AnClick-LinkEnhancement\" href=\"https://apnews.com/article/cuba-crime-new-jersey-fidel-castro-supreme-court-c6dc08d755f73e24ebd229f07adfa7f4\" data-gtm-enhancement-style=\"LinkEnhancementA\">granted parole\u003c/a>\u003c/span> in 2022. His attorneys had argued the then-octogenarian had been a model prisoner for nearly three decades and counseled other inmates.\u003c/p>\n\u003cp>Shakur’s autobiography, \u003cem>Assata\u003c/em>, has remained an influential text for activists and artists in the Bay Area and beyond since its publication in 1987.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Nastia Voynovskaya contributed reporting.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Oakland-based \u003ca href=\"https://www.kqed.org/arts/tag/peoples-kitchen-collective\">People’s Kitchen Collective\u003c/a> wants to spread a concept they call “radical hospitality,” which asks people to imagine new ways of taking care of one another and living reciprocally with the land. One way they’re fostering this concept is the \u003ca href=\"https://lifeisliving.org/\">Life Is Living Festival\u003c/a>, which arrives at West Oakland’s DeFremery Park (a.k.a. Lil Bobby Hutton Park) on Saturday, Oct. 11.\u003c/p>\n\u003cp>Now in its 18th year, the free community event fills the park with family-friendly activities, performances and a free breakfast program inspired by the Black Panthers. As a show of solidarity with oppressed people worldwide, this year’s menu will feature cuisines from Palestine, Haiti and Congo. [aside postid='arts_13979158']\u003c/p>\n\u003cp>Hosting the main stage is \u003ca href=\"https://www.instagram.com/msryannicole/?hl=en\">RyanNicole\u003c/a>, a rapper and poet who co-wrote and co-starred in the recent hip-hop musical \u003ca href=\"https://www.kqed.org/arts/13977677/co-founders-act-hip-hop-musical-west-oakland-silicon-valley\">\u003ci>Co-Founders\u003c/i>\u003c/a> at American Conservatory Theater. Performers include \u003ca href=\"https://www.instagram.com/isntshelovey/?hl=en\">Lovey\u003c/a>, an up-and-coming rapper with a soulful voice and out-there imagination (Lovey recently competed in a Bay Area music showcase produced by KQED and LaRussell’s Good Compenny collective). \u003ca href=\"https://www.audiopharmacy.com/\">AudioPharmacy\u003c/a>, a band blending hip-hop and Indigenous rhythms, and powerhouse vocalist \u003ca href=\"https://jennjohns.com/music\">Jenn Johns\u003c/a> are also on the bill, along with the West Oakland Middle School band, indie rock band Lil Shlurp Shlurp and experimental duo Twisted Universe. [aside postid='arts_13971043']\u003c/p>\n\u003cp>The nonmusical activities at Life Is Living include wellness offerings from \u003ca href=\"https://www.kqed.org/arts/13971043/freedom-community-clinic-fruitvale-oakland-farm-orinda\">Freedom Community Clinic\u003c/a>, an Oakland collective that offers free services like herbal medicine, reiki, massage and acupuncture. There’ll be a “wheels zone” for the skaters and cyclists; activities for kids; a community arts zone; an artist vendor marketplace; a Black Panther Party zone and historical exhibits on Oakland’s activist history.\u003c/p>\n\u003cp>The event’s location at DeFremery Park is no coincidence; many in the community know it as Lil Bobby Hutton Park, named for \u003ca href=\"https://www.instagram.com/p/C4OlOKPNRGr/\">the teenage Black Panther Party member who was killed by police in 1968\u003c/a>. For People’s Kitchen Collective and Life Is Living co-producers Joan Osato and YaVette Holt, the Black Panther Party’s survival programs are a guiding light as they use art and culture to get neighbors together, strengthen relationships and inspire a culture of collective care.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>\u003ca href=\"https://www.brownpapertickets.com/event/6713976\">Life Is Living\u003c/a> takes place on Saturday, Oct. 11, from 11 a.m.–4 p.m. at DeFremery/Lil Bobby Hutton Park in Oakland.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Oakland-based \u003ca href=\"https://www.kqed.org/arts/tag/peoples-kitchen-collective\">People’s Kitchen Collective\u003c/a> wants to spread a concept they call “radical hospitality,” which asks people to imagine new ways of taking care of one another and living reciprocally with the land. One way they’re fostering this concept is the \u003ca href=\"https://lifeisliving.org/\">Life Is Living Festival\u003c/a>, which arrives at West Oakland’s DeFremery Park (a.k.a. Lil Bobby Hutton Park) on Saturday, Oct. 11.\u003c/p>\n\u003cp>Now in its 18th year, the free community event fills the park with family-friendly activities, performances and a free breakfast program inspired by the Black Panthers. As a show of solidarity with oppressed people worldwide, this year’s menu will feature cuisines from Palestine, Haiti and Congo. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hosting the main stage is \u003ca href=\"https://www.instagram.com/msryannicole/?hl=en\">RyanNicole\u003c/a>, a rapper and poet who co-wrote and co-starred in the recent hip-hop musical \u003ca href=\"https://www.kqed.org/arts/13977677/co-founders-act-hip-hop-musical-west-oakland-silicon-valley\">\u003ci>Co-Founders\u003c/i>\u003c/a> at American Conservatory Theater. Performers include \u003ca href=\"https://www.instagram.com/isntshelovey/?hl=en\">Lovey\u003c/a>, an up-and-coming rapper with a soulful voice and out-there imagination (Lovey recently competed in a Bay Area music showcase produced by KQED and LaRussell’s Good Compenny collective). \u003ca href=\"https://www.audiopharmacy.com/\">AudioPharmacy\u003c/a>, a band blending hip-hop and Indigenous rhythms, and powerhouse vocalist \u003ca href=\"https://jennjohns.com/music\">Jenn Johns\u003c/a> are also on the bill, along with the West Oakland Middle School band, indie rock band Lil Shlurp Shlurp and experimental duo Twisted Universe. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The nonmusical activities at Life Is Living include wellness offerings from \u003ca href=\"https://www.kqed.org/arts/13971043/freedom-community-clinic-fruitvale-oakland-farm-orinda\">Freedom Community Clinic\u003c/a>, an Oakland collective that offers free services like herbal medicine, reiki, massage and acupuncture. There’ll be a “wheels zone” for the skaters and cyclists; activities for kids; a community arts zone; an artist vendor marketplace; a Black Panther Party zone and historical exhibits on Oakland’s activist history.\u003c/p>\n\u003cp>The event’s location at DeFremery Park is no coincidence; many in the community know it as Lil Bobby Hutton Park, named for \u003ca href=\"https://www.instagram.com/p/C4OlOKPNRGr/\">the teenage Black Panther Party member who was killed by police in 1968\u003c/a>. For People’s Kitchen Collective and Life Is Living co-producers Joan Osato and YaVette Holt, the Black Panther Party’s survival programs are a guiding light as they use art and culture to get neighbors together, strengthen relationships and inspire a culture of collective care.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>\u003ca href=\"https://www.brownpapertickets.com/event/6713976\">Life Is Living\u003c/a> takes place on Saturday, Oct. 11, from 11 a.m.–4 p.m. at DeFremery/Lil Bobby Hutton Park in Oakland.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "revisiting-the-1968-sfsu-student-strike-while-trump-targets-campus-protesters",
"title": "Revisiting the 1968 SFSU Student Strike While Trump Targets Campus Protesters",
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"content": "\u003cp>The \u003ca href=\"https://www.pbs.org/video/the-longest-student-strike-in-history-hz8jbu/\">longest student strike in U.S. history\u003c/a> was held at San Francisco State University, then known as San Francisco State College, from the fall of 1968 to the spring of 1969.\u003c/p>\n\u003cp>Organized by the Black Student Union (BSU) and the Third World Liberation Front coalition, the strike led to the establishment of the nation’s first College of Ethnic Studies and a more diverse faculty.\u003c/p>\n\u003cp>Although the movement was concentrated on the Golden Gator’s campus, it was informed by the social movements of the era, and intended to better the living conditions of the communities from which the students came.\u003c/p>\n\u003cp>For \u003ca href=\"https://www.npr.org/2022/04/30/1095729592/what-is-may-day-history\" target=\"_blank\" rel=\"noopener\">International Workers Day\u003c/a> on Thursday, May 1, a free arts showcase titled \u003cem>Somebody ‘Blew Up’ San Francisco State College: THAT WAS NOW, THIS IS THEN (How the Black Student Union & Black Arts Movements Changed Education Forever)\u003c/em> will commemorate and add context to the San Francisco State College student strike.\u003c/p>\n\u003cfigure id=\"attachment_13974241\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13974241 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Jimmy-Garret-1967-800x1034.jpg\" alt=\"\" width=\"800\" height=\"1034\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Jimmy-Garret-1967-800x1034.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Jimmy-Garret-1967-160x207.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Jimmy-Garret-1967-768x993.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Jimmy-Garret-1967.jpg 936w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An archival photo of Dr. James ‘Jimmy’ Garrett, a member of the Student Nonviolent Coordinating Committee (SNCC) and organizer of the 1968 San Francisco State College Strike. \u003ccite>(Courtesy of Dr. James ‘Jimmy’ Garrett)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hosted by \u003ca href=\"https://africana.sfsu.edu/people/faculty/mark-allan-davis\" target=\"_blank\" rel=\"noopener\">Associate Professor Mark Allan Davis\u003c/a>, the evening will feature a dance performance from \u003ca href=\"https://www.instagram.com/dejhajoy\" target=\"_blank\" rel=\"noopener\">De’jha Scott\u003c/a>, a lyrical recital by \u003ca href=\"https://portfolium.com/ChiokeAA\" target=\"_blank\" rel=\"noopener\">Chioke Allen\u003c/a> and music from singer \u003ca href=\"https://open.spotify.com/artist/574gC4s2cScOcFfdUDp5mp\" target=\"_blank\" rel=\"noopener\">Najé Nova\u003c/a>, who will be backed by saxophonist \u003ca href=\"https://meis.sfsu.edu/hafez-modirzadeh\" target=\"_blank\" rel=\"noopener\">Hafez Modirzadeh\u003c/a> & his quintet. Dancer \u003ca href=\"https://www.instagram.com/theslowfashionisto/\" target=\"_blank\" rel=\"noopener\">Nick Brentley\u003c/a> will discuss a controversial performance created by Davis, and the keynote speech will be delivered by \u003ca href=\"https://ueap.sfsu.edu/exco/rev_history_20230915\" target=\"_blank\" rel=\"noopener\">Dr. James “Jimmy” Garrett\u003c/a>, co-founder of the original BSU and one of the organizers of the 1968-69 student strike.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>More than a half century later, the issues the students fought for and against haven’t gone away. In fact, they’ve only grown more pressing. \u003ca href=\"https://www.npr.org/2025/04/14/1244690926/podcast-campus-protest\" target=\"_blank\" rel=\"noopener\">Suppressing protests on college campuses\u003c/a> and \u003ca href=\"https://www.whitehouse.gov/presidential-actions/2025/01/ending-radical-and-wasteful-government-dei-programs-and-preferencing/\" target=\"_blank\" rel=\"noopener\">dismantling diverse representation in government-funded positions\u003c/a> are currently central concerns of President Trump’s administration.\u003c/p>\n\u003cp>Davis, who in many ways sees all protests as a form of theatre, imagines the event as not just a walk through history but a stand against the oppression of today.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=As_P3DueKrY\u003c/p>\n\u003cp>An educator who teaches Black literature for the College of Ethnic Studies, Davis has an illuminative past: he was in the original cast of \u003cem>The Lion King\u003c/em> on Broadway and choreographed the music video for Milli Vanilli’s “\u003ca href=\"https://www.youtube.com/watch?v=JhyzGDPwmYU\" target=\"_blank\" rel=\"noopener\">Don’t 4-get My Number\u003c/a>.”\u003c/p>\n\u003cp>Davis is currently at work on a book about the larger societal context and social movements surrounding the 1968 student strike. The May 1 event gives him the opportunity to combine his knowledge of protests and performance.\u003c/p>\n\u003cp>“I’ve been a theater and dance person my whole life,” says Davis, acknowledging that this moment, politically, calls for a great act.\u003c/p>\n\u003cp>[aside postID='news_12031468']With scholars from across the state expected to attend, Davis says this event will provide Black California State University students dealing \u003ca href=\"https://www.calstate.edu/csu-system/about-the-csu/facts-about-the-csu/enrollment/Pages/student-enrollment-demographics.aspx\" target=\"_blank\" rel=\"noopener\">low enrollment numbers\u003c/a> and \u003ca href=\"https://www.capradio.org/articles/2024/03/13/california-universities-struggle-to-graduate-black-students-cultural-centers-aim-to-help/#:~:text=The%20Cal%20State%20system%20has,out%20after%20their%20freshman%20year.\" target=\"_blank\" rel=\"noopener\">low graduation rates\u003c/a> time on stage with the actual creators of the first BSU in the United States.\u003c/p>\n\u003cp>“To have this moment with these young Black students today,” says Davis, “and these incredibly amazing people who are in their late 70s and early 80s that were there, that created this discipline, that transformed education… I want this on film.”\u003c/p>\n\u003cp>Davis, originally from New York, \u003ca href=\"https://lca.sfsu.edu/archive/mark-allan-davis.html\" target=\"_blank\" rel=\"noopener\">joined SFSU nearly a decade ago\u003c/a>. During his time on campus, he’s grown to understand that there are “preconceived notions about what San Francisco is,” he says, with a nod to the city’s reputation as a liberal bastion cloaking its latent racism. “Not only as a city, but also what its institutions are.”\u003c/p>\n\u003cfigure id=\"attachment_13974242\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13974242 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Mark-Davis-at-MR-2024-LIVE--800x993.jpg\" alt=\"\" width=\"800\" height=\"993\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Mark-Davis-at-MR-2024-LIVE--800x993.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Mark-Davis-at-MR-2024-LIVE--1020x1266.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Mark-Davis-at-MR-2024-LIVE--160x199.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Mark-Davis-at-MR-2024-LIVE--768x953.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Mark-Davis-at-MR-2024-LIVE--1238x1536.jpg 1238w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Mark-Davis-at-MR-2024-LIVE--1651x2048.jpg 1651w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Mark-Davis-at-MR-2024-LIVE--1920x2382.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mark Allan Davis speaking at the ‘Monumental Reckoning’ exhibition in Golden Gate Park in 2024. \u003ccite>(Courtesy of Mark Allan Davis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A few weeks ago at a conference in San Diego, Davis listened to Dr. James “Jimmy” Garrett’s daughter, \u003ca href=\"https://www.natakigarrett.com/theladder\" target=\"_blank\" rel=\"noopener\">Nataki Garrett\u003c/a>, discuss the student strike as her father had told it to her.\u003c/p>\n\u003cp>“On paper,” says Davis, quoting Nataki, “the strike was a demand for the hiring of more faculty of color, to teach students of color about their history and impact on this country and the world.”\u003c/p>\n\u003cp>Nataki went on to explain that \u003ca href=\"https://www.calstate.edu/csu-system/about-the-csu/Pages/history.aspx\" target=\"_blank\" rel=\"noopener\">the California State University system\u003c/a> was “never created to support a global majority student population.”\u003c/p>\n\u003cp>[aside postID='news_11830384']So Black students had to infiltrate the school system by pressuring school administration and making their presence felt on campus. They also hit the community to recruit other Black folks.\u003c/p>\n\u003cp>Of Nataki’s father, Davis says, “He would go to the corners of the city, and ask anyone standing there, ‘do you have a GED or a high school diploma?'” Which was all you needed to enter the CSU at the time, and then he’d offer them a choice.\u003c/p>\n\u003cp>“You can make your money in craps on the corner, or you can make double that at work-study. And the only thing you have to do is take this knowledge that we’re going to give you and drive it back to the people,” he said.\u003c/p>\n\u003cp>As an educator, Davis sees his work as a continuum of that. “I know the power that they hold,” says Davis of his students. “For me, the whole point of this is to show \u003cem>them\u003c/em> the power that they have.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Somebody ‘Blew Up’ San Francisco State College: THAT WAS NOW, THIS IS THEN (How the Black Student Union & Black Arts Movements Changed Education Forever)’ takes place on Thursday, May 1 at 7 p.m. at San Francisco State University. The free event will be held at Knuth Hall on the SFSU campus (1600 Holloway Ave. San Francisco, CA 94132). \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://www.pbs.org/video/the-longest-student-strike-in-history-hz8jbu/\">longest student strike in U.S. history\u003c/a> was held at San Francisco State University, then known as San Francisco State College, from the fall of 1968 to the spring of 1969.\u003c/p>\n\u003cp>Organized by the Black Student Union (BSU) and the Third World Liberation Front coalition, the strike led to the establishment of the nation’s first College of Ethnic Studies and a more diverse faculty.\u003c/p>\n\u003cp>Although the movement was concentrated on the Golden Gator’s campus, it was informed by the social movements of the era, and intended to better the living conditions of the communities from which the students came.\u003c/p>\n\u003cp>For \u003ca href=\"https://www.npr.org/2022/04/30/1095729592/what-is-may-day-history\" target=\"_blank\" rel=\"noopener\">International Workers Day\u003c/a> on Thursday, May 1, a free arts showcase titled \u003cem>Somebody ‘Blew Up’ San Francisco State College: THAT WAS NOW, THIS IS THEN (How the Black Student Union & Black Arts Movements Changed Education Forever)\u003c/em> will commemorate and add context to the San Francisco State College student strike.\u003c/p>\n\u003cfigure id=\"attachment_13974241\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13974241 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Jimmy-Garret-1967-800x1034.jpg\" alt=\"\" width=\"800\" height=\"1034\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Jimmy-Garret-1967-800x1034.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Jimmy-Garret-1967-160x207.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Jimmy-Garret-1967-768x993.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Jimmy-Garret-1967.jpg 936w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An archival photo of Dr. James ‘Jimmy’ Garrett, a member of the Student Nonviolent Coordinating Committee (SNCC) and organizer of the 1968 San Francisco State College Strike. \u003ccite>(Courtesy of Dr. James ‘Jimmy’ Garrett)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hosted by \u003ca href=\"https://africana.sfsu.edu/people/faculty/mark-allan-davis\" target=\"_blank\" rel=\"noopener\">Associate Professor Mark Allan Davis\u003c/a>, the evening will feature a dance performance from \u003ca href=\"https://www.instagram.com/dejhajoy\" target=\"_blank\" rel=\"noopener\">De’jha Scott\u003c/a>, a lyrical recital by \u003ca href=\"https://portfolium.com/ChiokeAA\" target=\"_blank\" rel=\"noopener\">Chioke Allen\u003c/a> and music from singer \u003ca href=\"https://open.spotify.com/artist/574gC4s2cScOcFfdUDp5mp\" target=\"_blank\" rel=\"noopener\">Najé Nova\u003c/a>, who will be backed by saxophonist \u003ca href=\"https://meis.sfsu.edu/hafez-modirzadeh\" target=\"_blank\" rel=\"noopener\">Hafez Modirzadeh\u003c/a> & his quintet. Dancer \u003ca href=\"https://www.instagram.com/theslowfashionisto/\" target=\"_blank\" rel=\"noopener\">Nick Brentley\u003c/a> will discuss a controversial performance created by Davis, and the keynote speech will be delivered by \u003ca href=\"https://ueap.sfsu.edu/exco/rev_history_20230915\" target=\"_blank\" rel=\"noopener\">Dr. James “Jimmy” Garrett\u003c/a>, co-founder of the original BSU and one of the organizers of the 1968-69 student strike.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>More than a half century later, the issues the students fought for and against haven’t gone away. In fact, they’ve only grown more pressing. \u003ca href=\"https://www.npr.org/2025/04/14/1244690926/podcast-campus-protest\" target=\"_blank\" rel=\"noopener\">Suppressing protests on college campuses\u003c/a> and \u003ca href=\"https://www.whitehouse.gov/presidential-actions/2025/01/ending-radical-and-wasteful-government-dei-programs-and-preferencing/\" target=\"_blank\" rel=\"noopener\">dismantling diverse representation in government-funded positions\u003c/a> are currently central concerns of President Trump’s administration.\u003c/p>\n\u003cp>Davis, who in many ways sees all protests as a form of theatre, imagines the event as not just a walk through history but a stand against the oppression of today.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/As_P3DueKrY'\n title='//www.youtube.com/embed/As_P3DueKrY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>An educator who teaches Black literature for the College of Ethnic Studies, Davis has an illuminative past: he was in the original cast of \u003cem>The Lion King\u003c/em> on Broadway and choreographed the music video for Milli Vanilli’s “\u003ca href=\"https://www.youtube.com/watch?v=JhyzGDPwmYU\" target=\"_blank\" rel=\"noopener\">Don’t 4-get My Number\u003c/a>.”\u003c/p>\n\u003cp>Davis is currently at work on a book about the larger societal context and social movements surrounding the 1968 student strike. The May 1 event gives him the opportunity to combine his knowledge of protests and performance.\u003c/p>\n\u003cp>“I’ve been a theater and dance person my whole life,” says Davis, acknowledging that this moment, politically, calls for a great act.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>With scholars from across the state expected to attend, Davis says this event will provide Black California State University students dealing \u003ca href=\"https://www.calstate.edu/csu-system/about-the-csu/facts-about-the-csu/enrollment/Pages/student-enrollment-demographics.aspx\" target=\"_blank\" rel=\"noopener\">low enrollment numbers\u003c/a> and \u003ca href=\"https://www.capradio.org/articles/2024/03/13/california-universities-struggle-to-graduate-black-students-cultural-centers-aim-to-help/#:~:text=The%20Cal%20State%20system%20has,out%20after%20their%20freshman%20year.\" target=\"_blank\" rel=\"noopener\">low graduation rates\u003c/a> time on stage with the actual creators of the first BSU in the United States.\u003c/p>\n\u003cp>“To have this moment with these young Black students today,” says Davis, “and these incredibly amazing people who are in their late 70s and early 80s that were there, that created this discipline, that transformed education… I want this on film.”\u003c/p>\n\u003cp>Davis, originally from New York, \u003ca href=\"https://lca.sfsu.edu/archive/mark-allan-davis.html\" target=\"_blank\" rel=\"noopener\">joined SFSU nearly a decade ago\u003c/a>. During his time on campus, he’s grown to understand that there are “preconceived notions about what San Francisco is,” he says, with a nod to the city’s reputation as a liberal bastion cloaking its latent racism. “Not only as a city, but also what its institutions are.”\u003c/p>\n\u003cfigure id=\"attachment_13974242\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13974242 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Mark-Davis-at-MR-2024-LIVE--800x993.jpg\" alt=\"\" width=\"800\" height=\"993\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Mark-Davis-at-MR-2024-LIVE--800x993.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Mark-Davis-at-MR-2024-LIVE--1020x1266.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Mark-Davis-at-MR-2024-LIVE--160x199.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Mark-Davis-at-MR-2024-LIVE--768x953.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Mark-Davis-at-MR-2024-LIVE--1238x1536.jpg 1238w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Mark-Davis-at-MR-2024-LIVE--1651x2048.jpg 1651w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Mark-Davis-at-MR-2024-LIVE--1920x2382.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mark Allan Davis speaking at the ‘Monumental Reckoning’ exhibition in Golden Gate Park in 2024. \u003ccite>(Courtesy of Mark Allan Davis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A few weeks ago at a conference in San Diego, Davis listened to Dr. James “Jimmy” Garrett’s daughter, \u003ca href=\"https://www.natakigarrett.com/theladder\" target=\"_blank\" rel=\"noopener\">Nataki Garrett\u003c/a>, discuss the student strike as her father had told it to her.\u003c/p>\n\u003cp>“On paper,” says Davis, quoting Nataki, “the strike was a demand for the hiring of more faculty of color, to teach students of color about their history and impact on this country and the world.”\u003c/p>\n\u003cp>Nataki went on to explain that \u003ca href=\"https://www.calstate.edu/csu-system/about-the-csu/Pages/history.aspx\" target=\"_blank\" rel=\"noopener\">the California State University system\u003c/a> was “never created to support a global majority student population.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>So Black students had to infiltrate the school system by pressuring school administration and making their presence felt on campus. They also hit the community to recruit other Black folks.\u003c/p>\n\u003cp>Of Nataki’s father, Davis says, “He would go to the corners of the city, and ask anyone standing there, ‘do you have a GED or a high school diploma?'” Which was all you needed to enter the CSU at the time, and then he’d offer them a choice.\u003c/p>\n\u003cp>“You can make your money in craps on the corner, or you can make double that at work-study. And the only thing you have to do is take this knowledge that we’re going to give you and drive it back to the people,” he said.\u003c/p>\n\u003cp>As an educator, Davis sees his work as a continuum of that. “I know the power that they hold,” says Davis of his students. “For me, the whole point of this is to show \u003cem>them\u003c/em> the power that they have.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Somebody ‘Blew Up’ San Francisco State College: THAT WAS NOW, THIS IS THEN (How the Black Student Union & Black Arts Movements Changed Education Forever)’ takes place on Thursday, May 1 at 7 p.m. at San Francisco State University. The free event will be held at Knuth Hall on the SFSU campus (1600 Holloway Ave. San Francisco, CA 94132). \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "ruth-beckford-dance-black-panthers-free-breakfast-program",
"title": "The Dancer Who Helped Start the Black Panthers’ Free Breakfast Program",
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"headTitle": "The Dancer Who Helped Start the Black Panthers’ Free Breakfast Program | KQED",
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"content": "\u003cp>[dropcap]I[/dropcap]n the late 1960s, an uncommonly energetic 43-year-old named Ruth Beckford was teaching an Afro-Haitian dance class in Oakland. A dancing pro since the age of eight, Beckford had a habit of taking a close personal interest in her students. She taught the youngest ones a combination of life skills and etiquette to set them up for bright futures. She encouraged teens and young women to love themselves and pursue their dreams. And when one of her students told Beckford about her involvement with the Black Panther Party, Beckford was keen to be of assistance with that, too.\u003c/p>\n\u003cp>The student in question was LaVerne Anderson, who happened to be the girlfriend of Huey P. Newton. Beckford began by accompanying Anderson to some of Newton’s 1968 trial dates. In September of that year, when the idea for the Panthers’ Free Breakfast for School Children Program first came up, it was Beckford who sprang into action and made it happen.\u003c/p>\n\u003cp>[aside postid='arts_13874853']Beckford had long been a parishioner at Oakland’s \u003ca href=\"https://staugepiscopal.org/\">St. Augustine’s Episcopal Church\u003c/a>, then situated at West and 27th Streets. Beckford approached her priest there, Father Earl A. Neil, to find out if St. Augustine’s was willing to host a daily program there to feed neighborhood kids. Father Neil agreed, and he and Beckford went about building a health code-safe kitchen and dining space, as well as a nutritionally balanced menu.\u003c/p>\n\u003cp>On the first day — a Monday in January 1969 — 11 children came to eat. By Friday, that number had swelled to 135. Beckford and Father Neil made such a success of the free breakfasts, the program was soon mandatory in all Black Panther chapters nationwide. It was also a shining example of Beckford’s ability to turn ideas into action, and to plant seeds that would one day create mighty forests. That’s something she had already been doing in her dance classes for 22 years before she got involved with the Panthers.\u003c/p>\n\u003cfigure id=\"attachment_13952106\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952106\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-939585344-scaled-e1707777665615.jpg\" alt=\"Several young Black boys, one of whom is wearing a suit, raise their hands to speak as they sit around a table, paper plates of food in front of them.\" width=\"1920\" height=\"1298\">\u003cfigcaption class=\"wp-caption-text\">The Black Panther Party’s Free Breakfast for Children program — like this one in New York City in 1969 — combined education and good nutrition. \u003ccite>(Bev Grant/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]B[/dropcap]eckford was born on Dec. 7, 1925 in Oakland’s \u003ca href=\"https://localwiki.org/oakland/Providence_Hospital\">Providence Hospital\u003c/a> to a Jamaican father and a mother from Los Angeles. Beckford was the youngest of four — she had a big sister and a pair of twin brothers — and was raised on 38th Avenue and MacArthur Boulevard. She grew up in a household so supportive that, when they saw her kicking along to music in her crib as a baby, her parents pledged to get her into dance class as soon as she was old enough.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At three years old, Beckford began training in “every kind of dance,” her dedicated mom sewing all her costumes. It was clear from the beginning that the young girl was naturally gifted, and that dance was indeed her calling. By eight, she was a vaudeville dancer. By 14, she was teaching other children. At 17, she toured with the prestigious \u003ca href=\"https://www.kqed.org/arts/13899186/if-cities-could-dance-east-st-louis\">Katherine Dunham\u003c/a> Company, where she fully embraced African and Caribbean dance for the first time. Beckford loved the work but declined a seven-year contract from Dunham so she could attend UC Berkeley instead. (Dunham remained a mentor and friend for life, and Beckford taught in her New York dance school in 1953.)\u003c/p>\n\u003cp>[aside postID='arts_13926548,pop_102326,arts_13916612']During her studies, Beckford was the only Black dancer in UC Berkeley’s dance club, Orchesis. The experience prepared her for working in majority-white companies later on. In her 20s, as the only Black dancer with the \u003ca href=\"https://calisphere.org/item/8c65bcebbbc335b04faa0cd457e3ebd7/\">Anna Halprin and Welland Lathrop\u003c/a> modern dance company, Beckford said she could sometimes hear the audience gasp as she arrived on San Francisco’s Herbst Theatre stage.\u003c/p>\n\u003cp>Once Beckford had graduated with a modern dance degree, she was keen to serve her community while doing what she loved most. First, she started an annual modern dance showcase that ran for over a decade. Then in 1947, aged just 21, Beckford started the Oakland Recreation Modern Dance Department — the first city-funded dance classes in the United States — and remained project director there for 20 years. Beckford insisted the classes be free so that anyone, no matter their means, would be able to attend. By the time she left in 1967, the department was running 34 modern dance classes for 700 students of all ages and abilities.\u003c/p>\n\u003cp>Of the importance of this program, Beckford later stated: “My philosophy for the young girls was, I would get them in through dance, but my whole goal was to make them be strong, free spirits. The girls got a lot of doses of self-empowerment training, self-esteem training,” she said. “Out of the thousands of girls that I taught, I knew a few would be dancers, but they all had to become women. I wanted them all to be strong young ladies — and it worked.”\u003c/p>\n\u003cp>These relationships were so important to Beckford, she prioritized them over having children of her own. “I feel if I had had children,” she said in 2000, “I would not have been the mentor to the hundreds and hundreds of girls I mentored. I would give them all the attention. I would tell them they were special.”\u003c/p>\n\u003cp>From 1954 on, Beckford was also running her own company, the Ruth Beckford African Haitian Dance Company. Her understanding of traditional styles was so exhaustive, she was invited to choreograph a folk festival in Haiti in 1958. At home, her company’s performances — comprised of six dancers accompanied by three drummers — were unlike anything most dance fans had seen in the Bay Area before. For a start, the company was comprised entirely of Black dancers — a refreshing contrast to the companies Beckford had grown up in.\u003c/p>\n\u003cfigure id=\"attachment_13951198\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13951198 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-576842076-scaled-e1706578196329.jpg\" alt=\"A Black male dancer does the splits in mid-air, while two Black women dance either side of him.\" width=\"1920\" height=\"1516\">\u003cfigcaption class=\"wp-caption-text\">Students and members of Ruth Beckford’s dance group rehearse a number in Oakland. \u003ccite>(Ted Streshinsky/ CORBIS/ Corbis via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]A[/dropcap]fter Beckford retired from teaching in 1975, there was still no stopping her. She became an author, writing an autobiography, two cookbooks and a \u003ca href=\"https://www.jstor.org/stable/2784188\">Katherine Dunham biography\u003c/a>. She also co-authored \u003cem>\u003ca href=\"https://www.everand.com/book/502678421/The-Picture-Man-From-the-Collection-of-Bay-Area-Photographer-E-F-Joseph-1927-1979\">The Picture Man\u003c/a>,\u003c/em> about Black Bay Area photographer E.F. Joseph. Her final work, \u003ca href=\"https://www.amazon.com/Still-Groovin-Affirmations-Women-Second/dp/0829813373\">\u003cem>Still Groovin’\u003c/em>\u003c/a>, was a book of spiritual advice and affirmations aimed squarely at mature women. “Women are sort of out there by themselves,” she said, “and women have to mentor each other. My book is a tool to help them become stronger.”\u003c/p>\n\u003cp>\u003cem>Still Groovin’\u003c/em> wasn’t her only means of trying to empower her peers. Between 1984 and 1988, Beckford wrote a trilogy of plays titled \u003cspan style=\"font-weight: 400\">’\u003c/span>\u003cem>Tis the Morning of My Life\u003c/em>, about a woman named Roxie Youngblood who finds herself in a relationship with a much younger man. Beckford admitted the story was inspired by her own life.\u003c/p>\n\u003cp>[aside postid='pop_102855']“I have a different energy, I think, to most men my age,” she once explained. “As long as I have this energy, I’m going to use it and have fun with younger people. Younger men have the energy I have, and I feel mine is worthy of that.” On another occasion, she noted: “Older women are marrying younger men nowadays because they find they have much more in common.”\u003c/p>\n\u003cp>When a New York theater asked permission to stage her first play, Beckford agreed only if the original Bay Area cast could perform it. “It’s time for New York to see what the West Coast can do,” she insisted.\u003c/p>\n\u003cp>For a lot of people, co-founding the Black Panthers’ Free Breakfast program would have been the pinnacle achievement of a lifetime. That Beckford then went on to mentor generations of young Black women was a huge deal. And the sheer number of ways Beckford sought to be of service throughout her life is ultimately breathtaking.\u003c/p>\n\u003cp>She served on the Board of Oakland\u003cspan style=\"font-weight: 400\">’s\u003c/span> African American Museum and Library, where she also founded an oral history program. She counseled homeless people in Berkeley, and women in shelters and prisons around the state. She served on a dance panel at the National Endowment for the Arts and campaigned for better theater facilities in Oakland. She founded a women’s golf club. She even spent Thursday afternoons in the late 1990s volunteering in Jack London Square’s information booth so that she might pass on her passion for all things Oakland.\u003c/p>\n\u003cp>Ruth Beckford remained indefatigable (despite surviving five back surgeries and a hip replacement) until her death at age 93. Shortly before her passing on May 8, 2019, Beckford reflected on a life thoroughly well lived.\u003c/p>\n\u003cp>“I have a joyous life, I have a good time,” she said. “I choreographed my life. Step-by-step, year-by-year.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" 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>\u003cem>To learn about other Rebel Girls from Bay Area History, visit the \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">Rebel Girls homepage\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">I\u003c/span>\u003c/p>\u003cp>n the late 1960s, an uncommonly energetic 43-year-old named Ruth Beckford was teaching an Afro-Haitian dance class in Oakland. A dancing pro since the age of eight, Beckford had a habit of taking a close personal interest in her students. She taught the youngest ones a combination of life skills and etiquette to set them up for bright futures. She encouraged teens and young women to love themselves and pursue their dreams. And when one of her students told Beckford about her involvement with the Black Panther Party, Beckford was keen to be of assistance with that, too.\u003c/p>\n\u003cp>The student in question was LaVerne Anderson, who happened to be the girlfriend of Huey P. Newton. Beckford began by accompanying Anderson to some of Newton’s 1968 trial dates. In September of that year, when the idea for the Panthers’ Free Breakfast for School Children Program first came up, it was Beckford who sprang into action and made it happen.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Beckford had long been a parishioner at Oakland’s \u003ca href=\"https://staugepiscopal.org/\">St. Augustine’s Episcopal Church\u003c/a>, then situated at West and 27th Streets. Beckford approached her priest there, Father Earl A. Neil, to find out if St. Augustine’s was willing to host a daily program there to feed neighborhood kids. Father Neil agreed, and he and Beckford went about building a health code-safe kitchen and dining space, as well as a nutritionally balanced menu.\u003c/p>\n\u003cp>On the first day — a Monday in January 1969 — 11 children came to eat. By Friday, that number had swelled to 135. Beckford and Father Neil made such a success of the free breakfasts, the program was soon mandatory in all Black Panther chapters nationwide. It was also a shining example of Beckford’s ability to turn ideas into action, and to plant seeds that would one day create mighty forests. That’s something she had already been doing in her dance classes for 22 years before she got involved with the Panthers.\u003c/p>\n\u003cfigure id=\"attachment_13952106\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952106\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-939585344-scaled-e1707777665615.jpg\" alt=\"Several young Black boys, one of whom is wearing a suit, raise their hands to speak as they sit around a table, paper plates of food in front of them.\" width=\"1920\" height=\"1298\">\u003cfigcaption class=\"wp-caption-text\">The Black Panther Party’s Free Breakfast for Children program — like this one in New York City in 1969 — combined education and good nutrition. \u003ccite>(Bev Grant/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">B\u003c/span>\u003c/p>\u003cp>eckford was born on Dec. 7, 1925 in Oakland’s \u003ca href=\"https://localwiki.org/oakland/Providence_Hospital\">Providence Hospital\u003c/a> to a Jamaican father and a mother from Los Angeles. Beckford was the youngest of four — she had a big sister and a pair of twin brothers — and was raised on 38th Avenue and MacArthur Boulevard. She grew up in a household so supportive that, when they saw her kicking along to music in her crib as a baby, her parents pledged to get her into dance class as soon as she was old enough.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At three years old, Beckford began training in “every kind of dance,” her dedicated mom sewing all her costumes. It was clear from the beginning that the young girl was naturally gifted, and that dance was indeed her calling. By eight, she was a vaudeville dancer. By 14, she was teaching other children. At 17, she toured with the prestigious \u003ca href=\"https://www.kqed.org/arts/13899186/if-cities-could-dance-east-st-louis\">Katherine Dunham\u003c/a> Company, where she fully embraced African and Caribbean dance for the first time. Beckford loved the work but declined a seven-year contract from Dunham so she could attend UC Berkeley instead. (Dunham remained a mentor and friend for life, and Beckford taught in her New York dance school in 1953.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>During her studies, Beckford was the only Black dancer in UC Berkeley’s dance club, Orchesis. The experience prepared her for working in majority-white companies later on. In her 20s, as the only Black dancer with the \u003ca href=\"https://calisphere.org/item/8c65bcebbbc335b04faa0cd457e3ebd7/\">Anna Halprin and Welland Lathrop\u003c/a> modern dance company, Beckford said she could sometimes hear the audience gasp as she arrived on San Francisco’s Herbst Theatre stage.\u003c/p>\n\u003cp>Once Beckford had graduated with a modern dance degree, she was keen to serve her community while doing what she loved most. First, she started an annual modern dance showcase that ran for over a decade. Then in 1947, aged just 21, Beckford started the Oakland Recreation Modern Dance Department — the first city-funded dance classes in the United States — and remained project director there for 20 years. Beckford insisted the classes be free so that anyone, no matter their means, would be able to attend. By the time she left in 1967, the department was running 34 modern dance classes for 700 students of all ages and abilities.\u003c/p>\n\u003cp>Of the importance of this program, Beckford later stated: “My philosophy for the young girls was, I would get them in through dance, but my whole goal was to make them be strong, free spirits. The girls got a lot of doses of self-empowerment training, self-esteem training,” she said. “Out of the thousands of girls that I taught, I knew a few would be dancers, but they all had to become women. I wanted them all to be strong young ladies — and it worked.”\u003c/p>\n\u003cp>These relationships were so important to Beckford, she prioritized them over having children of her own. “I feel if I had had children,” she said in 2000, “I would not have been the mentor to the hundreds and hundreds of girls I mentored. I would give them all the attention. I would tell them they were special.”\u003c/p>\n\u003cp>From 1954 on, Beckford was also running her own company, the Ruth Beckford African Haitian Dance Company. Her understanding of traditional styles was so exhaustive, she was invited to choreograph a folk festival in Haiti in 1958. At home, her company’s performances — comprised of six dancers accompanied by three drummers — were unlike anything most dance fans had seen in the Bay Area before. For a start, the company was comprised entirely of Black dancers — a refreshing contrast to the companies Beckford had grown up in.\u003c/p>\n\u003cfigure id=\"attachment_13951198\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13951198 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-576842076-scaled-e1706578196329.jpg\" alt=\"A Black male dancer does the splits in mid-air, while two Black women dance either side of him.\" width=\"1920\" height=\"1516\">\u003cfigcaption class=\"wp-caption-text\">Students and members of Ruth Beckford’s dance group rehearse a number in Oakland. \u003ccite>(Ted Streshinsky/ CORBIS/ Corbis via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">A\u003c/span>\u003c/p>\u003cp>fter Beckford retired from teaching in 1975, there was still no stopping her. She became an author, writing an autobiography, two cookbooks and a \u003ca href=\"https://www.jstor.org/stable/2784188\">Katherine Dunham biography\u003c/a>. She also co-authored \u003cem>\u003ca href=\"https://www.everand.com/book/502678421/The-Picture-Man-From-the-Collection-of-Bay-Area-Photographer-E-F-Joseph-1927-1979\">The Picture Man\u003c/a>,\u003c/em> about Black Bay Area photographer E.F. Joseph. Her final work, \u003ca href=\"https://www.amazon.com/Still-Groovin-Affirmations-Women-Second/dp/0829813373\">\u003cem>Still Groovin’\u003c/em>\u003c/a>, was a book of spiritual advice and affirmations aimed squarely at mature women. “Women are sort of out there by themselves,” she said, “and women have to mentor each other. My book is a tool to help them become stronger.”\u003c/p>\n\u003cp>\u003cem>Still Groovin’\u003c/em> wasn’t her only means of trying to empower her peers. Between 1984 and 1988, Beckford wrote a trilogy of plays titled \u003cspan style=\"font-weight: 400\">’\u003c/span>\u003cem>Tis the Morning of My Life\u003c/em>, about a woman named Roxie Youngblood who finds herself in a relationship with a much younger man. Beckford admitted the story was inspired by her own life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I have a different energy, I think, to most men my age,” she once explained. “As long as I have this energy, I’m going to use it and have fun with younger people. Younger men have the energy I have, and I feel mine is worthy of that.” On another occasion, she noted: “Older women are marrying younger men nowadays because they find they have much more in common.”\u003c/p>\n\u003cp>When a New York theater asked permission to stage her first play, Beckford agreed only if the original Bay Area cast could perform it. “It’s time for New York to see what the West Coast can do,” she insisted.\u003c/p>\n\u003cp>For a lot of people, co-founding the Black Panthers’ Free Breakfast program would have been the pinnacle achievement of a lifetime. That Beckford then went on to mentor generations of young Black women was a huge deal. And the sheer number of ways Beckford sought to be of service throughout her life is ultimately breathtaking.\u003c/p>\n\u003cp>She served on the Board of Oakland\u003cspan style=\"font-weight: 400\">’s\u003c/span> African American Museum and Library, where she also founded an oral history program. She counseled homeless people in Berkeley, and women in shelters and prisons around the state. She served on a dance panel at the National Endowment for the Arts and campaigned for better theater facilities in Oakland. She founded a women’s golf club. She even spent Thursday afternoons in the late 1990s volunteering in Jack London Square’s information booth so that she might pass on her passion for all things Oakland.\u003c/p>\n\u003cp>Ruth Beckford remained indefatigable (despite surviving five back surgeries and a hip replacement) until her death at age 93. Shortly before her passing on May 8, 2019, Beckford reflected on a life thoroughly well lived.\u003c/p>\n\u003cp>“I have a joyous life, I have a good time,” she said. “I choreographed my life. Step-by-step, year-by-year.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" 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>\u003cem>To learn about other Rebel Girls from Bay Area History, visit the \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">Rebel Girls homepage\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Celebrating The Black Panthers’ Oakland Community School",
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"content": "\u003cp>“A school to serve the people.”\u003c/p>\n\u003cp>These are the words written boldly on a wall at the \u003ca href=\"https://hueypnewtonfoundation.org/\" target=\"_blank\" rel=\"noopener\">Huey P. Newtown Foundation\u003c/a>’s headquarters in downtown Oakland, where they’re surrounded by a wealth of artifacts from the Black Panther Party’s Oakland Community School’s archives.\u003c/p>\n\u003cp>There are notes on the school’s pedagogy and practice, and clippings from old periodicals. A black-and-white photo of Rosa Parks accepting flowers from a young student. A list of cultural icons — James Baldwin, Willie Mays, Maya Angelou, to name a few — who once visited the campus.\u003c/p>\n\u003cp>The Oakland Community School, preceded by other Black Panther led-schools (The Children’s House and the Intercommunal Youth Institute), opened in 1973 at 6118 E. 14th Street in East Oakland, where it operated until its closure in 1982. At its height it enrolled more than 150 students, and throughout its tenure maintained a waitlist that included unborn children, \u003ca href=\"https://archive.curbed.com/2016/6/29/12010106/black-panther-school-mova-oakland\" target=\"_blank\" rel=\"noopener\">according to school director Ericka Huggins\u003c/a>. A partial list of its alumni boasts San Francisco Foundation CEO Fred Blackwell, actress Kellita Smith (\u003cem>The Bernie Mac Show\u003c/em>, \u003cem>Roll Bounce\u003c/em>) and Money B of Digital Underground.\u003c/p>\n\u003cp>More impressive are the ways in which the school changed American education.\u003c/p>\n\u003cfigure id=\"attachment_13940316\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940316\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/unnamed-2-scaled.jpg\" alt=\"schoolchildren sit at a table as staff feed them lunch\" width=\"2560\" height=\"2048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/unnamed-2-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/unnamed-2-800x640.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/unnamed-2-1020x816.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/unnamed-2-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/unnamed-2-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/unnamed-2-1536x1229.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/unnamed-2-2048x1638.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/unnamed-2-1920x1536.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Lunch is served at the Oakland Community School. \u003ccite>(Donald Cunningham Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Panthers, whose \u003ca href=\"https://www.history.com/news/free-school-breakfast-black-panther-party\" target=\"_blank\" rel=\"noopener\">free breakfast program for schoolchildren\u003c/a> pushed the U.S. government to adopt a similar policy, are credited with designing an education system in which the community and school are not separate, but united. This paved the way for the model formally adopted by the Oakland Unified District in 2010, with its initiative to transform all schools into “\u003ca href=\"https://files.eric.ed.gov/fulltext/ED573276.pdf\" target=\"_blank\" rel=\"noopener\">full service community schools\u003c/a>.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 1977, the State of California’s deputy superintendent William Whiteneck noted that the Oakland Community School was \u003ca href=\"https://oaklandnorth.net/2016/12/15/at-historic-black-panthers-school-black-teachers-were-key-to-student-success/\" target=\"_blank\" rel=\"noopener\">a model educational institution\u003c/a>. Today, 50 years after it opened in East Oakland, the California Department of Education is still incorporating elements from the Black Panther Party’s vision.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Oakland Community School Huey P. Newton Interview\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/f9e9-oTMghc?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>On Saturday, Jan. 13, this vision is celebrated during the grand opening of a year-long exhibit, \u003cem>Each One Teach One: The History of the Oakland Community School\u003c/em>, curated by Jahi and housed at the Huey P. Newtown Foundation headquarters. Along with rare images of the school from photographer Donald Cunningham and original excerpts from \u003cem>The Black Panther\u003c/em> newspaper, attendees will hear from those who played a significant role in the development of the revolutionary academic curriculum — and the archivists who’ve kept their legacy alive.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" 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>\n\u003cp>\u003cem>‘Each One Teach One: The History of the Oakland Community School’ opens on Saturday, Jan. 13, at 1427 Broadway in downtown Oakland, with a free opening reception from 7 p.m.–10 p.m. \u003ca href=\"https://www.ticketsource.us/whats-on/ca/black-panther-party-museum/opening-reception-each-one-teach-one-the-history-of-the-oakland-community-school/e-bkxoer\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“A school to serve the people.”\u003c/p>\n\u003cp>These are the words written boldly on a wall at the \u003ca href=\"https://hueypnewtonfoundation.org/\" target=\"_blank\" rel=\"noopener\">Huey P. Newtown Foundation\u003c/a>’s headquarters in downtown Oakland, where they’re surrounded by a wealth of artifacts from the Black Panther Party’s Oakland Community School’s archives.\u003c/p>\n\u003cp>There are notes on the school’s pedagogy and practice, and clippings from old periodicals. A black-and-white photo of Rosa Parks accepting flowers from a young student. A list of cultural icons — James Baldwin, Willie Mays, Maya Angelou, to name a few — who once visited the campus.\u003c/p>\n\u003cp>The Oakland Community School, preceded by other Black Panther led-schools (The Children’s House and the Intercommunal Youth Institute), opened in 1973 at 6118 E. 14th Street in East Oakland, where it operated until its closure in 1982. At its height it enrolled more than 150 students, and throughout its tenure maintained a waitlist that included unborn children, \u003ca href=\"https://archive.curbed.com/2016/6/29/12010106/black-panther-school-mova-oakland\" target=\"_blank\" rel=\"noopener\">according to school director Ericka Huggins\u003c/a>. A partial list of its alumni boasts San Francisco Foundation CEO Fred Blackwell, actress Kellita Smith (\u003cem>The Bernie Mac Show\u003c/em>, \u003cem>Roll Bounce\u003c/em>) and Money B of Digital Underground.\u003c/p>\n\u003cp>More impressive are the ways in which the school changed American education.\u003c/p>\n\u003cfigure id=\"attachment_13940316\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940316\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/unnamed-2-scaled.jpg\" alt=\"schoolchildren sit at a table as staff feed them lunch\" width=\"2560\" height=\"2048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/unnamed-2-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/unnamed-2-800x640.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/unnamed-2-1020x816.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/unnamed-2-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/unnamed-2-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/unnamed-2-1536x1229.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/unnamed-2-2048x1638.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/unnamed-2-1920x1536.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Lunch is served at the Oakland Community School. \u003ccite>(Donald Cunningham Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Panthers, whose \u003ca href=\"https://www.history.com/news/free-school-breakfast-black-panther-party\" target=\"_blank\" rel=\"noopener\">free breakfast program for schoolchildren\u003c/a> pushed the U.S. government to adopt a similar policy, are credited with designing an education system in which the community and school are not separate, but united. This paved the way for the model formally adopted by the Oakland Unified District in 2010, with its initiative to transform all schools into “\u003ca href=\"https://files.eric.ed.gov/fulltext/ED573276.pdf\" target=\"_blank\" rel=\"noopener\">full service community schools\u003c/a>.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 1977, the State of California’s deputy superintendent William Whiteneck noted that the Oakland Community School was \u003ca href=\"https://oaklandnorth.net/2016/12/15/at-historic-black-panthers-school-black-teachers-were-key-to-student-success/\" target=\"_blank\" rel=\"noopener\">a model educational institution\u003c/a>. Today, 50 years after it opened in East Oakland, the California Department of Education is still incorporating elements from the Black Panther Party’s vision.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Oakland Community School Huey P. Newton Interview\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/f9e9-oTMghc?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>On Saturday, Jan. 13, this vision is celebrated during the grand opening of a year-long exhibit, \u003cem>Each One Teach One: The History of the Oakland Community School\u003c/em>, curated by Jahi and housed at the Huey P. Newtown Foundation headquarters. Along with rare images of the school from photographer Donald Cunningham and original excerpts from \u003cem>The Black Panther\u003c/em> newspaper, attendees will hear from those who played a significant role in the development of the revolutionary academic curriculum — and the archivists who’ve kept their legacy alive.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" 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>\n\u003cp>\u003cem>‘Each One Teach One: The History of the Oakland Community School’ opens on Saturday, Jan. 13, at 1427 Broadway in downtown Oakland, with a free opening reception from 7 p.m.–10 p.m. \u003ca href=\"https://www.ticketsource.us/whats-on/ca/black-panther-party-museum/opening-reception-each-one-teach-one-the-history-of-the-oakland-community-school/e-bkxoer\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "the-bay-area-was-hip-hop-before-there-was-hip-hop",
"title": "The Bay Area Was Hip-Hop Before There Was Hip-Hop",
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"headTitle": "The Bay Area Was Hip-Hop Before There Was Hip-Hop | KQED",
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"content": "\u003cfigure id=\"attachment_13924127\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924127\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/HipHopPreschool.16.9-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HipHopPreschool.16.9-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HipHopPreschool.16.9-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HipHopPreschool.16.9-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HipHopPreschool.16.9-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HipHopPreschool.16.9-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HipHopPreschool.16.9.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Clockwise from upper left: Women of the Black Panther Party (BAMPFA/Pirkle Jones Foundation); the Black Resurgents (artist photo); Ntozake Shange (John Kisch Archive/Getty Images); Sun Ra in ‘Space is the Place’ (Harte Recordings); Sly Stone (CBS Records).\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ci>Editor’s note:\u003c/i>\u003c/b>\u003ci>\u003cspan style=\"font-weight: 400\"> This story is part of\u003c/span>\u003c/i>\u003ca href=\"http://kqed.org/bayareahiphop\"> \u003cspan style=\"font-weight: 400\">That’s My Word\u003c/span>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\">, KQED’s year-long exploration of \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a> history, with new content dropping all throughout 2023.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cem>“People in the house, this is just for you/ A little rap to make you boogaloo”\u003c/em>\u003cbr>\n—The Sugarhill Gang, 1979\u003c/p>\n\u003cp>Grandmaster Caz, the Bronx pioneer who ghostwrote the Sugarhill Gang’s groundbreaking 1979 single “\u003ca href=\"https://www.youtube.com/watch?v=rKTUAESacQM\">Rapper’s Delight\u003c/a>,” once said, “Hip-hop didn’t invent anything. Hop-hop reinvented everything.”\u003c/p>\n\u003cp>That statement rings truer than ever as we approach the 50th anniversary of Kool Herc’s first party in the Bronx, where the globally influential music and culture were born. And it especially rings true here in the Bay Area.\u003c/p>\n\u003cp>Hip-hop wasn’t fully formed in 1973. In fact, it didn’t have an official name until 1982, the year the \u003ci>Village Voice\u003c/i> published a \u003ca href=\"https://digital.library.cornell.edu/catalog/ss:16057641\">profile of Zulu Nation founder Afrika Bambaataa\u003c/a>. Before Bambaataa joined the Black Spades street gang as a teenager, he hung out at the local Black Panther Information Center, and “his political leanings were encouraged by the appearance of songs like ‘Say It Loud, I’m Black and I’m Proud’ by James Brown and ‘Stand!’ by Sly and the Family Stone,” Steven Hager wrote.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In other words, two of the three cultural influences cited in one of the earliest known print references to hip-hop are from the Bay Area. Oh word? Say that then.\u003c/p>\n\u003cp>No one would dispute that hip-hop emerged from the Bronx, or that James Brown was one of its godfathers. But the impact the Bay Area had on hip-hop’s early sound, aesthetic and ideology is less widely recognized. A thorough exploration of the Bay’s cultural and political movements of the 1960s and ’70s strongly suggests the Bay was hip-hop before there was hip-hop.\u003c/p>\n\u003cfigure id=\"attachment_13924550\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924550\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/HueyNewton.SlyStone.ShomariSmith-800x426.jpg\" alt=\"illustrations of huey newton and sly stone\" width=\"800\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HueyNewton.SlyStone.ShomariSmith-800x426.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HueyNewton.SlyStone.ShomariSmith-1020x543.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HueyNewton.SlyStone.ShomariSmith-160x85.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HueyNewton.SlyStone.ShomariSmith-768x409.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HueyNewton.SlyStone.ShomariSmith-1536x818.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HueyNewton.SlyStone.ShomariSmith.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In the Bay Area, both Huey Newton and Sly Stone (L–R) helped sow the seeds of what would later be referred to as hip-hop. \u003ccite>(Illustrations by Shomari Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Consider this: Before he became a funk superstar, Sly Stone was a fast-talking radio personality whose \u003ca href=\"https://soundcloud.com/djstef415/sly-stone-on-ksol-1967\">on-air patter\u003c/a>, laden with hep phrases, took the form of rapping before rap music. When it came to dance, the Bay Area had boogaloo, robotting and strutting, whose innovative moves preceded b-boying by almost 10 years. (There’s even evidence of breakdancing crews at local talent shows prior to nationwide releases of \u003cem>Breakin’\u003c/em> and \u003cem>Beat Street\u003c/em>.)\u003c/p>\n\u003cp>The \u003ca href=\"https://en.wikipedia.org/wiki/Wall_of_Respect\">community mural movement\u003c/a>, which parallels the \u003ca href=\"https://blogs.cuit.columbia.edu/ijt2106/moment-of-departure/the-emergence-of-modern-graffiti/\">modern graffiti movement\u003c/a>, took root in the Bay before wildstyle frescoes appeared on New York subway trains. The Bay Area’s \u003ca href=\"https://legionsofboom.com/\">Filipino American mobile DJ scene\u003c/a> dates back to garage parties in the 1970s in South San Francisco and Daly City.\u003c/p>\n\u003cp>Consider also that the iconography of hip-hop was shaped by Bay Area activists, as well as street-level archetypes of badmen and tricksters whose legend became \u003ca href=\"https://www.youtube.com/watch?v=CsXK4_D6ByA\">urban folklore\u003c/a>. A key reason the Bay Area became an early adopter of hip-hop was because its culture not only anticipated its arrival, but contributed to its essence during its developmental stages.\u003c/p>\n\u003cfigure id=\"attachment_13924289\" class=\"wp-caption aligncenter\" style=\"max-width: 615px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13924289\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/BPP2.png\" alt=\"\" width=\"615\" height=\"829\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/BPP2.png 615w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/BPP2-160x216.png 160w\" sizes=\"auto, (max-width: 615px) 100vw, 615px\">\u003cfigcaption class=\"wp-caption-text\">A 1971 flyer for a Black Panther Party rally calling for Bobby Seale, Ericka Huggins, Angela Davis and Ruchell Magee to be freed from prison. \u003ccite>(Courtesy of Black Panther Party Alumni Legacy Network)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Black Panthers lay hip-hop’s ideological foundation\u003c/h2>\n\u003cp>Hip-hop began as an underground artform created by inner city youth with few resources, who were dynamic in how they expressed their style and identity. Much of its ideology and political viewpoints were shaped by the Black Panthers, who were founded in Oakland in 1966 and grew to 38 national chapters within two years.\u003c/p>\n\u003cp>The Black Panthers had a distinct influence on people like dancer Will “Mr. Penguin” Randolph, an early practitioner of boogaloo and co-founder of the dance crew the \u003ca href=\"https://www.blackresurgents.com/\">Black Resurgents.\u003c/a> Randolph, who grew up in East Oakland, remembers how the Panthers used culture to engage young people and push their revolutionary message.\u003c/p>\n\u003cp>“They had all these rallies with Elaine Brown and different people, and the Black Resurgents were the unofficial official dance group,” Randolph says. “And they would use us to draw the adults in to talk about the city’s plight politically. It was just phenomenal.” [aside postid='arts_13923938']\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13851531/a-brief-history-of-the-lumpen-the-black-panthers-revolutionary-funk-band\" target=\"_blank\" rel=\"noopener\">The Lumpen\u003c/a>, a Black Panther-affiliated touring funk band, spread the party’s message around the country. It’s no coincidence that groups like the Chi-Lites, the O’Jays and the Isley Brothers began to reference Panther talking points on songs like “\u003ca href=\"https://youtu.be/qEwMaeN2x-c\" target=\"_blank\" rel=\"noopener\">Give More Power to the People\u003c/a>,” “\u003ca href=\"https://youtu.be/uebYua_vdPc\" target=\"_blank\" rel=\"noopener\">Give the People What They Want\u003c/a>” and “\u003ca href=\"https://youtu.be/8QZvoOqUkqw\" target=\"_blank\" rel=\"noopener\">Fight the Power\u003c/a>.”\u003c/p>\n\u003cp>“You have to consider that the Black Panther ideology was steeped in, as are most cultural ideas, in the music of the day,” Randolph says. “The grittiness of the blue collar town of Oakland, and the rise of the ideology of the Black Panther Party, and the rise of the funk music of the town all came together.”\u003c/p>\n\u003cp>In the hip-hop era, children of Black Panthers like Tupac Shakur and Digital Underground’s Money B — known as “Panther cubs” — would be the ones to carry the Panthers’ vision for Black liberation forward. There’s no “\u003ca href=\"https://youtu.be/zfuF2jOeUx8\" target=\"_blank\" rel=\"noopener\">Rebel of the Underground\u003c/a>,” an early agitprop Tupac song, without the Black Panthers. No “Break the Grip of Shame,” the classic 1990 single by San Francisco rapper Paris, either.\u003c/p>\n\u003cp>https://youtu.be/HJ96GPtnH70\u003c/p>\n\u003cp>Hip-hop activism’s cornerstone issues, police reform and the prison-industrial complex, contain obvious through-lines back to the Black Panthers. In 1966, the Panthers’ manifesto, the Ten-Point Program, stated, “We Want An Immediate End to Police Brutality and the Murder of Black People,” followed by a call for “all Black People (to) be released from the many jails and prisons.”\u003c/p>\n\u003cp>N.W.A’s “Fuck Tha Police” seemed outrageous in 1989, but became prescient three years later, when LAPD officers were caught on video beating Rodney King. Political rappers like Public Enemy and KRS-One often harbored strong anti-police views, which were shared by such less-likely sources as New York’s L.L. Cool J and Houston’s UGK, on down to Vallejo’s The Mac.\u003c/p>\n\u003cp>Before the NYPD killing of Amadou Diallo inspired the Hip Hop for Respect project in 2000, the 1995 death of Aaron Williams in SFPD custody led to hip-hop activist organization Third Eye Movement protesting the SF Police Commission, and later resisting California’s Juvenile Crime initiative, Prop. 21. In 2009, Mistah F.A.B., Boots Riley and other local hip-hop artists took part in \u003ca href=\"https://www.kqed.org/arts/13847704/after-oscar-grant-oakland-artists-inspired-a-new-generation-of-activists\" target=\"_blank\" rel=\"noopener\">protests against Oscar Grant’s killing\u003c/a> by BART police.\u003c/p>\n\u003cp>More recently, the 2016 \u003ca href=\"https://www.kqed.org/arts/11537324/equiptos-hunger-strike-the-importance-of-art-in-social-change\" target=\"_blank\" rel=\"noopener\">Frisco Five\u003c/a> hunger strike, spearheaded by rapper Equipto, resulted in SFPD reform. In 2020, \u003ca href=\"https://www.kqed.org/arts/13881529/photos-black-lives-matter-murals-call-for-justice-on-oaklands-walls\" target=\"_blank\" rel=\"noopener\">graffiti artists and muralists took to the Oakland streets\u003c/a> in response to George Floyd’s murder.\u003c/p>\n\u003cp>Over the past decade, activists have rallied around the Black Lives Matter movement, and it’s no coincidence that the phrase was first coined by Black Lives Matter cofounder Alicia Garza, in Oakland, the home of the Panthers.\u003c/p>\n\u003cfigure id=\"attachment_12159957\" class=\"wp-caption aligncenter\" style=\"max-width: 398px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12159957\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/10/H95.18.802-398x600.jpg\" alt=\"Lonnie Wilson, untitled (Black Panthers at Alameda County Courthouse), July 14, 1968. Gelatin silver photograph, 14 x 9.5 in. The Oakland Tribune Collection, the Oakland Museum of California, Gift of ANG Newspapers\" width=\"398\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/H95.18.802-398x600.jpg 398w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/H95.18.802-400x602.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/H95.18.802-768x1156.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/H95.18.802-784x1180.jpg 784w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/H95.18.802-1180x1777.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/H95.18.802-960x1446.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/H95.18.802.jpg 1793w\" sizes=\"auto, (max-width: 398px) 100vw, 398px\">\u003cfigcaption class=\"wp-caption-text\">Lonnie Wilson, untitled (Black Panthers at Alameda County Courthouse), July 14, 1968. Gelatin silver photograph, 14 x 9.5 in. The Oakland Tribune Collection, the Oakland Museum of California, Gift of ANG Newspapers. \u003ccite>(Courtesy of the Oakland Museum of California)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Before conscious rap, funk brought the message\u003c/h2>\n\u003cp>In the Bay Area, funk music was inextricably linked to the revolutionary movements of the 1960s. Beyond the Black Panthers were the Brown Berets, the Third World Liberation Front and the anti-Vietnam War movement, all animating young people to fight against an oppressive social order. One artist that emerged from this climate and eventually became one of hip-hop’s major influences was Sly Stone. A Vallejo-raised champion of multiculturalism and progressive social values, Sly transformed Black music during the ’60s and ’70s.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/playlist/6QO0SJgNdiPaDRpwHMPySi?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Sly’s records often contained social commentary that mixed the personal with the political. “Stand!” is an anthem of self-determination positing that freedom is attainable “at least in your mind if you want to be”; Sly released similarly-themed songs like “\u003ca href=\"https://youtu.be/l8sz_7TPWE0\" target=\"_blank\" rel=\"noopener\">You Can Make It If You Try\u003c/a>,” “\u003ca href=\"https://youtu.be/HMQQcniF2Bg\" target=\"_blank\" rel=\"noopener\">Underdog\u003c/a>” and “\u003ca href=\"https://youtu.be/Ruq2HJGs31g\" target=\"_blank\" rel=\"noopener\">Skin I’m In\u003c/a>.”\u003c/p>\n\u003cp>In addition to his contributions to hip-hop’s lexicon — Sly and the Family Stone’s album \u003ci>Fresh\u003c/i> predates hip-hop’s popularizing of the term by at least a decade — there’s the music itself, which has become part of hip-hop’s genetic code. According to online sample databases, Sly and The Family Stone’s music has been sampled an astounding 967 times — up there with James Brown and the Meters.\u003c/p>\n\u003cp>Greg Errico’s drums on “\u003ca href=\"https://youtu.be/42YGprrAOj0\" target=\"_blank\" rel=\"noopener\">Sing A Simple Song\u003c/a>” alone have resurfaced in gangsta, alternative and even international rap songs, including Digital Underground’s “\u003ca href=\"https://youtu.be/PBsjggc5jHM\" target=\"_blank\" rel=\"noopener\">The Humpty Dance\u003c/a>,” Tupac’s “\u003ca href=\"https://youtu.be/skg0w8DpEe4\" target=\"_blank\" rel=\"noopener\">Temptations\u003c/a>,” Public Enemy’s “\u003ca href=\"https://youtu.be/mmo3HFa2vjg\" target=\"_blank\" rel=\"noopener\">Fight the Power\u003c/a>,” KRS-One’s “\u003ca href=\"https://youtu.be/9ZrAYxWPN6c\" target=\"_blank\" rel=\"noopener\">Sound of Da Police\u003c/a>,” A Tribe Called Quest’s “\u003ca href=\"https://youtu.be/cxN4nKk2cfk\" target=\"_blank\" rel=\"noopener\">Jazz\u003c/a>” and countless others.\u003c/p>\n\u003cp>Family Stone bassist and Oakland native Larry Graham’s slap-bass technique, prominently displayed on 1968’s “\u003ca href=\"https://youtu.be/N5BP2KlPD4U\" target=\"_blank\" rel=\"noopener\">Thank You (Falettinme Be Mice Elf Again)\u003c/a>,” became a defining characteristic of funk, later used by musicians like Bootsy Collins as well as Chic’s Bernard Edwards, whose “Good Times” bassline would later drive “Rapper’s Delight.” [pullquote size='large']No one would dispute that hip-hop emerged from the Bronx, or that James Brown was one of its godfathers. But the impact the Bay Area had on hip-hop’s early sound, aesthetic and ideology is less widely recognized.[/pullquote]\u003c/p>\n\u003cp>Sly also created a template for the artist-producer and independent label entrepreneur. He produced other artists for his short-lived Stone Flower label, often playing every musical instrument. His production of Little Sister’s “Somebody’s Watching You” became the first Top 40 hit to use electronic drums — a staple of nearly all hip-hop production.\u003c/p>\n\u003cp>“I feel like particularly with Sly, [he’s] part of the whole kind of mashup of the streets and the church,” says Lateef Daumont, a Panther cub best known as hip-hop artist Lateef the Truthspeaker of the Quannum collective. “They just had all of the things that would be blueprints for hip-hop later on — even business-wise, in a lot of ways.”\u003c/p>\n\u003cp>“Sly was the integrationist,” says author and educator Cecil Brown, a Berkeley resident during the ’70s who taught at Merritt College’s former campus on Grove Street (now Martin Luther King Jr. Way) in Oakland. “Also, Sly had an element of militancy in him, too, that was \u003cem>not\u003c/em> flower power, you know? It was like, ‘We got something that is going to make us feel better, and that belongs to us.’”\u003c/p>\n\u003cfigure id=\"attachment_13898274\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898274\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-1920x1080.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sly Stone in a still from Questlove’s new film ‘Summer of Soul.’ \u003ccite>(Courtesy of Mass Distraction Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Remarkably, Stone was able to cross over to the pop charts while maintaining an unapologetically Black identity. In a \u003ca href=\"https://www.youtube.com/watch?v=zDOyaGvOyPk\">1974 clip from \u003ci>The Mike Douglas Show\u003c/i>\u003c/a>, Sly is asked if his young, white middle-class fans know what he’s singing about. “Yeah, they know,” he says. Hip-hop exemplifies the same paradigm: It appeals to white youth precisely because it offers entry into a different cultural space, with its own reference points and vernacular.\u003c/p>\n\u003cp>Just as The Coup’s Boots Riley performed his song “\u003ca href=\"https://youtu.be/_2bkG0wwdXc\" target=\"_blank\" rel=\"noopener\">Underdogs\u003c/a>” during the Occupy Oakland demonstrations of 2011, Sly occasionally performed at Black Panther rallies while living in Oakland. His ear-to-the-street perspective, containing equal parts optimism and cynicism, is evidenced by the No. 1 album \u003ci>There’s A Riot Goin’ On\u003c/i>, released in 1971. As cultural critic Okla Jones wrote on the occasion of the album’s 50th anniversary, “America was a nation in transition, feeling the effects of the previous decade. The shadow of Dr. King’s assassination loomed over the Black community, and the Vietnam War divided an entire country. What Sly and the Family Stone’s fifth album did was give a voice to a new generation yearning to be heard.”\u003c/p>\n\u003cp>This dynamic — young people speaking their minds and determining their own identities through cultural expression — not only defined the early ’70s but connected the funk era to the rap era. Once you depart from the New York-centric breakbeat aesthetic, funk becomes \u003cem>the\u003c/em> defining element of hip-hop’s sound, particularly in the Southern United States and parts of the Midwest, and especially in the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13851562\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851562\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/02/lumpen_stage-800x523.jpg\" alt=\"The Lumpen performed between 1970 and 1972; afterwards, Black Panther Party leadership assigned its members to other roles within the organization.\" width=\"800\" height=\"523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/lumpen_stage.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/lumpen_stage-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/lumpen_stage-768x502.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Black Panther funk band The Lumpen performed between 1970 and 1972; afterwards, party leadership assigned its members to other roles within the organization. \u003ccite>(Courtesy of itsabouttime.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Before breaking, the Bay had boogaloo\u003c/h2>\n\u003cp>The dance style known as Oakland boogaloo began in the 1960s with R&B and soul as its soundtrack, but the emergence of funk raised the bar for creative expression. “The thumping of the bass and the snapping of the snare drum and the thumping of the bass drum, you started to see people doing this free-form movement, with a hit and with body contortions,” says Will Randolph, whose group the Black Resurgents once performed during a 1977 Parliament concert at the Oakland Coliseum Arena, where they emerged from the iconic mothership in front of more than 10,000 fans.\u003c/p>\n\u003cp>“When you talk about hip-hop dance, primarily people think of breaking and popping,” Randolph says. “When you talk about street dance on a nationwide level prior to hip-hop dance coming out of primarily New York, you have this whole West Coast sea of dance and street dance. The Bay Area in particular is really the debut for hip-hop.”\u003c/p>\n\u003cp>https://youtu.be/IUdS6kxw2aI\u003c/p>\n\u003cp>From the mid-1960s to the early ’70s, years before hip-hop had a name, Oakland groups like the Black Resurgents, One Plus One, the Black Messengers and Pirate and the Easy Walkers perfected moves that would become part of the hip-hop dance vernacular.\u003c/p>\n\u003cp>“What I’m saying is that boogaloo, robotting, and strutting dance styles predate hip-hop as a culture, as a name, and even hip-hop dance as an artform,” says Randolph. (In 1990’s “\u003ca href=\"https://www.youtube.com/watch?v=QDApdzFa3OI\">U Make Me Want Some\u003c/a>,” Mac Dre’s mentor and namesake The Mac even raps: “You can do the boogaloo / Like they used to do in 1972.”)\u003c/p>\n\u003cp>As boogaloo branched off into Richmond robotting and San Francisco strutting in the mid-1970s to become the predominant form of urban youth culture in the Bay Area, dancers adopted the sartorial flamboyance associated with pimps, incorporating top hats, canes and pointy-toed shoes into their aesthetic. White gloves created a mesmerizing effect under blacklight during performances in dark halls.\u003c/p>\n\u003cp>Fueled by talent show competitions, which brought local fame and popularity, the artform continued to develop into the early ’80s. Synchronized group routines, costumes, and stage props all became part of the mix. Most routines developed for competitions were performed just once. Some groups practiced in secret so no one could steal their moves. (The Black Resurgents were an exception; they were known to practice in front of an open window, often drawing crowds from their neighborhood.)\u003c/p>\n\u003cp>Coded signals between dancers would indicate they were participants in the same culture and ready to battle at a moment’s notice, such as popping one’s collar — which later became a signature hallmark of Bay Area hip-hop expression. Being known as a boogaloo, strutter or robotter also conferred social status, and could give practitioners a ghetto pass through hostile territory or nullify threats of violence altogether.\u003c/p>\n\u003cp>As boogaloo spread in the latter half of the ’70s to San Jose, Sacramento, Fresno and Los Angeles, a move originally known as “The Oakland Hit” became the “pop,” and blended with the locking style indigenous to Southern California. Pop-locking was born.\u003c/p>\n\u003cfigure id=\"attachment_13924302\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924302\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/n5cCK1s8-800x609.jpg\" alt=\"\" width=\"800\" height=\"609\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/n5cCK1s8-800x609.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/n5cCK1s8-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/n5cCK1s8-768x584.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/n5cCK1s8.jpg 924w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Black Resurgents on ‘The Jay Payton Show,’ July 18, 1976. \u003ccite>(Courtesy AAMLO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the Bay Area’s contributions didn’t make the history books. In 1979, the Electric Boogaloos \u003ca href=\"https://www.youtube.com/watch?v=rkejPbx9zSI\">appeared on \u003ci>Soul Train\u003c/i>\u003c/a> and were erroneously announced as the originators of boogaloo by host Don Cornelius. Boogaloo also spread to New York through Bay Area dancers like Jerry Rentie, who served active military duty there, but wasn’t recognized as a distinct style by New York rappers like Run-DMC, who said “let the poppers pop and the breakers break” on 1984’s “Rock Box.”\u003c/p>\n\u003cp>The Northern California origins of popping became further obscured when breakdancing arrived on the West Coast in the early ’80s, and boogaloo, strutting, robotting, popping and breaking were all subsumed into the amalgamation of hip-hop dance. In “\u003ca href=\"https://youtu.be/HshF2AOx4VM\" target=\"_blank\" rel=\"noopener\">West Coast Pop Lock\u003c/a>,” a 1982 hit for Ronnie Hudson that most know as the hook of Tupac’s “California Love,” Hudson shouts out Los Angeles, Watts and Compton — with no mention of Oakland at all.\u003c/p>\n\u003ch2>Pimp culture becomes pop culture\u003c/h2>\n\u003cp>Another key influence on hip-hop was Richard Pryor, who moved to Berkeley in 1969 and soaked up the city’s counterculture vibe. Pryor performed locally at venues like Laney College, and, similar to Tupac, key parts of his development came from the Bay Area before he moved to L.A. and became a superstar.\u003c/p>\n\u003cp>Pryor has been sampled in rap more than 400 times, which speaks to his street-level Black cultural perspective that placed more emphasis on barbershops, juke joints and strip clubs than churches and schools. And it was Pryor’s involvement in a 1973 movie, filmed in Oakland, that would cement his relationship to Bay Area hip-hop.\u003c/p>\n\u003cfigure id=\"attachment_13924297\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924297\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/GettyImages-1137109661-800x1217.jpg\" alt=\"\" width=\"800\" height=\"1217\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1137109661-800x1217.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1137109661-1020x1551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1137109661-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1137109661-768x1168.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1137109661-1010x1536.jpg 1010w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1137109661-1347x2048.jpg 1347w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1137109661-1920x2920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1137109661-scaled.jpg 1683w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Mack, US poster, top from left: Max Julien, Richard Pryor, from a 1977 re-release of the film. \u003ccite>(Photo by LMPC via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>The Mack\u003c/i> is ostensibly a cautionary tale about the rise and fall of a pimp named Goldie (Max Julien), yet it glorified the illegal sex trade and the flamboyant pimp lifestyle. The movie’s lead was based directly on the notorious Oakland pimp and drug dealer Frank Ward, and infamously featured several real-life pimps and sex workers, in exchange for cameo roles for Ward and his brothers.\u003c/p>\n\u003cp>In \u003cem>The Mack\u003c/em>, Pryor played Slim, Goldie’s partner. Another character, Fat Man, coincidentally had the same initials as infamous Oakland drug kingpin Felix Mitchell. With Goldie’s brother Olinga as a Panther-esque Black nationalist, the film’s subtext hints at the real-life tension between the Black Panthers and Oakland’s gangster underworld. It’s a dynamic that foreshadowed the divisions between conscious and gangsta rap, and predated the way Tupac and many Bay Area rappers mixed elements of both.\u003c/p>\n\u003cp>When Melvin Van Peebles’ directorial debut \u003ci>Sweet Sweetback’s Baadasssss Song\u003c/i> was released in 1971, Panther leaders used their widely circulated newspaper to encourage Party members to see the film, which also featured the all-Black East Bay Dragons motorcycle club. “No distributors were supporting it,” says the Lumpen’s Dr. Saturu Ned, who worked in the Party’s newspaper office before he became a musician. “Because of the Black Panther Party, millions of people went to see the movie.”\u003c/p>\n\u003cp>\u003ci>Sweet Sweetback\u003c/i> birthed the so-called blaxploitation films of this era, championing a gritty view of street life with an undercurrent of anti-authoritarianism. The genre became a key reference point for hip-hop, along with the Panthers’ messages of Black power and resistance. [aside postid='arts_13923766']\u003c/p>\n\u003ch2>Hip-hop’s inspiration from the criminal underworld\u003c/h2>\n\u003cp>Without a doubt, one of hip-hop’s overarching themes has been the criminal underworld and the archetype of the pimp/player/hustler as hero and ghetto superstar. This, too, has significant ties to the Bay Area, and especially Oakland, which counts among its rap classics MC Pooh’s \u003ci>Life of a Criminal\u003c/i> and Too Short’s \u003ci>Born to Mack\u003c/i>.\u003c/p>\n\u003cp>In the Bay Area, a systemic devastation of Black neighborhoods created a formula for poverty. Blue-collar industrial jobs left after World War II, and the “urban renewal” of the ’60s and ’70s demolished homes and businesses in San Francisco as well as Oakland. For some, the underground economy became an appealing means of upward mobility.\u003c/p>\n\u003cp>Felix Mitchell operated out of the San Antonio Villa, a.k.a. 6-9 Ville, in East Oakland, which became the headquarters for the “69 Mob,” a criminal organization that established a nationwide heroin distribution network and employed young children as lookouts. The housing project’s notoriety extended well beyond Mitchell’s death in 1986: in 1992, the rapper Seagram released the single “The Ville,” which references “the M.O.B.” — an acronym for My Other Brother, the “official” name of Mitchell’s gang.\u003c/p>\n\u003cp>In the ’70s, the Black Panthers operated a school and community center just a few blocks from 6-9 Ville. This led to conflict over control of the neighborhood. Ned recalls that intakes at the community center for heroin overdoses were common, while the Black Resurgents’ Randolph, who lived nearby on Sunnyside and 82nd Avenue, remembers gun battles sometimes erupting between the two factions.\u003c/p>\n\u003cp>In the post-Felix Mitchell crack cocaine era, rapping about pimping, drug dealing, drive-by shootings and sideshows all became part of Oakland’s hip-hop lexicon — see Dru Down and the Luniz’ “Ice Cream Man,” Richie Rich’s “Sideshow” and “Half Thang,” or Dru Down’s “Pimp of the Year,” which stayed on the Billboard charts for 24 weeks and would often evoke boisterous sing-alongs when played in local clubs.\u003c/p>\n\u003cp>https://youtu.be/qnVtwzaw6lM\u003c/p>\n\u003cp>Mitchell himself had reportedly popularized drive-by shootings, becoming one of the inspirations for the Nino Brown character in the 1991 movie \u003ci>New Jack City\u003c/i>, which featured a hip-hop soundtrack.. And Mitchell’s rival, Milton “Mickey Mo” Moore, financed the first rap record to come out of the Bay Area: Motorcycle Mike’s “Super Rat.”\u003c/p>\n\u003cp>So while Philadelphia’s Schooly-D and L.A.’s Ice-T are often credited as the first gangsta rap artists, the genre has been heavily influenced by Bay Area criminal icons like Moore, Ward, Mitchell and San Francisco’s Fillmore Slim. Just like the Panthers predated conscious rap and progressive politics, the Bay basically been gangsta for years.\u003c/p>\n\u003ch2>Afrofuturism is at the heart of hip-hop’s imagination\u003c/h2>\n\u003cp>Not all hip-hop artists follow a street playbook. Nearly as influential as \u003ci>The Mack\u003c/i> was Sun Ra’s 1974 cult classic \u003ci>Space is the Place\u003c/i>, filmed at locations in Oakland, including the current Merritt College campus. Its origins date back to a 1971 \u003ca href=\"https://www.openculture.com/2014/07/full-lecture-and-reading-list-from-sun-ras-1971-uc-berkeley-course.html\">lecture course\u003c/a> given by Sun Ra at UC Berkeley, titled “The Black Man in the Cosmos.” The film’s convoluted plot depicts Ra as a time-traveling jazz musician who engages in a game of tarot with an “overseer” to decide the fate of the Black race. Ra eventually wins the contest thanks to his use of sound vibrations during a free jazz concert, boards a spaceship joined by young African Americans he’s recruited from Oakland, and travels to a better world.\u003c/p>\n\u003cp>Afrofuturistic themes in \u003ci>Space is the Place\u003c/i> not only preceded Parliament’s \u003ci>Clones of Dr. Funkenstein\u003c/i> and \u003ci>Mothership Connection\u003c/i> albums, but established a cultural precedent for those themes to be revisited by hip-hop, first in the electro-funk era, and subsequently through abstract, esoteric, spiritually and conceptually minded rappers and producers. In the Bay Area, Hieroglyphics’ Del the Funky Homosapien would imagine dystopian futures worthy of anime treatments; Blackalicious’ work would contain themes of technology as a means of liberation; and Zion I’s lyrics would reach towards spiritual enlightenment.\u003c/p>\n\u003cfigure id=\"attachment_13924298\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924298\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/GettyImages-486166770-800x516.jpg\" alt=\"\" width=\"800\" height=\"516\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-486166770-800x516.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-486166770-1020x657.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-486166770-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-486166770-768x495.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-486166770.jpg 1024w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sun Ra and his Sun Ra Archestra perform with a steel sculpture on September 23, 1978, at Hill Auditorium in Ann Arbor, Michigan. \u003ccite>(Leni Sinclair/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sun Ra was part of the Black Arts Movement (BAM) of the 1960s, which began in Harlem but was grounded in the Bay Area. Influential author, writer and BAM co-founder Amiri Bakara moved from New York in 1962 to teach at San Francisco State University; in 1964, he worked with a young graphic designer named Emory Douglas on set design for a play in San Francisco. Three years later, Douglas met Bobby Seale and Huey Newton at the Black Door, a Black-operated theater known for presenting avant-garde productions, and became the Black Panther’s minister of culture.\u003c/p>\n\u003cp>Douglas’ revolutionary illustrations were featured in the Panther newspaper, and went on to influence politically-minded graffiti artists and muralists worldwide, including in San Francisco’s famed Clarion Alley. The Coup’s logo, depicting a mother carrying a child in a sling while holding a rifle, is a \u003ca href=\"http://american-studies-uea.blogspot.com/2021/05/the-art-of-emory-douglas-and-asali.html\">direct descendant of Douglas’ work\u003c/a>. And during the late ’80s, a flourishing of political graffiti around the anti-apartheid movement crested into bold statements against police brutality and Christopher Columbus by Bay Area aerosol legends Mike Dream, Spie and the TDK collective in the early ’90s.\u003c/p>\n\u003cp>Baraka later became a founding board member of Oakland’s Eastside Arts Alliance, whose annual Malcolm X Jazz Arts Festival in San Antonio Park has featured hip-hop freestyle rhyme and dance cyphers, live painting in honor of Mike Dream, tributes to boogaloo, and performances by The Coup and the Last Poets’ Umar Bin Hassan. Meanwhile, Baraka’s daughter Dominique DiPrima would become the KRON-TV host of the popular Bay Area hip-hop show \u003cem>Home Turf\u003c/em>. [aside postid='arts_13906176']\u003c/p>\n\u003ch2>Spoken word, feminism\u003c/h2>\n\u003cp>From the Black Arts Movement lineage comes a local emphasis on spoken word poetry and alternative theater. This legacy of artistic expression ultimately connects pioneering poet/playwright Ntozake Shange to the hip-hop inspired Oakland poet Chinaka Hodge, and to the field of hip-hop theater explored by Marc Bamuthi Joseph in the Bay.\u003c/p>\n\u003cp>In her 1976 choreopoem \u003cem>for colored girls who’ve considered suicide/when the rainbow is enuf\u003c/em>, first performed at a lesbian bar on Solano Avenue in Albany, Shange foreshadowed women in hip-hop’s existential struggle with sexuality, self-affirmation and self-love while dealing with misogyny, toxic relationships and Black female identity. In “No More Love Poems pt 1,” Shange’s Lady in Orange describes “being left screaming in a street full of lunatics whispering slut, \u003cem>beeitch\u003c/em>…” — pronouncing the word with the same drawn-out intonation as Too Short would a decade later.\u003c/p>\n\u003cfigure id=\"attachment_13924299\" class=\"wp-caption aligncenter\" style=\"max-width: 801px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13924299\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/801px-Ntozake_Shange_Reid_Lecture_Women_Issues_Luncheon_Womens_Center_November_1978_Crisco_edit.jpg\" alt=\"\" width=\"801\" height=\"1023\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/801px-Ntozake_Shange_Reid_Lecture_Women_Issues_Luncheon_Womens_Center_November_1978_Crisco_edit.jpg 801w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/801px-Ntozake_Shange_Reid_Lecture_Women_Issues_Luncheon_Womens_Center_November_1978_Crisco_edit-160x204.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/801px-Ntozake_Shange_Reid_Lecture_Women_Issues_Luncheon_Womens_Center_November_1978_Crisco_edit-768x981.jpg 768w\" sizes=\"auto, (max-width: 801px) 100vw, 801px\">\u003cfigcaption class=\"wp-caption-text\">Ntozake Shange in 1978. \u003ccite>(Barnard College/Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These same themes are present to some degree in the music of Bay Area women in funk — a list that includes Little Sister, Sugar Pie DeSanto, the Brides of Funkenstein, and Betty Davis (who recorded her first two albums in San Francisco with Bay Area musicians). The Pointer Sisters, the Oakland group whose career began with the self-affirming hit “\u003ca href=\"https://youtu.be/F2U1OUxXSMM\" target=\"_blank\" rel=\"noopener\">Yes We Can Can\u003c/a>,” would later be referenced by Ice Cube, the Treacherous Three and Salt-n-Pepa.\u003c/p>\n\u003cp>As SF State professor and cultural anthropologist Dawn-Elissa Fischer points out, the tradition extends even further back. “Some of the ideas that Angela Davis and Patricia Collins write about in terms of the impact of blues women — when we talk about the Panthers, we want to remember, while there are obvious ties, there’s this longer tradition of posting, boasting and rapping in the work of blues women in the Bay Area and elsewhere.” The same ideas and themes of the blues era, she says, were magnified and amplified during the funk era, and again in the hip-hop era.\u003c/p>\n\u003cp>Fischer, a contributor to \u003cem>The Smithsonian Anthology of Hip-Hop and Rap\u003c/em> and an advisor on KQED’s \u003ci>That’s My Word\u003c/i>, regularly studies funk music as well as contemporary rap in her work, connecting dots between generational movements. She maintains the funky divas of the 1970s provided not only an artistic blueprint for rappers like the Conscious Daughters to talk about gender, sexuality and reproductive rights, but an aesthetic influence as well. Local emcee Coco Peila, she says, is an example of both, along with Mystic, Suga-T and Ryan Nicole.\u003c/p>\n\u003cp>In looking critically at the intersection of funk, boogaloo, and the Black Panthers, Fischer says, “There was a lot of labor, gender and sexuality components of all of these movements, and specifically various forms of Black power. And \u003ca href=\"https://www.kqed.org/news/11858928/west-oakland-mural-honors-women-of-black-panther-party\" target=\"_blank\" rel=\"noopener\">Black women are a critical part of this paradigm\u003c/a>.”\u003c/p>\n\u003cp>The legacy of these movements is not only part of hip-hop history and American history, but Bay Area history specifically. What made these movements so significant and generational in their influence was their intersectional longevity. Funk, boogaloo, and social movements all spoke to each other throughout their existence. That dialogue has become a longer discussion with the advent of hip-hop, which, as it’s evolved, has carried along with it the aesthetics of past movements \u003cspan style=\"font-weight: 400\">—\u003c/span> be they Afros and boots, Black Power salutes, or tick-tocking robot moves over bass grooves.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-11687704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/06/Turntable.Break_-800x60.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "In the ’60s and ’70s, the Black Panthers, boogaloo dancers and Sly Stone anticipated the arrival of hip-hop.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13924127\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924127\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/HipHopPreschool.16.9-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HipHopPreschool.16.9-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HipHopPreschool.16.9-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HipHopPreschool.16.9-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HipHopPreschool.16.9-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HipHopPreschool.16.9-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HipHopPreschool.16.9.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Clockwise from upper left: Women of the Black Panther Party (BAMPFA/Pirkle Jones Foundation); the Black Resurgents (artist photo); Ntozake Shange (John Kisch Archive/Getty Images); Sun Ra in ‘Space is the Place’ (Harte Recordings); Sly Stone (CBS Records).\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ci>Editor’s note:\u003c/i>\u003c/b>\u003ci>\u003cspan style=\"font-weight: 400\"> This story is part of\u003c/span>\u003c/i>\u003ca href=\"http://kqed.org/bayareahiphop\"> \u003cspan style=\"font-weight: 400\">That’s My Word\u003c/span>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\">, KQED’s year-long exploration of \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a> history, with new content dropping all throughout 2023.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cem>“People in the house, this is just for you/ A little rap to make you boogaloo”\u003c/em>\u003cbr>\n—The Sugarhill Gang, 1979\u003c/p>\n\u003cp>Grandmaster Caz, the Bronx pioneer who ghostwrote the Sugarhill Gang’s groundbreaking 1979 single “\u003ca href=\"https://www.youtube.com/watch?v=rKTUAESacQM\">Rapper’s Delight\u003c/a>,” once said, “Hip-hop didn’t invent anything. Hop-hop reinvented everything.”\u003c/p>\n\u003cp>That statement rings truer than ever as we approach the 50th anniversary of Kool Herc’s first party in the Bronx, where the globally influential music and culture were born. And it especially rings true here in the Bay Area.\u003c/p>\n\u003cp>Hip-hop wasn’t fully formed in 1973. In fact, it didn’t have an official name until 1982, the year the \u003ci>Village Voice\u003c/i> published a \u003ca href=\"https://digital.library.cornell.edu/catalog/ss:16057641\">profile of Zulu Nation founder Afrika Bambaataa\u003c/a>. Before Bambaataa joined the Black Spades street gang as a teenager, he hung out at the local Black Panther Information Center, and “his political leanings were encouraged by the appearance of songs like ‘Say It Loud, I’m Black and I’m Proud’ by James Brown and ‘Stand!’ by Sly and the Family Stone,” Steven Hager wrote.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In other words, two of the three cultural influences cited in one of the earliest known print references to hip-hop are from the Bay Area. Oh word? Say that then.\u003c/p>\n\u003cp>No one would dispute that hip-hop emerged from the Bronx, or that James Brown was one of its godfathers. But the impact the Bay Area had on hip-hop’s early sound, aesthetic and ideology is less widely recognized. A thorough exploration of the Bay’s cultural and political movements of the 1960s and ’70s strongly suggests the Bay was hip-hop before there was hip-hop.\u003c/p>\n\u003cfigure id=\"attachment_13924550\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924550\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/HueyNewton.SlyStone.ShomariSmith-800x426.jpg\" alt=\"illustrations of huey newton and sly stone\" width=\"800\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HueyNewton.SlyStone.ShomariSmith-800x426.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HueyNewton.SlyStone.ShomariSmith-1020x543.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HueyNewton.SlyStone.ShomariSmith-160x85.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HueyNewton.SlyStone.ShomariSmith-768x409.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HueyNewton.SlyStone.ShomariSmith-1536x818.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/HueyNewton.SlyStone.ShomariSmith.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In the Bay Area, both Huey Newton and Sly Stone (L–R) helped sow the seeds of what would later be referred to as hip-hop. \u003ccite>(Illustrations by Shomari Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Consider this: Before he became a funk superstar, Sly Stone was a fast-talking radio personality whose \u003ca href=\"https://soundcloud.com/djstef415/sly-stone-on-ksol-1967\">on-air patter\u003c/a>, laden with hep phrases, took the form of rapping before rap music. When it came to dance, the Bay Area had boogaloo, robotting and strutting, whose innovative moves preceded b-boying by almost 10 years. (There’s even evidence of breakdancing crews at local talent shows prior to nationwide releases of \u003cem>Breakin’\u003c/em> and \u003cem>Beat Street\u003c/em>.)\u003c/p>\n\u003cp>The \u003ca href=\"https://en.wikipedia.org/wiki/Wall_of_Respect\">community mural movement\u003c/a>, which parallels the \u003ca href=\"https://blogs.cuit.columbia.edu/ijt2106/moment-of-departure/the-emergence-of-modern-graffiti/\">modern graffiti movement\u003c/a>, took root in the Bay before wildstyle frescoes appeared on New York subway trains. The Bay Area’s \u003ca href=\"https://legionsofboom.com/\">Filipino American mobile DJ scene\u003c/a> dates back to garage parties in the 1970s in South San Francisco and Daly City.\u003c/p>\n\u003cp>Consider also that the iconography of hip-hop was shaped by Bay Area activists, as well as street-level archetypes of badmen and tricksters whose legend became \u003ca href=\"https://www.youtube.com/watch?v=CsXK4_D6ByA\">urban folklore\u003c/a>. A key reason the Bay Area became an early adopter of hip-hop was because its culture not only anticipated its arrival, but contributed to its essence during its developmental stages.\u003c/p>\n\u003cfigure id=\"attachment_13924289\" class=\"wp-caption aligncenter\" style=\"max-width: 615px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13924289\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/BPP2.png\" alt=\"\" width=\"615\" height=\"829\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/BPP2.png 615w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/BPP2-160x216.png 160w\" sizes=\"auto, (max-width: 615px) 100vw, 615px\">\u003cfigcaption class=\"wp-caption-text\">A 1971 flyer for a Black Panther Party rally calling for Bobby Seale, Ericka Huggins, Angela Davis and Ruchell Magee to be freed from prison. \u003ccite>(Courtesy of Black Panther Party Alumni Legacy Network)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Black Panthers lay hip-hop’s ideological foundation\u003c/h2>\n\u003cp>Hip-hop began as an underground artform created by inner city youth with few resources, who were dynamic in how they expressed their style and identity. Much of its ideology and political viewpoints were shaped by the Black Panthers, who were founded in Oakland in 1966 and grew to 38 national chapters within two years.\u003c/p>\n\u003cp>The Black Panthers had a distinct influence on people like dancer Will “Mr. Penguin” Randolph, an early practitioner of boogaloo and co-founder of the dance crew the \u003ca href=\"https://www.blackresurgents.com/\">Black Resurgents.\u003c/a> Randolph, who grew up in East Oakland, remembers how the Panthers used culture to engage young people and push their revolutionary message.\u003c/p>\n\u003cp>“They had all these rallies with Elaine Brown and different people, and the Black Resurgents were the unofficial official dance group,” Randolph says. “And they would use us to draw the adults in to talk about the city’s plight politically. It was just phenomenal.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13851531/a-brief-history-of-the-lumpen-the-black-panthers-revolutionary-funk-band\" target=\"_blank\" rel=\"noopener\">The Lumpen\u003c/a>, a Black Panther-affiliated touring funk band, spread the party’s message around the country. It’s no coincidence that groups like the Chi-Lites, the O’Jays and the Isley Brothers began to reference Panther talking points on songs like “\u003ca href=\"https://youtu.be/qEwMaeN2x-c\" target=\"_blank\" rel=\"noopener\">Give More Power to the People\u003c/a>,” “\u003ca href=\"https://youtu.be/uebYua_vdPc\" target=\"_blank\" rel=\"noopener\">Give the People What They Want\u003c/a>” and “\u003ca href=\"https://youtu.be/8QZvoOqUkqw\" target=\"_blank\" rel=\"noopener\">Fight the Power\u003c/a>.”\u003c/p>\n\u003cp>“You have to consider that the Black Panther ideology was steeped in, as are most cultural ideas, in the music of the day,” Randolph says. “The grittiness of the blue collar town of Oakland, and the rise of the ideology of the Black Panther Party, and the rise of the funk music of the town all came together.”\u003c/p>\n\u003cp>In the hip-hop era, children of Black Panthers like Tupac Shakur and Digital Underground’s Money B — known as “Panther cubs” — would be the ones to carry the Panthers’ vision for Black liberation forward. There’s no “\u003ca href=\"https://youtu.be/zfuF2jOeUx8\" target=\"_blank\" rel=\"noopener\">Rebel of the Underground\u003c/a>,” an early agitprop Tupac song, without the Black Panthers. No “Break the Grip of Shame,” the classic 1990 single by San Francisco rapper Paris, either.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/HJ96GPtnH70'\n title='//www.youtube.com/embed/HJ96GPtnH70'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Hip-hop activism’s cornerstone issues, police reform and the prison-industrial complex, contain obvious through-lines back to the Black Panthers. In 1966, the Panthers’ manifesto, the Ten-Point Program, stated, “We Want An Immediate End to Police Brutality and the Murder of Black People,” followed by a call for “all Black People (to) be released from the many jails and prisons.”\u003c/p>\n\u003cp>N.W.A’s “Fuck Tha Police” seemed outrageous in 1989, but became prescient three years later, when LAPD officers were caught on video beating Rodney King. Political rappers like Public Enemy and KRS-One often harbored strong anti-police views, which were shared by such less-likely sources as New York’s L.L. Cool J and Houston’s UGK, on down to Vallejo’s The Mac.\u003c/p>\n\u003cp>Before the NYPD killing of Amadou Diallo inspired the Hip Hop for Respect project in 2000, the 1995 death of Aaron Williams in SFPD custody led to hip-hop activist organization Third Eye Movement protesting the SF Police Commission, and later resisting California’s Juvenile Crime initiative, Prop. 21. In 2009, Mistah F.A.B., Boots Riley and other local hip-hop artists took part in \u003ca href=\"https://www.kqed.org/arts/13847704/after-oscar-grant-oakland-artists-inspired-a-new-generation-of-activists\" target=\"_blank\" rel=\"noopener\">protests against Oscar Grant’s killing\u003c/a> by BART police.\u003c/p>\n\u003cp>More recently, the 2016 \u003ca href=\"https://www.kqed.org/arts/11537324/equiptos-hunger-strike-the-importance-of-art-in-social-change\" target=\"_blank\" rel=\"noopener\">Frisco Five\u003c/a> hunger strike, spearheaded by rapper Equipto, resulted in SFPD reform. In 2020, \u003ca href=\"https://www.kqed.org/arts/13881529/photos-black-lives-matter-murals-call-for-justice-on-oaklands-walls\" target=\"_blank\" rel=\"noopener\">graffiti artists and muralists took to the Oakland streets\u003c/a> in response to George Floyd’s murder.\u003c/p>\n\u003cp>Over the past decade, activists have rallied around the Black Lives Matter movement, and it’s no coincidence that the phrase was first coined by Black Lives Matter cofounder Alicia Garza, in Oakland, the home of the Panthers.\u003c/p>\n\u003cfigure id=\"attachment_12159957\" class=\"wp-caption aligncenter\" style=\"max-width: 398px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12159957\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/10/H95.18.802-398x600.jpg\" alt=\"Lonnie Wilson, untitled (Black Panthers at Alameda County Courthouse), July 14, 1968. Gelatin silver photograph, 14 x 9.5 in. The Oakland Tribune Collection, the Oakland Museum of California, Gift of ANG Newspapers\" width=\"398\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/H95.18.802-398x600.jpg 398w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/H95.18.802-400x602.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/H95.18.802-768x1156.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/H95.18.802-784x1180.jpg 784w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/H95.18.802-1180x1777.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/H95.18.802-960x1446.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/H95.18.802.jpg 1793w\" sizes=\"auto, (max-width: 398px) 100vw, 398px\">\u003cfigcaption class=\"wp-caption-text\">Lonnie Wilson, untitled (Black Panthers at Alameda County Courthouse), July 14, 1968. Gelatin silver photograph, 14 x 9.5 in. The Oakland Tribune Collection, the Oakland Museum of California, Gift of ANG Newspapers. \u003ccite>(Courtesy of the Oakland Museum of California)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Before conscious rap, funk brought the message\u003c/h2>\n\u003cp>In the Bay Area, funk music was inextricably linked to the revolutionary movements of the 1960s. Beyond the Black Panthers were the Brown Berets, the Third World Liberation Front and the anti-Vietnam War movement, all animating young people to fight against an oppressive social order. One artist that emerged from this climate and eventually became one of hip-hop’s major influences was Sly Stone. A Vallejo-raised champion of multiculturalism and progressive social values, Sly transformed Black music during the ’60s and ’70s.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/playlist/6QO0SJgNdiPaDRpwHMPySi?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Sly’s records often contained social commentary that mixed the personal with the political. “Stand!” is an anthem of self-determination positing that freedom is attainable “at least in your mind if you want to be”; Sly released similarly-themed songs like “\u003ca href=\"https://youtu.be/l8sz_7TPWE0\" target=\"_blank\" rel=\"noopener\">You Can Make It If You Try\u003c/a>,” “\u003ca href=\"https://youtu.be/HMQQcniF2Bg\" target=\"_blank\" rel=\"noopener\">Underdog\u003c/a>” and “\u003ca href=\"https://youtu.be/Ruq2HJGs31g\" target=\"_blank\" rel=\"noopener\">Skin I’m In\u003c/a>.”\u003c/p>\n\u003cp>In addition to his contributions to hip-hop’s lexicon — Sly and the Family Stone’s album \u003ci>Fresh\u003c/i> predates hip-hop’s popularizing of the term by at least a decade — there’s the music itself, which has become part of hip-hop’s genetic code. According to online sample databases, Sly and The Family Stone’s music has been sampled an astounding 967 times — up there with James Brown and the Meters.\u003c/p>\n\u003cp>Greg Errico’s drums on “\u003ca href=\"https://youtu.be/42YGprrAOj0\" target=\"_blank\" rel=\"noopener\">Sing A Simple Song\u003c/a>” alone have resurfaced in gangsta, alternative and even international rap songs, including Digital Underground’s “\u003ca href=\"https://youtu.be/PBsjggc5jHM\" target=\"_blank\" rel=\"noopener\">The Humpty Dance\u003c/a>,” Tupac’s “\u003ca href=\"https://youtu.be/skg0w8DpEe4\" target=\"_blank\" rel=\"noopener\">Temptations\u003c/a>,” Public Enemy’s “\u003ca href=\"https://youtu.be/mmo3HFa2vjg\" target=\"_blank\" rel=\"noopener\">Fight the Power\u003c/a>,” KRS-One’s “\u003ca href=\"https://youtu.be/9ZrAYxWPN6c\" target=\"_blank\" rel=\"noopener\">Sound of Da Police\u003c/a>,” A Tribe Called Quest’s “\u003ca href=\"https://youtu.be/cxN4nKk2cfk\" target=\"_blank\" rel=\"noopener\">Jazz\u003c/a>” and countless others.\u003c/p>\n\u003cp>Family Stone bassist and Oakland native Larry Graham’s slap-bass technique, prominently displayed on 1968’s “\u003ca href=\"https://youtu.be/N5BP2KlPD4U\" target=\"_blank\" rel=\"noopener\">Thank You (Falettinme Be Mice Elf Again)\u003c/a>,” became a defining characteristic of funk, later used by musicians like Bootsy Collins as well as Chic’s Bernard Edwards, whose “Good Times” bassline would later drive “Rapper’s Delight.” \u003c/p>\u003c/div>",
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"content": "No one would dispute that hip-hop emerged from the Bronx, or that James Brown was one of its godfathers. But the impact the Bay Area had on hip-hop’s early sound, aesthetic and ideology is less widely recognized.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sly also created a template for the artist-producer and independent label entrepreneur. He produced other artists for his short-lived Stone Flower label, often playing every musical instrument. His production of Little Sister’s “Somebody’s Watching You” became the first Top 40 hit to use electronic drums — a staple of nearly all hip-hop production.\u003c/p>\n\u003cp>“I feel like particularly with Sly, [he’s] part of the whole kind of mashup of the streets and the church,” says Lateef Daumont, a Panther cub best known as hip-hop artist Lateef the Truthspeaker of the Quannum collective. “They just had all of the things that would be blueprints for hip-hop later on — even business-wise, in a lot of ways.”\u003c/p>\n\u003cp>“Sly was the integrationist,” says author and educator Cecil Brown, a Berkeley resident during the ’70s who taught at Merritt College’s former campus on Grove Street (now Martin Luther King Jr. Way) in Oakland. “Also, Sly had an element of militancy in him, too, that was \u003cem>not\u003c/em> flower power, you know? It was like, ‘We got something that is going to make us feel better, and that belongs to us.’”\u003c/p>\n\u003cfigure id=\"attachment_13898274\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898274\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/0SUMMER_OF_SOUL_-_Sly_Stone._Courtesy_of_Mass_Distraction_Media_1-1920x1080.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sly Stone in a still from Questlove’s new film ‘Summer of Soul.’ \u003ccite>(Courtesy of Mass Distraction Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Remarkably, Stone was able to cross over to the pop charts while maintaining an unapologetically Black identity. In a \u003ca href=\"https://www.youtube.com/watch?v=zDOyaGvOyPk\">1974 clip from \u003ci>The Mike Douglas Show\u003c/i>\u003c/a>, Sly is asked if his young, white middle-class fans know what he’s singing about. “Yeah, they know,” he says. Hip-hop exemplifies the same paradigm: It appeals to white youth precisely because it offers entry into a different cultural space, with its own reference points and vernacular.\u003c/p>\n\u003cp>Just as The Coup’s Boots Riley performed his song “\u003ca href=\"https://youtu.be/_2bkG0wwdXc\" target=\"_blank\" rel=\"noopener\">Underdogs\u003c/a>” during the Occupy Oakland demonstrations of 2011, Sly occasionally performed at Black Panther rallies while living in Oakland. His ear-to-the-street perspective, containing equal parts optimism and cynicism, is evidenced by the No. 1 album \u003ci>There’s A Riot Goin’ On\u003c/i>, released in 1971. As cultural critic Okla Jones wrote on the occasion of the album’s 50th anniversary, “America was a nation in transition, feeling the effects of the previous decade. The shadow of Dr. King’s assassination loomed over the Black community, and the Vietnam War divided an entire country. What Sly and the Family Stone’s fifth album did was give a voice to a new generation yearning to be heard.”\u003c/p>\n\u003cp>This dynamic — young people speaking their minds and determining their own identities through cultural expression — not only defined the early ’70s but connected the funk era to the rap era. Once you depart from the New York-centric breakbeat aesthetic, funk becomes \u003cem>the\u003c/em> defining element of hip-hop’s sound, particularly in the Southern United States and parts of the Midwest, and especially in the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13851562\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851562\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/02/lumpen_stage-800x523.jpg\" alt=\"The Lumpen performed between 1970 and 1972; afterwards, Black Panther Party leadership assigned its members to other roles within the organization.\" width=\"800\" height=\"523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/lumpen_stage.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/lumpen_stage-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/lumpen_stage-768x502.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Black Panther funk band The Lumpen performed between 1970 and 1972; afterwards, party leadership assigned its members to other roles within the organization. \u003ccite>(Courtesy of itsabouttime.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Before breaking, the Bay had boogaloo\u003c/h2>\n\u003cp>The dance style known as Oakland boogaloo began in the 1960s with R&B and soul as its soundtrack, but the emergence of funk raised the bar for creative expression. “The thumping of the bass and the snapping of the snare drum and the thumping of the bass drum, you started to see people doing this free-form movement, with a hit and with body contortions,” says Will Randolph, whose group the Black Resurgents once performed during a 1977 Parliament concert at the Oakland Coliseum Arena, where they emerged from the iconic mothership in front of more than 10,000 fans.\u003c/p>\n\u003cp>“When you talk about hip-hop dance, primarily people think of breaking and popping,” Randolph says. “When you talk about street dance on a nationwide level prior to hip-hop dance coming out of primarily New York, you have this whole West Coast sea of dance and street dance. The Bay Area in particular is really the debut for hip-hop.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/IUdS6kxw2aI'\n title='//www.youtube.com/embed/IUdS6kxw2aI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>From the mid-1960s to the early ’70s, years before hip-hop had a name, Oakland groups like the Black Resurgents, One Plus One, the Black Messengers and Pirate and the Easy Walkers perfected moves that would become part of the hip-hop dance vernacular.\u003c/p>\n\u003cp>“What I’m saying is that boogaloo, robotting, and strutting dance styles predate hip-hop as a culture, as a name, and even hip-hop dance as an artform,” says Randolph. (In 1990’s “\u003ca href=\"https://www.youtube.com/watch?v=QDApdzFa3OI\">U Make Me Want Some\u003c/a>,” Mac Dre’s mentor and namesake The Mac even raps: “You can do the boogaloo / Like they used to do in 1972.”)\u003c/p>\n\u003cp>As boogaloo branched off into Richmond robotting and San Francisco strutting in the mid-1970s to become the predominant form of urban youth culture in the Bay Area, dancers adopted the sartorial flamboyance associated with pimps, incorporating top hats, canes and pointy-toed shoes into their aesthetic. White gloves created a mesmerizing effect under blacklight during performances in dark halls.\u003c/p>\n\u003cp>Fueled by talent show competitions, which brought local fame and popularity, the artform continued to develop into the early ’80s. Synchronized group routines, costumes, and stage props all became part of the mix. Most routines developed for competitions were performed just once. Some groups practiced in secret so no one could steal their moves. (The Black Resurgents were an exception; they were known to practice in front of an open window, often drawing crowds from their neighborhood.)\u003c/p>\n\u003cp>Coded signals between dancers would indicate they were participants in the same culture and ready to battle at a moment’s notice, such as popping one’s collar — which later became a signature hallmark of Bay Area hip-hop expression. Being known as a boogaloo, strutter or robotter also conferred social status, and could give practitioners a ghetto pass through hostile territory or nullify threats of violence altogether.\u003c/p>\n\u003cp>As boogaloo spread in the latter half of the ’70s to San Jose, Sacramento, Fresno and Los Angeles, a move originally known as “The Oakland Hit” became the “pop,” and blended with the locking style indigenous to Southern California. Pop-locking was born.\u003c/p>\n\u003cfigure id=\"attachment_13924302\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924302\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/n5cCK1s8-800x609.jpg\" alt=\"\" width=\"800\" height=\"609\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/n5cCK1s8-800x609.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/n5cCK1s8-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/n5cCK1s8-768x584.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/n5cCK1s8.jpg 924w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Black Resurgents on ‘The Jay Payton Show,’ July 18, 1976. \u003ccite>(Courtesy AAMLO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the Bay Area’s contributions didn’t make the history books. In 1979, the Electric Boogaloos \u003ca href=\"https://www.youtube.com/watch?v=rkejPbx9zSI\">appeared on \u003ci>Soul Train\u003c/i>\u003c/a> and were erroneously announced as the originators of boogaloo by host Don Cornelius. Boogaloo also spread to New York through Bay Area dancers like Jerry Rentie, who served active military duty there, but wasn’t recognized as a distinct style by New York rappers like Run-DMC, who said “let the poppers pop and the breakers break” on 1984’s “Rock Box.”\u003c/p>\n\u003cp>The Northern California origins of popping became further obscured when breakdancing arrived on the West Coast in the early ’80s, and boogaloo, strutting, robotting, popping and breaking were all subsumed into the amalgamation of hip-hop dance. In “\u003ca href=\"https://youtu.be/HshF2AOx4VM\" target=\"_blank\" rel=\"noopener\">West Coast Pop Lock\u003c/a>,” a 1982 hit for Ronnie Hudson that most know as the hook of Tupac’s “California Love,” Hudson shouts out Los Angeles, Watts and Compton — with no mention of Oakland at all.\u003c/p>\n\u003ch2>Pimp culture becomes pop culture\u003c/h2>\n\u003cp>Another key influence on hip-hop was Richard Pryor, who moved to Berkeley in 1969 and soaked up the city’s counterculture vibe. Pryor performed locally at venues like Laney College, and, similar to Tupac, key parts of his development came from the Bay Area before he moved to L.A. and became a superstar.\u003c/p>\n\u003cp>Pryor has been sampled in rap more than 400 times, which speaks to his street-level Black cultural perspective that placed more emphasis on barbershops, juke joints and strip clubs than churches and schools. And it was Pryor’s involvement in a 1973 movie, filmed in Oakland, that would cement his relationship to Bay Area hip-hop.\u003c/p>\n\u003cfigure id=\"attachment_13924297\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924297\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/GettyImages-1137109661-800x1217.jpg\" alt=\"\" width=\"800\" height=\"1217\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1137109661-800x1217.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1137109661-1020x1551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1137109661-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1137109661-768x1168.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1137109661-1010x1536.jpg 1010w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1137109661-1347x2048.jpg 1347w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1137109661-1920x2920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1137109661-scaled.jpg 1683w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Mack, US poster, top from left: Max Julien, Richard Pryor, from a 1977 re-release of the film. \u003ccite>(Photo by LMPC via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>The Mack\u003c/i> is ostensibly a cautionary tale about the rise and fall of a pimp named Goldie (Max Julien), yet it glorified the illegal sex trade and the flamboyant pimp lifestyle. The movie’s lead was based directly on the notorious Oakland pimp and drug dealer Frank Ward, and infamously featured several real-life pimps and sex workers, in exchange for cameo roles for Ward and his brothers.\u003c/p>\n\u003cp>In \u003cem>The Mack\u003c/em>, Pryor played Slim, Goldie’s partner. Another character, Fat Man, coincidentally had the same initials as infamous Oakland drug kingpin Felix Mitchell. With Goldie’s brother Olinga as a Panther-esque Black nationalist, the film’s subtext hints at the real-life tension between the Black Panthers and Oakland’s gangster underworld. It’s a dynamic that foreshadowed the divisions between conscious and gangsta rap, and predated the way Tupac and many Bay Area rappers mixed elements of both.\u003c/p>\n\u003cp>When Melvin Van Peebles’ directorial debut \u003ci>Sweet Sweetback’s Baadasssss Song\u003c/i> was released in 1971, Panther leaders used their widely circulated newspaper to encourage Party members to see the film, which also featured the all-Black East Bay Dragons motorcycle club. “No distributors were supporting it,” says the Lumpen’s Dr. Saturu Ned, who worked in the Party’s newspaper office before he became a musician. “Because of the Black Panther Party, millions of people went to see the movie.”\u003c/p>\n\u003cp>\u003ci>Sweet Sweetback\u003c/i> birthed the so-called blaxploitation films of this era, championing a gritty view of street life with an undercurrent of anti-authoritarianism. The genre became a key reference point for hip-hop, along with the Panthers’ messages of Black power and resistance. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>Hip-hop’s inspiration from the criminal underworld\u003c/h2>\n\u003cp>Without a doubt, one of hip-hop’s overarching themes has been the criminal underworld and the archetype of the pimp/player/hustler as hero and ghetto superstar. This, too, has significant ties to the Bay Area, and especially Oakland, which counts among its rap classics MC Pooh’s \u003ci>Life of a Criminal\u003c/i> and Too Short’s \u003ci>Born to Mack\u003c/i>.\u003c/p>\n\u003cp>In the Bay Area, a systemic devastation of Black neighborhoods created a formula for poverty. Blue-collar industrial jobs left after World War II, and the “urban renewal” of the ’60s and ’70s demolished homes and businesses in San Francisco as well as Oakland. For some, the underground economy became an appealing means of upward mobility.\u003c/p>\n\u003cp>Felix Mitchell operated out of the San Antonio Villa, a.k.a. 6-9 Ville, in East Oakland, which became the headquarters for the “69 Mob,” a criminal organization that established a nationwide heroin distribution network and employed young children as lookouts. The housing project’s notoriety extended well beyond Mitchell’s death in 1986: in 1992, the rapper Seagram released the single “The Ville,” which references “the M.O.B.” — an acronym for My Other Brother, the “official” name of Mitchell’s gang.\u003c/p>\n\u003cp>In the ’70s, the Black Panthers operated a school and community center just a few blocks from 6-9 Ville. This led to conflict over control of the neighborhood. Ned recalls that intakes at the community center for heroin overdoses were common, while the Black Resurgents’ Randolph, who lived nearby on Sunnyside and 82nd Avenue, remembers gun battles sometimes erupting between the two factions.\u003c/p>\n\u003cp>In the post-Felix Mitchell crack cocaine era, rapping about pimping, drug dealing, drive-by shootings and sideshows all became part of Oakland’s hip-hop lexicon — see Dru Down and the Luniz’ “Ice Cream Man,” Richie Rich’s “Sideshow” and “Half Thang,” or Dru Down’s “Pimp of the Year,” which stayed on the Billboard charts for 24 weeks and would often evoke boisterous sing-alongs when played in local clubs.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/qnVtwzaw6lM'\n title='//www.youtube.com/embed/qnVtwzaw6lM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Mitchell himself had reportedly popularized drive-by shootings, becoming one of the inspirations for the Nino Brown character in the 1991 movie \u003ci>New Jack City\u003c/i>, which featured a hip-hop soundtrack.. And Mitchell’s rival, Milton “Mickey Mo” Moore, financed the first rap record to come out of the Bay Area: Motorcycle Mike’s “Super Rat.”\u003c/p>\n\u003cp>So while Philadelphia’s Schooly-D and L.A.’s Ice-T are often credited as the first gangsta rap artists, the genre has been heavily influenced by Bay Area criminal icons like Moore, Ward, Mitchell and San Francisco’s Fillmore Slim. Just like the Panthers predated conscious rap and progressive politics, the Bay basically been gangsta for years.\u003c/p>\n\u003ch2>Afrofuturism is at the heart of hip-hop’s imagination\u003c/h2>\n\u003cp>Not all hip-hop artists follow a street playbook. Nearly as influential as \u003ci>The Mack\u003c/i> was Sun Ra’s 1974 cult classic \u003ci>Space is the Place\u003c/i>, filmed at locations in Oakland, including the current Merritt College campus. Its origins date back to a 1971 \u003ca href=\"https://www.openculture.com/2014/07/full-lecture-and-reading-list-from-sun-ras-1971-uc-berkeley-course.html\">lecture course\u003c/a> given by Sun Ra at UC Berkeley, titled “The Black Man in the Cosmos.” The film’s convoluted plot depicts Ra as a time-traveling jazz musician who engages in a game of tarot with an “overseer” to decide the fate of the Black race. Ra eventually wins the contest thanks to his use of sound vibrations during a free jazz concert, boards a spaceship joined by young African Americans he’s recruited from Oakland, and travels to a better world.\u003c/p>\n\u003cp>Afrofuturistic themes in \u003ci>Space is the Place\u003c/i> not only preceded Parliament’s \u003ci>Clones of Dr. Funkenstein\u003c/i> and \u003ci>Mothership Connection\u003c/i> albums, but established a cultural precedent for those themes to be revisited by hip-hop, first in the electro-funk era, and subsequently through abstract, esoteric, spiritually and conceptually minded rappers and producers. In the Bay Area, Hieroglyphics’ Del the Funky Homosapien would imagine dystopian futures worthy of anime treatments; Blackalicious’ work would contain themes of technology as a means of liberation; and Zion I’s lyrics would reach towards spiritual enlightenment.\u003c/p>\n\u003cfigure id=\"attachment_13924298\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924298\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/GettyImages-486166770-800x516.jpg\" alt=\"\" width=\"800\" height=\"516\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-486166770-800x516.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-486166770-1020x657.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-486166770-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-486166770-768x495.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-486166770.jpg 1024w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sun Ra and his Sun Ra Archestra perform with a steel sculpture on September 23, 1978, at Hill Auditorium in Ann Arbor, Michigan. \u003ccite>(Leni Sinclair/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sun Ra was part of the Black Arts Movement (BAM) of the 1960s, which began in Harlem but was grounded in the Bay Area. Influential author, writer and BAM co-founder Amiri Bakara moved from New York in 1962 to teach at San Francisco State University; in 1964, he worked with a young graphic designer named Emory Douglas on set design for a play in San Francisco. Three years later, Douglas met Bobby Seale and Huey Newton at the Black Door, a Black-operated theater known for presenting avant-garde productions, and became the Black Panther’s minister of culture.\u003c/p>\n\u003cp>Douglas’ revolutionary illustrations were featured in the Panther newspaper, and went on to influence politically-minded graffiti artists and muralists worldwide, including in San Francisco’s famed Clarion Alley. The Coup’s logo, depicting a mother carrying a child in a sling while holding a rifle, is a \u003ca href=\"http://american-studies-uea.blogspot.com/2021/05/the-art-of-emory-douglas-and-asali.html\">direct descendant of Douglas’ work\u003c/a>. And during the late ’80s, a flourishing of political graffiti around the anti-apartheid movement crested into bold statements against police brutality and Christopher Columbus by Bay Area aerosol legends Mike Dream, Spie and the TDK collective in the early ’90s.\u003c/p>\n\u003cp>Baraka later became a founding board member of Oakland’s Eastside Arts Alliance, whose annual Malcolm X Jazz Arts Festival in San Antonio Park has featured hip-hop freestyle rhyme and dance cyphers, live painting in honor of Mike Dream, tributes to boogaloo, and performances by The Coup and the Last Poets’ Umar Bin Hassan. Meanwhile, Baraka’s daughter Dominique DiPrima would become the KRON-TV host of the popular Bay Area hip-hop show \u003cem>Home Turf\u003c/em>. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>Spoken word, feminism\u003c/h2>\n\u003cp>From the Black Arts Movement lineage comes a local emphasis on spoken word poetry and alternative theater. This legacy of artistic expression ultimately connects pioneering poet/playwright Ntozake Shange to the hip-hop inspired Oakland poet Chinaka Hodge, and to the field of hip-hop theater explored by Marc Bamuthi Joseph in the Bay.\u003c/p>\n\u003cp>In her 1976 choreopoem \u003cem>for colored girls who’ve considered suicide/when the rainbow is enuf\u003c/em>, first performed at a lesbian bar on Solano Avenue in Albany, Shange foreshadowed women in hip-hop’s existential struggle with sexuality, self-affirmation and self-love while dealing with misogyny, toxic relationships and Black female identity. In “No More Love Poems pt 1,” Shange’s Lady in Orange describes “being left screaming in a street full of lunatics whispering slut, \u003cem>beeitch\u003c/em>…” — pronouncing the word with the same drawn-out intonation as Too Short would a decade later.\u003c/p>\n\u003cfigure id=\"attachment_13924299\" class=\"wp-caption aligncenter\" style=\"max-width: 801px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13924299\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/801px-Ntozake_Shange_Reid_Lecture_Women_Issues_Luncheon_Womens_Center_November_1978_Crisco_edit.jpg\" alt=\"\" width=\"801\" height=\"1023\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/801px-Ntozake_Shange_Reid_Lecture_Women_Issues_Luncheon_Womens_Center_November_1978_Crisco_edit.jpg 801w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/801px-Ntozake_Shange_Reid_Lecture_Women_Issues_Luncheon_Womens_Center_November_1978_Crisco_edit-160x204.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/801px-Ntozake_Shange_Reid_Lecture_Women_Issues_Luncheon_Womens_Center_November_1978_Crisco_edit-768x981.jpg 768w\" sizes=\"auto, (max-width: 801px) 100vw, 801px\">\u003cfigcaption class=\"wp-caption-text\">Ntozake Shange in 1978. \u003ccite>(Barnard College/Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These same themes are present to some degree in the music of Bay Area women in funk — a list that includes Little Sister, Sugar Pie DeSanto, the Brides of Funkenstein, and Betty Davis (who recorded her first two albums in San Francisco with Bay Area musicians). The Pointer Sisters, the Oakland group whose career began with the self-affirming hit “\u003ca href=\"https://youtu.be/F2U1OUxXSMM\" target=\"_blank\" rel=\"noopener\">Yes We Can Can\u003c/a>,” would later be referenced by Ice Cube, the Treacherous Three and Salt-n-Pepa.\u003c/p>\n\u003cp>As SF State professor and cultural anthropologist Dawn-Elissa Fischer points out, the tradition extends even further back. “Some of the ideas that Angela Davis and Patricia Collins write about in terms of the impact of blues women — when we talk about the Panthers, we want to remember, while there are obvious ties, there’s this longer tradition of posting, boasting and rapping in the work of blues women in the Bay Area and elsewhere.” The same ideas and themes of the blues era, she says, were magnified and amplified during the funk era, and again in the hip-hop era.\u003c/p>\n\u003cp>Fischer, a contributor to \u003cem>The Smithsonian Anthology of Hip-Hop and Rap\u003c/em> and an advisor on KQED’s \u003ci>That’s My Word\u003c/i>, regularly studies funk music as well as contemporary rap in her work, connecting dots between generational movements. She maintains the funky divas of the 1970s provided not only an artistic blueprint for rappers like the Conscious Daughters to talk about gender, sexuality and reproductive rights, but an aesthetic influence as well. Local emcee Coco Peila, she says, is an example of both, along with Mystic, Suga-T and Ryan Nicole.\u003c/p>\n\u003cp>In looking critically at the intersection of funk, boogaloo, and the Black Panthers, Fischer says, “There was a lot of labor, gender and sexuality components of all of these movements, and specifically various forms of Black power. And \u003ca href=\"https://www.kqed.org/news/11858928/west-oakland-mural-honors-women-of-black-panther-party\" target=\"_blank\" rel=\"noopener\">Black women are a critical part of this paradigm\u003c/a>.”\u003c/p>\n\u003cp>The legacy of these movements is not only part of hip-hop history and American history, but Bay Area history specifically. What made these movements so significant and generational in their influence was their intersectional longevity. Funk, boogaloo, and social movements all spoke to each other throughout their existence. That dialogue has become a longer discussion with the advent of hip-hop, which, as it’s evolved, has carried along with it the aesthetics of past movements \u003cspan style=\"font-weight: 400\">—\u003c/span> be they Afros and boots, Black Power salutes, or tick-tocking robot moves over bass grooves.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "In ‘Comrade Sisters,’ Women of the Black Panther Party Take the Spotlight",
"headTitle": "In ‘Comrade Sisters,’ Women of the Black Panther Party Take the Spotlight | KQED",
"content": "\u003cp>When FBI director J. Edgar Hoover declared the Black Panther Party the “greatest threat” to national security in 1969, Ericka Huggins was waking at dawn with fellow Party members to prepare free breakfasts for local children. When the political organization was founded in 1966 to challenge police violence, racism and poverty, the government and media were quick to classify the group as violent and aggressive. That portrayal ignored the Party’s survival programs that provided clothing, medical services and other resources to their Black, brown and Indigenous communities — programs often led by women.\u003c/p>\n\u003cp>[aside label=\"Related Stories\" postID=\"news_11873838,arts_13867337\"]More than 50 years later, Huggins and photojournalist Stephen Shames — who was a 19-year-old UC Berkeley student when he got involved with the BPP — aim to bring those women into the light with the release of the photo book \u003cem>Comrade Sisters: Women of the Black Panther Party\u003c/em>, out Oct. 10 (ACC Art Books)\u003cem>.\u003c/em> The book’s national tour kicks off with a half-dozen events in the Bay Area Oct. 9–13, \u003ca href=\"https://www.marcusbooks.com/event/comrade-sisters-women-black-panther-party-book-launch\">including an Oct. 9 talk with renowned activist Angela Davis\u003c/a>, who wrote the book’s foreword, at Marcus Books in Oakland.\u003c/p>\n\u003cp>A dialogue between past and present, \u003cem>Comrade Sisters\u003c/em> juxtaposes more than 100 black-and-white images from the late 1960s with contemporary conversations, featuring interviews with 50 women who were Party members. While women made up over 60% of the Party, their presence remained largely understated in the public eye — until now.\u003c/p>\n\u003cfigure id=\"attachment_13920156\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920156\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-800x531.jpg\" alt=\"a black and white photo of five African-American people, some in lab coats, standing outside doing a blood draw on one of them, an older woman\" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-1536x1020.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-2048x1360.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-1920x1275.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Black Panther Adrienne Humphrey conducting sickle cell anemia testing during Bobby Seale’s campaign for mayor of Oakland in 1973. \u003ccite>(Stephen Shames)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shames’ behind-the-scenes photos document the women of the Black Panther Party in their most vulnerable, powerful, disheartened and joyous moments. In one, a young girl holds up a Black Panther newspaper in a bus terminal, eyes hopeful, as men in uniform carry on walking behind her. In others, women are seen teaching, moving boxes of food, leading marches and smiling for the camera, their dynamism fully on display.\u003c/p>\n\u003cp>“I hope that young girls and their moms and grandmas — and men also — look at the pictures and they’re really inspired to see what a group of women was able to accomplish back then, and to not get discouraged,” says Shames. “That, you know, they can do it again.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In anticipation of the book’s release and tour, Huggins says she looks forward to being in solidarity with old friends and strangers alike — all connected through a broader history and common fight.\u003c/p>\n\u003cfigure id=\"attachment_13920159\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-3-1-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920159\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-3-1-800x539.jpg\" alt=\"\" width=\"800\" height=\"539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-3-1-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-3-1-1020x688.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-3-1-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-3-1-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-3-1-1536x1035.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-3-1-2048x1380.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-3-1-1920x1294.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Black Panther children in a classroom with their teacher, Evon Carter, widow of Alprentice ‘Bunchy’ Carter, at the Intercommunal Youth Institute, the Black Panther school in Oakland, in 1972. \u003ccite>(Stephen Shames)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think that sisterhood doesn’t necessarily have just to do with the biology of it. It is the connection. We are the family we choose,” says Huggins. “That’s what’s in the underpinning of the word ‘comrade’: a sister or a brother, a people connected in struggle. And what is that struggle? To take something away from people? No — to give agency to people so that they can reclaim their own inner power and the power within their communities.”\u003c/p>\n\u003cp>Looking back on the Black Panthers’ work, says Huggins, “I see why [it was] threatening to people who hold the wealth and the power in a place. But we were not intending to threaten. We just wanted to make a difference.\u003c/p>\n\u003cp>“And so now we’re older, and we can look back at it with great amazement, actually, at how brave we were in the face of so much.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" 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>\n\u003cp>\u003cem>‘Comrade Sisters: Women of the Black Panther Party’ co-authors Stephen Shames and Ericka Huggins will be joined by book contributor Angela Davis for a discussion and book signing on Sunday, Oct. 9, from 2-4 p.m. at Marcus Books in Oakland. Attendance is free; \u003ca href=\"https://www.marcusbooks.com/event/comrade-sisters-women-black-panther-party-book-launch\">more details here\u003c/a>. A schedule of other events can be \u003ca href=\"https://www.dropbox.com/s/gtenn3uer2tcd9e/CS%20Events%20FINAL.doc?dl=0\">downloaded here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When FBI director J. Edgar Hoover declared the Black Panther Party the “greatest threat” to national security in 1969, Ericka Huggins was waking at dawn with fellow Party members to prepare free breakfasts for local children. When the political organization was founded in 1966 to challenge police violence, racism and poverty, the government and media were quick to classify the group as violent and aggressive. That portrayal ignored the Party’s survival programs that provided clothing, medical services and other resources to their Black, brown and Indigenous communities — programs often led by women.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>More than 50 years later, Huggins and photojournalist Stephen Shames — who was a 19-year-old UC Berkeley student when he got involved with the BPP — aim to bring those women into the light with the release of the photo book \u003cem>Comrade Sisters: Women of the Black Panther Party\u003c/em>, out Oct. 10 (ACC Art Books)\u003cem>.\u003c/em> The book’s national tour kicks off with a half-dozen events in the Bay Area Oct. 9–13, \u003ca href=\"https://www.marcusbooks.com/event/comrade-sisters-women-black-panther-party-book-launch\">including an Oct. 9 talk with renowned activist Angela Davis\u003c/a>, who wrote the book’s foreword, at Marcus Books in Oakland.\u003c/p>\n\u003cp>A dialogue between past and present, \u003cem>Comrade Sisters\u003c/em> juxtaposes more than 100 black-and-white images from the late 1960s with contemporary conversations, featuring interviews with 50 women who were Party members. While women made up over 60% of the Party, their presence remained largely understated in the public eye — until now.\u003c/p>\n\u003cfigure id=\"attachment_13920156\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920156\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-800x531.jpg\" alt=\"a black and white photo of five African-American people, some in lab coats, standing outside doing a blood draw on one of them, an older woman\" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-1536x1020.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-2048x1360.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-1920x1275.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Black Panther Adrienne Humphrey conducting sickle cell anemia testing during Bobby Seale’s campaign for mayor of Oakland in 1973. \u003ccite>(Stephen Shames)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shames’ behind-the-scenes photos document the women of the Black Panther Party in their most vulnerable, powerful, disheartened and joyous moments. In one, a young girl holds up a Black Panther newspaper in a bus terminal, eyes hopeful, as men in uniform carry on walking behind her. In others, women are seen teaching, moving boxes of food, leading marches and smiling for the camera, their dynamism fully on display.\u003c/p>\n\u003cp>“I hope that young girls and their moms and grandmas — and men also — look at the pictures and they’re really inspired to see what a group of women was able to accomplish back then, and to not get discouraged,” says Shames. “That, you know, they can do it again.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In anticipation of the book’s release and tour, Huggins says she looks forward to being in solidarity with old friends and strangers alike — all connected through a broader history and common fight.\u003c/p>\n\u003cfigure id=\"attachment_13920159\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-3-1-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920159\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-3-1-800x539.jpg\" alt=\"\" width=\"800\" height=\"539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-3-1-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-3-1-1020x688.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-3-1-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-3-1-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-3-1-1536x1035.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-3-1-2048x1380.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-3-1-1920x1294.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Black Panther children in a classroom with their teacher, Evon Carter, widow of Alprentice ‘Bunchy’ Carter, at the Intercommunal Youth Institute, the Black Panther school in Oakland, in 1972. \u003ccite>(Stephen Shames)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think that sisterhood doesn’t necessarily have just to do with the biology of it. It is the connection. We are the family we choose,” says Huggins. “That’s what’s in the underpinning of the word ‘comrade’: a sister or a brother, a people connected in struggle. And what is that struggle? To take something away from people? No — to give agency to people so that they can reclaim their own inner power and the power within their communities.”\u003c/p>\n\u003cp>Looking back on the Black Panthers’ work, says Huggins, “I see why [it was] threatening to people who hold the wealth and the power in a place. But we were not intending to threaten. We just wanted to make a difference.\u003c/p>\n\u003cp>“And so now we’re older, and we can look back at it with great amazement, actually, at how brave we were in the face of so much.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" 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>\n\u003cp>\u003cem>‘Comrade Sisters: Women of the Black Panther Party’ co-authors Stephen Shames and Ericka Huggins will be joined by book contributor Angela Davis for a discussion and book signing on Sunday, Oct. 9, from 2-4 p.m. at Marcus Books in Oakland. Attendance is free; \u003ca href=\"https://www.marcusbooks.com/event/comrade-sisters-women-black-panther-party-book-launch\">more details here\u003c/a>. A schedule of other events can be \u003ca href=\"https://www.dropbox.com/s/gtenn3uer2tcd9e/CS%20Events%20FINAL.doc?dl=0\">downloaded here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>[dropcap]I[/dropcap]n 1969, Rosalie Ritz’s frank take on Robert F. Kennedy’s assassin was controversial. Ritz, the sketch artist at \u003ca href=\"https://en.wikipedia.org/wiki/Sirhan_Sirhan\" target=\"_blank\" rel=\"noopener noreferrer\">Sirhan B. Sirhan\u003c/a>‘s trial, described him after the fact as “the only honest man” in the courtroom. “It was my first experience with a revolutionary,” she told the \u003cem>Oakland Tribune\u003c/em> shortly after the guilty verdict came down. “Of course it was pointless—all killing is pointless. You have to be nutty to do it. But Sirhan knew exactly what he wanted to do and he did it.”\u003c/p>\n\u003cp>The Sirhan trial was not the only time Ritz came into close contact with a revolutionary. She spent the late-1960s and ’70s covering the trials of Black Panthers including \u003ca href=\"https://www.kqed.org/arts/13881407/huey-newton-h-rap-brown-stokely-carmichael-speech-1968\" target=\"_blank\" rel=\"noopener noreferrer\">Huey P. Newton\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13891079/the-archivist-and-the-activist-behind-a-new-book-about-angela-davis\" target=\"_blank\" rel=\"noopener noreferrer\">Angela Davis\u003c/a> and the \u003ca href=\"https://en.wikipedia.org/wiki/Soledad_Brothers\" target=\"_blank\" rel=\"noopener noreferrer\">Soledad Brothers\u003c/a>. She also documented the high profile prosecution of heiress-turned-“urban guerrilla” \u003ca href=\"https://www.kqed.org/pop/101956/patty-hearst-how-the-outlaw-heiress-became-a-chameleon\" target=\"_blank\" rel=\"noopener noreferrer\">Patricia Hearst\u003c/a>.\u003c/p>\n\u003cp>In fact, Ritz was one of the most in-demand courtroom sketch artists of the era, providing illustrations for the Associated Press, CBS News, KPIX, KNXT and, yes, KQED. She was known to make up to 21 drawings a day in court and could sketch an entire jury in minutes. Ritz was also an accomplished writer who took readers behind the scenes. This article she wrote for the \u003cem>Los Angeles Free Press\u003c/em> used the Patricia Hearst trial to highlight the overzealous security Ritz had experienced at similarly high profile cases involving Black defendants.\u003c/p>\n\u003cfigure id=\"attachment_13917966\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917966\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Los-Angeles-Free-Press-10-75-RR-800x920.png\" alt=\"A newspaper article titled 'Near Mayhem—Tight Security.' '\" width=\"800\" height=\"920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Los-Angeles-Free-Press-10-75-RR-800x920.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Los-Angeles-Free-Press-10-75-RR-1020x1173.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Los-Angeles-Free-Press-10-75-RR-160x184.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Los-Angeles-Free-Press-10-75-RR-768x883.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Los-Angeles-Free-Press-10-75-RR.png 1148w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ritz wrote and illustrated several articles for the ‘Los Angeles Free Press’ during the high-profile trial of Patricia Hearst. \u003ccite>(Los Angeles Free Press, Oct. 1975)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ritz didn’t just have a front-row seat to one of the most turbulent eras in Bay Area history—she had the talent and determination to share it with the rest of the world. “It’s never as tough as you think it is,” she once said, “if you act from strength, not from fear, and you speak the truth to power.”\u003c/p>\n\u003cp>That Ritz wasn’t shy about offering her opinions about the events of the day made her work all the more compelling. When Sirhan was sentenced to death, she said, “I am unutterably opposed to the death penalty. It seems vengeful to me. I think anyone who attends a lot of trials would feel very strongly on this point.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Of Huey P. Newton, she shared: “Huey Newton was a very attractive young man and most intelligent. I learned a lot about social conditions from that trial … It was really awakening. Everyone was impressed by him—you couldn’t help but be.”\u003c/p>\n\u003cp>[aside postid='arts_13904183']When \u003ca href=\"http://peter-barnes.org/article/the-presidio-mutiny/\" target=\"_blank\" rel=\"noopener noreferrer\">14 soldiers were tried for mutiny\u003c/a> after participating in a peaceful demonstration against the Vietnam War, Ritz was clear about whose side she was on. “I feel very sorry for those 14 young men,” she told the \u003cem>Oakland Tribune\u003c/em>. “They all have low IQs, they are very young and vulnerable and not one of them, in my opinion, would be capable of initiating anything like a mutiny. The fact that [the Army] would even take such young men into the service strikes you.”\u003c/p>\n\u003cp>[dropcap]R[/dropcap]itz was brave, willful and outspoken from a very young age—possibly the result of being the seventh of 10 children, all of whom lost their father at an early age. (Ritz was just 9.) At 14, Ritz’s prodigious artistic skills allowed her to attend art college in Milwaukee. At 16, she hit the road with her big sister’s ID, alongside four other young women, and earned money for her family making portraits of people at circuses, fairs and other community events across the midwest.\u003c/p>\n\u003cp>After graduating from Layton Art College, Ritz married a Navy officer (and future accountant) named Erwin in 1946, and had four daughters, Sandy, Barbara, Terry and Janet. The family’s home life was a happy one, full of painting, laughter and dance. (“She and my dad were like Fred and Ginger,” Sandy tells KQED Arts today.) The couple, together for more than 60 years, was also athletic—Ritz was an excellent golfer who competed in amateur championships.\u003c/p>\n\u003cp>It was in 1966 that the Ritz family relocated to Walnut Creek from Washington D.C. Ritz was already established as a courtroom artist with a vibrant, vigorous style, having landed her first job at the Army-McCarthy hearings of 1954. Speaking to the \u003cem>Oakland Tribune\u003c/em> 15 years after the fact, Ritz recalled: “Somebody I knew there knew Joe McCarthy, so I went to his office and asked if I could attend his closed Senate hearings. I just started sketching while I was there and when I came out of the room, [a TV station] offered to buy the sketches. That started it.”\u003c/p>\n\u003cp>What kept it going was Ritz’s tenacity and people skills. On the first day of Huey P. Newton’s trial, Ritz successfully talked her way into the courtroom, despite the fact that she’d not yet been issued a press pass. That there were also 3,000 protesters outside made her entrance all the more miraculous. Later, she was permitted to visit Newton in a holding cell to draw him—a privilege not afforded to any other court reporters. It probably helped that she understood fundamentally what the Black Panthers were trying to do. “These were people who really believed in doing the right thing,” she later said.\u003c/p>\n\u003cp>[aside postid='arts_13881675']Despite Ritz’s commitment to covering the toughest, most high-profile cases of her day, the trials sometimes took their toll. Ritz’s daughter Sandy describes her mom’s days in court as “often stressful to her psyche. The mass murderers, violent outbreaks, the injustices, the racism. The work was challenging.” But, Sandy continues, “She always knew the historical significance of what she was doing, and was passionate about it. She knew that she was the eyes for the world. She knew that her work was the only pictorial record of history occurring in California at that time, and she was often the first and only reporter in the courtroom for some trials.”\u003c/p>\n\u003cp>It was this knowledge that impacted Ritz’s decision to retain ownership of all of her own artwork. Though it would have earned her a better living, she never sold her courtroom sketches—only the use of them. After her death from lung cancer in 2008, Ritz donated more than \u003ca href=\"https://oac.cdlib.org/view?docId=kt8g50226j&doc.view=items&style=oac4&item.position=1\" target=\"_blank\" rel=\"noopener noreferrer\">1,800 of her courtroom drawings\u003c/a> to the Bancroft Library at U.C. Berkeley. Sandy and her sisters worked on cataloging and digitizing the collection so the drawings could stand as a public record of some of the most important moments in California history. “Justice was one of her strongest forces,” Sandy recalls.\u003c/p>\n\u003cp>[dropcap]A[/dropcap]way from the courtroom, Ritz was passionate about making large-scale oil paintings and sculptures, and she always had one eye on the wider Bay Area art community. In 1974, she opened the Upstairs Art Gallery at 927 Broadway alongside fellow artists, Thomas Bray and Edy Keeler. Opening a gallery in Oakland was extremely important to Ritz. She recognized that the Bay Area arts scene—including the organizations responsible for handing out grants and funding—was focused almost exclusively on San Francisco. And she desperately wanted to change that.\u003c/p>\n\u003cp>“My opinion of Oakland is that it is a very beautiful city,” Ritz told the \u003cem>Oakland Tribune\u003c/em> in 1974. “[Its neglect] is due to snobbery of people around Oakland, and we let them get away with it. What we’re going to do is start saying ‘The Oakland San Francisco Bay Area’ and they’ll complement one another.”\u003c/p>\n\u003cp>Ritz was also determined that the Upstairs Gallery should be warm and welcoming for all people. She believed that the large art institutions in the Bay could be off-putting for everybody but the elite. “People don’t relate to it because it’s for people dressed in fancy clothes,” she once said of the \u003ca href=\"https://museumca.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Museum\u003c/a>. With that in mind, Ritz and her friends lovingly restored the Upstairs Gallery space, including a 100-year-old fireplace. (“These buildings are museum pieces and I think they should be saved,” she said at the time.) The \u003ca href=\"https://www.betheden.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Beth Eden Baptist Church\u003c/a> choir performed at the gallery opening.\u003c/p>\n\u003cp>[aside postid='arts_13916612']Though the Upstairs Gallery was a scrappy endeavor once described by the \u003cem>Tribune\u003c/em> as a “struggling, always dollar-short art colony above a pawn shop,” Ritz successfully made the impact on the arts scene that she had hoped for. In 1979, when the City of Oakland and the Labor Department awarded federal unemployment seed money to the Oakland art community for the first time, it went to Ritz and the Upstairs Gallery. She used the $100,000 check to hire staff artists at $700 a month. (That’s about $4,200 in 2022 money.)\u003c/p>\n\u003cp>When the gallery was inundated with applicants, Ritz told the \u003cem>Tribune\u003c/em>: “It was shocking, and a good indication this city has deeper problems than it realizes. It’s not only the tradesmen, the unskilled, the young people, minorities, or the ex-felons who can’t find jobs. It’s right here in our cultural midst.” Ritz pledged to help as many of the non-successful candidates as she could, seeking out other outlets that might offer art-related jobs in Oakland. “Oakland can’t afford to lose them to other cities,” she said of the artists.\u003c/p>\n\u003cp>In the end, Rosalie Ritz approached everything she did with a full-hearted determination that enabled her to live life on her own terms \u003cem>and\u003c/em> in a way that sought to benefit others. Her uncompromising vision—for both her art and her Bay Area communities—drove her to leave her mark on the world. And at the end of her life, she knew that she had.\u003c/p>\n\u003cp>“I just had a wonderful life,” Ritz said. “It was a great ride. I always had a smile because I did what I wanted to do. I interpreted the world in drawings, in writing. I had a good time.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" 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>\u003cem>To learn about other Rebel Girls from Bay Area History, visit the \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">Rebel Girls homepage\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">I\u003c/span>\u003c/p>\u003cp>n 1969, Rosalie Ritz’s frank take on Robert F. Kennedy’s assassin was controversial. Ritz, the sketch artist at \u003ca href=\"https://en.wikipedia.org/wiki/Sirhan_Sirhan\" target=\"_blank\" rel=\"noopener noreferrer\">Sirhan B. Sirhan\u003c/a>‘s trial, described him after the fact as “the only honest man” in the courtroom. “It was my first experience with a revolutionary,” she told the \u003cem>Oakland Tribune\u003c/em> shortly after the guilty verdict came down. “Of course it was pointless—all killing is pointless. You have to be nutty to do it. But Sirhan knew exactly what he wanted to do and he did it.”\u003c/p>\n\u003cp>The Sirhan trial was not the only time Ritz came into close contact with a revolutionary. She spent the late-1960s and ’70s covering the trials of Black Panthers including \u003ca href=\"https://www.kqed.org/arts/13881407/huey-newton-h-rap-brown-stokely-carmichael-speech-1968\" target=\"_blank\" rel=\"noopener noreferrer\">Huey P. Newton\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13891079/the-archivist-and-the-activist-behind-a-new-book-about-angela-davis\" target=\"_blank\" rel=\"noopener noreferrer\">Angela Davis\u003c/a> and the \u003ca href=\"https://en.wikipedia.org/wiki/Soledad_Brothers\" target=\"_blank\" rel=\"noopener noreferrer\">Soledad Brothers\u003c/a>. She also documented the high profile prosecution of heiress-turned-“urban guerrilla” \u003ca href=\"https://www.kqed.org/pop/101956/patty-hearst-how-the-outlaw-heiress-became-a-chameleon\" target=\"_blank\" rel=\"noopener noreferrer\">Patricia Hearst\u003c/a>.\u003c/p>\n\u003cp>In fact, Ritz was one of the most in-demand courtroom sketch artists of the era, providing illustrations for the Associated Press, CBS News, KPIX, KNXT and, yes, KQED. She was known to make up to 21 drawings a day in court and could sketch an entire jury in minutes. Ritz was also an accomplished writer who took readers behind the scenes. This article she wrote for the \u003cem>Los Angeles Free Press\u003c/em> used the Patricia Hearst trial to highlight the overzealous security Ritz had experienced at similarly high profile cases involving Black defendants.\u003c/p>\n\u003cfigure id=\"attachment_13917966\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917966\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Los-Angeles-Free-Press-10-75-RR-800x920.png\" alt=\"A newspaper article titled 'Near Mayhem—Tight Security.' '\" width=\"800\" height=\"920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Los-Angeles-Free-Press-10-75-RR-800x920.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Los-Angeles-Free-Press-10-75-RR-1020x1173.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Los-Angeles-Free-Press-10-75-RR-160x184.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Los-Angeles-Free-Press-10-75-RR-768x883.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Los-Angeles-Free-Press-10-75-RR.png 1148w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ritz wrote and illustrated several articles for the ‘Los Angeles Free Press’ during the high-profile trial of Patricia Hearst. \u003ccite>(Los Angeles Free Press, Oct. 1975)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ritz didn’t just have a front-row seat to one of the most turbulent eras in Bay Area history—she had the talent and determination to share it with the rest of the world. “It’s never as tough as you think it is,” she once said, “if you act from strength, not from fear, and you speak the truth to power.”\u003c/p>\n\u003cp>That Ritz wasn’t shy about offering her opinions about the events of the day made her work all the more compelling. When Sirhan was sentenced to death, she said, “I am unutterably opposed to the death penalty. It seems vengeful to me. I think anyone who attends a lot of trials would feel very strongly on this point.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Of Huey P. Newton, she shared: “Huey Newton was a very attractive young man and most intelligent. I learned a lot about social conditions from that trial … It was really awakening. Everyone was impressed by him—you couldn’t help but be.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>When \u003ca href=\"http://peter-barnes.org/article/the-presidio-mutiny/\" target=\"_blank\" rel=\"noopener noreferrer\">14 soldiers were tried for mutiny\u003c/a> after participating in a peaceful demonstration against the Vietnam War, Ritz was clear about whose side she was on. “I feel very sorry for those 14 young men,” she told the \u003cem>Oakland Tribune\u003c/em>. “They all have low IQs, they are very young and vulnerable and not one of them, in my opinion, would be capable of initiating anything like a mutiny. The fact that [the Army] would even take such young men into the service strikes you.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">R\u003c/span>\u003c/p>\u003cp>itz was brave, willful and outspoken from a very young age—possibly the result of being the seventh of 10 children, all of whom lost their father at an early age. (Ritz was just 9.) At 14, Ritz’s prodigious artistic skills allowed her to attend art college in Milwaukee. At 16, she hit the road with her big sister’s ID, alongside four other young women, and earned money for her family making portraits of people at circuses, fairs and other community events across the midwest.\u003c/p>\n\u003cp>After graduating from Layton Art College, Ritz married a Navy officer (and future accountant) named Erwin in 1946, and had four daughters, Sandy, Barbara, Terry and Janet. The family’s home life was a happy one, full of painting, laughter and dance. (“She and my dad were like Fred and Ginger,” Sandy tells KQED Arts today.) The couple, together for more than 60 years, was also athletic—Ritz was an excellent golfer who competed in amateur championships.\u003c/p>\n\u003cp>It was in 1966 that the Ritz family relocated to Walnut Creek from Washington D.C. Ritz was already established as a courtroom artist with a vibrant, vigorous style, having landed her first job at the Army-McCarthy hearings of 1954. Speaking to the \u003cem>Oakland Tribune\u003c/em> 15 years after the fact, Ritz recalled: “Somebody I knew there knew Joe McCarthy, so I went to his office and asked if I could attend his closed Senate hearings. I just started sketching while I was there and when I came out of the room, [a TV station] offered to buy the sketches. That started it.”\u003c/p>\n\u003cp>What kept it going was Ritz’s tenacity and people skills. On the first day of Huey P. Newton’s trial, Ritz successfully talked her way into the courtroom, despite the fact that she’d not yet been issued a press pass. That there were also 3,000 protesters outside made her entrance all the more miraculous. Later, she was permitted to visit Newton in a holding cell to draw him—a privilege not afforded to any other court reporters. It probably helped that she understood fundamentally what the Black Panthers were trying to do. “These were people who really believed in doing the right thing,” she later said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Despite Ritz’s commitment to covering the toughest, most high-profile cases of her day, the trials sometimes took their toll. Ritz’s daughter Sandy describes her mom’s days in court as “often stressful to her psyche. The mass murderers, violent outbreaks, the injustices, the racism. The work was challenging.” But, Sandy continues, “She always knew the historical significance of what she was doing, and was passionate about it. She knew that she was the eyes for the world. She knew that her work was the only pictorial record of history occurring in California at that time, and she was often the first and only reporter in the courtroom for some trials.”\u003c/p>\n\u003cp>It was this knowledge that impacted Ritz’s decision to retain ownership of all of her own artwork. Though it would have earned her a better living, she never sold her courtroom sketches—only the use of them. After her death from lung cancer in 2008, Ritz donated more than \u003ca href=\"https://oac.cdlib.org/view?docId=kt8g50226j&doc.view=items&style=oac4&item.position=1\" target=\"_blank\" rel=\"noopener noreferrer\">1,800 of her courtroom drawings\u003c/a> to the Bancroft Library at U.C. Berkeley. Sandy and her sisters worked on cataloging and digitizing the collection so the drawings could stand as a public record of some of the most important moments in California history. “Justice was one of her strongest forces,” Sandy recalls.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">A\u003c/span>\u003c/p>\u003cp>way from the courtroom, Ritz was passionate about making large-scale oil paintings and sculptures, and she always had one eye on the wider Bay Area art community. In 1974, she opened the Upstairs Art Gallery at 927 Broadway alongside fellow artists, Thomas Bray and Edy Keeler. Opening a gallery in Oakland was extremely important to Ritz. She recognized that the Bay Area arts scene—including the organizations responsible for handing out grants and funding—was focused almost exclusively on San Francisco. And she desperately wanted to change that.\u003c/p>\n\u003cp>“My opinion of Oakland is that it is a very beautiful city,” Ritz told the \u003cem>Oakland Tribune\u003c/em> in 1974. “[Its neglect] is due to snobbery of people around Oakland, and we let them get away with it. What we’re going to do is start saying ‘The Oakland San Francisco Bay Area’ and they’ll complement one another.”\u003c/p>\n\u003cp>Ritz was also determined that the Upstairs Gallery should be warm and welcoming for all people. She believed that the large art institutions in the Bay could be off-putting for everybody but the elite. “People don’t relate to it because it’s for people dressed in fancy clothes,” she once said of the \u003ca href=\"https://museumca.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Museum\u003c/a>. With that in mind, Ritz and her friends lovingly restored the Upstairs Gallery space, including a 100-year-old fireplace. (“These buildings are museum pieces and I think they should be saved,” she said at the time.) The \u003ca href=\"https://www.betheden.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Beth Eden Baptist Church\u003c/a> choir performed at the gallery opening.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Though the Upstairs Gallery was a scrappy endeavor once described by the \u003cem>Tribune\u003c/em> as a “struggling, always dollar-short art colony above a pawn shop,” Ritz successfully made the impact on the arts scene that she had hoped for. In 1979, when the City of Oakland and the Labor Department awarded federal unemployment seed money to the Oakland art community for the first time, it went to Ritz and the Upstairs Gallery. She used the $100,000 check to hire staff artists at $700 a month. (That’s about $4,200 in 2022 money.)\u003c/p>\n\u003cp>When the gallery was inundated with applicants, Ritz told the \u003cem>Tribune\u003c/em>: “It was shocking, and a good indication this city has deeper problems than it realizes. It’s not only the tradesmen, the unskilled, the young people, minorities, or the ex-felons who can’t find jobs. It’s right here in our cultural midst.” Ritz pledged to help as many of the non-successful candidates as she could, seeking out other outlets that might offer art-related jobs in Oakland. “Oakland can’t afford to lose them to other cities,” she said of the artists.\u003c/p>\n\u003cp>In the end, Rosalie Ritz approached everything she did with a full-hearted determination that enabled her to live life on her own terms \u003cem>and\u003c/em> in a way that sought to benefit others. Her uncompromising vision—for both her art and her Bay Area communities—drove her to leave her mark on the world. And at the end of her life, she knew that she had.\u003c/p>\n\u003cp>“I just had a wonderful life,” Ritz said. “It was a great ride. I always had a smile because I did what I wanted to do. I interpreted the world in drawings, in writing. I had a good time.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" 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>\u003cem>To learn about other Rebel Girls from Bay Area History, visit the \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">Rebel Girls homepage\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "Presented by KQED, KCRW and KPCC, and created and hosted by award-winning journalist Farai Chideya, Our Body Politic is unapologetically centered on reporting on not just how women of color experience the major political events of today, but how they’re impacting those very issues.",
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"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.",
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"radiolab": {
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"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.",
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"reveal": {
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"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.",
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},
"science-friday": {
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